Art & Wine: Pessac-Léognan, Graves, Entre deux Mers

Malromé has the distinction of being the only Bordeaux château recognized as a “Maison des Illustres,” a distinction created by the Culture Ministry to acknowledge places that preserve the memory of political, social or cultural figures.

In the case of Malromé, that figure is Henri Toulouse-Lautrec (1864-1901), the famous post-Impressionist known as much for his debauched lifestyle as for his depictions of Montmartre’s dance halls, cabarets and theaters. The painter’s mother purchased Malromé in 1883, and although Toulouse-Lautrec lived in Paris, he frequently made long visits to Malromé and eventually died there.

When the Huynh family bought the estate in 2013, they made the artist’s legacy an important part of their massive three-year renovation, which encompassed the vineyard, winemaking facilities and 16^th century château.

Kim Huynh’s daughters, Amélie (who has launched jewelry and perfume businesses) and Mélanie (a fashion stylist), brought their entrepreneurial energy and taste for contemporary elegance to the project, creating a mix of traditional and modern décors for the guest rooms (named after Toulouse-Lautrec’s muses), restaurant and boutique. They carefully preserved the artist’s summer studio and purchased some 30 of his original works, which are now displayed in the château. Toulouse-Lautrec posters are featured on Malromé wine labels, and the artist is the focus of various tours.

The owners complement this history with contemporary art exhibitions held in the château gallery. “Decorum,” which closed in March 2022 after a two-year run, featured works by Emeric Chantier, who uses natural and synthetic materials to sculpt animal and human figures that appear to be made of living green moss. His works encourage reflection on the relationship between man and nature—a theme that echoes concerns at Malromé.

A second exhibition is planned for later this year but has not yet been announced. Already scheduled for 2023 is a display of beeswax sculptures by Tomáš Gabzdil Libertíny. The raw materials will be provided by the château’s resident beekeeper, whose work is part of a broad effort to encourage biodiversity and environmental awareness at the estate.

When it comes to art, the owners of Château La France decided that less is more. The estate has a single sculpture, but you can’t miss it even if you are only driving by: Rising some 40 feet above the vineyard is an enormous stainless-steel rooster.

The Mottet family commissioned “Le Coq” shortly after purchasing the vineyard in 2009. Given the château’s name and the fact that the rooster is the national symbol of France, the choice could not have been more à propos.

Sculptor Georges Saulterre, whose work ranges from monumental sculptures along French highways to delicate creations for Daum crystal, spent a year working on the seven-ton bird, whose 5,000 shiny feathers hide every rivet. At the inauguration, Bruno Mottet revealed that messages from his family tucked in wine bottles had been sealed inside the rooster along with a USB key and photos “for future generations.”

While the work has come to symbolize the estate, it also evokes the terroir. “The stainless steel reflects the sun, the sky and the changing moods of our local weather,” said Mottet. “All of those elements create the character of each vintage.”

When Daniel and Florence Cathiard purchased Château Smith-Haut-Lafitte in 1990, the buildings were dilapidated, the vineyard had overdosed on chemicals and the wine was unremarkable. But they had many great assets to bring to the project: an entrepreneurial spirit, a vision not limited by Bordeaux tradition and the financial wherewithal to make major investments.

Three decades later, their stellar accomplishments include certified organic vineyards, a 100-point wine (2009) and a luxurious hotel, spa and restaurant that have redefined Bordeaux wine tourism. They have also built a remarkable art collection that reflects their adventurous spirit and respect for the land.

Their first acquisition was a 15-foot-long bronze hare by Barry Flanagan; seen from the road, it appears to be leaping over the vines. It has become emblematic of the estate, perhaps suggesting its leap into the future under the Cathiards’ stewardship. Installed in 1991, “Hospitality” was the first of some 30 major works of art that now grace the grounds and buildings.

There was no overarching plan to collect art at the outset, just a general idea to acquire a new piece whenever the estate’s year-end finances allowed. Most often, works were chosen after chance meetings with artists. Among the most popular are Jim Dine’s monumental “Venus Bordeaux,” which towers some 24 feet above the vines, and Chuck Hoberman’s “Nouaison,” a kinetic metallic sphere evoking a flower on a vine as it turns into a grape.

Another favorite is Mimmo Paladino’s “Caduto a Ragione.” For the Cathiards, this cluster of birds alighting on a human figure suggests the visitors from around the world who flock to Smith-Haut-Lafitte to taste its wines. The latest addition, a 14-ton marble sculpture by French artist Raymond Jaquier, is an homage to the couple. The only work to be created on the property, it appears monolithic from one side but from another can be interpreted as two people standing side by side. Positioned to look out over the vineyard, it is fittingly entitled “The Memory of Time.”

A charming complement to these prestigious international talents can be found in the estate’s 20-acre Fôret des Sens. Open in 2018, it was designed to showcase young and mostly local artists while also inviting visitors to share the Cathiards’ passion for the environment and biodiversity. Paths through the wooded site lead to such amusing sculptures as a five-ton stone owl, a huge wooden flower and an enormous safety pin. Visitors will also come across centuries-old oak trees, goats, badgers, chickens, llamas…in all, 29 poetic and whimsical attractions to reawaken the senses.

Pape Clément owner Bernard Magrez is as committed to art as he is to wine. Which is saying a lot considering that he owns four grand cru classé châteaux in Bordeaux as well 38 other estates in France and throughout the world.

His first forays into art focused on animal bronzes and antique pocket watches, which he avidly collected. It was only after meeting Bernard Dubuffet, who offered Magrez a painting he had made of Château Pape Clément, that he was bitten by the contemporary art bug.

Magrez was especially drawn to the fact that this art is intellectually enriching, conceived not to be decorative but rather to make you think. He is fond of citing French artist Robert Filliou, “Art is what make life more interesting than Art.”

Over the decades, his collection has grown to include some 450 works by internationally acclaimed artists. In 2011, they became part of an endowment known as the Bernard Magrez Cultural Institute. Located in Château Labottière in downtown Bordeaux, the Institute strives to foster artistic creation and to make art accessible to all through artist residencies, competitions, workshops, commissions, acquisitions and exhibitions in various venues.

Currently on view at the Institute is “La Collection Bernard Magrez” featuring the masterpieces of his collection. More than 80 paintings, sculptures, videos and installations are on view, including works by such art-world heavies as Jean-Michel Othoniel, JR, Salgado, Futura 2000, Yan Pei-Ming, Martial Raysse and Steve McCurry.

Some were previously on loan to Pape Clément, where Magrez typically shows some 35 sculptures, paintings and photographs (the selection changes frequently). Aficionados are thrilled with the unexpected opportunity to see such high-quality art outside of a museum, while influencers seize the chance to take cool selfies for their social media feeds.

Works are as varied in style as they are in medium. A colorful glass sculpture by Jean-Michel Othoniel brightens the cellar, and paintings by graffiti and street artist Jonone hang in the Salon des Musées. In the Pavillon du Prélat is the famous photo by National Geographic photographer Steve Mc Curry of an Indian tailor wading through neck-deep flood waters, his sewing machine balanced on his shoulder.

For oenophiles, the hands-down favorite is a work by French artist Stéphane Cipre. His full-size aluminum sculpture of a car with wine barrels, cases and bottles tied to the roof is entitled “When wine is missing, everything is missing.”

A pioneer in Bordeaux wine tourism, Château d’Arche has been welcoming visitors to its eight guest rooms since 2002. In 2019, it added a new arrow to its quiver when it built an innovative environmentally friendly winery, complete with a green roof, glass-walled reception room and boutique.

Another recent initiative is an annual competition designed to support local artists. Contestants are invited to submit a design for a two-dimensional, eight-foot-tall Château d’Arche bottle that stands at the entrance to the property. A winner is selected from among nine finalists; the decision is based 50 percent on votes from the jury and 50 percent on votes submitted through the château’s Instagram account (@chateaudarche). The winning design is displayed for a year, and the artist receives €500 worth of Château d’Arche grand cru classé sauternes.

The next project is the renovation of the 17^th-century chartreuse. Few details are available, but there is talk of building a luxury hotel now that two wings of the château are no longer needed for barrel storage, thanks to the new winemaking facilities. It remains to be seen if contemporary art will be integrated into the revamp.

Wine was first made around 6000 BC, but glass did not appear until 5 BC. When it did, the two became inseparable. Over the centuries, outstanding design and workmanship have been lavished on wine glasses, which often reflect the artistic trends of the day. During the Art Nouveau and Art Deco periods, glassmaker extraordinaire René Lalique (1860-1945) was the undisputed master.

At the 1925 International Exhibition of Decorative and Modern Industrial Arts, he took aesthetics and technology to a whole new level, presenting exquisite Art Deco pressed glassware that looked for all the world like crystal. His product range would expand over the years to include decorative and practical items, from paperweights and statuettes to clocks and car mascots. It wasn’t until after his death, however, that the company that bears his name made the transition to crystal.

In 2008, Swiss entrepreneur and wine collector Silvio Denz purchased Lalique, then in 2014, he acquired Château Lafaurie-Peyraguey, a grand cru classé estate in Sauternes. Inspired by René Lalique’s fabulous decors for the Normandie ocean liner and Côte d’Azur Pullman Express dining cars, he decided to create a Lalique universe at Lafaurie-Peyraguey.

Denz painstakingly restored the château’s Spanish-Moorish architecture, transforming the estate into a Lalique-infused luxury hotel and restaurant. Drawing on the company’s extensive archives, interior decorators worked Lalique’s designs into furniture, lighting, decorative items, mirrors, even doors. As for the Lafaurie-Peyraguey bottle, it was adorned with a crystal inset derived from Lalique’s 1928 engraving “Woman and Grapes.”

When Lafaurie-Peyraguey re-opened in 2018—its 400^th anniversary—it set a radically new standard for wine tourism not only in Sauternes but in all of Bordeaux. The hotel soon became a member of the prestigious Relais & Château group, and the restaurant has earned two Michelin stars.

The estate’s chef d’oeuvre is its full-size crystal wine barrel, handcrafted at the Lalique factory in Alsace and proudly displayed in the cellar. But for wine enthusiasts, the most artful touch may just be the restaurant’s crystal wine glasses; all are from the 100 Points collection designed in partnership with wine critic James Suckling. With their elegant frosted stems and clear bowls adapted to every kind of wine, they are distinctly Lalique yet distinctly today.

When the 1855 Classification of Médoc and Sauternes wines was drawn up, Château Gravas was hardly a contender—only five years old, it possessed a single hectare of vines. What it did have was a great location, tucked alongside the renowned grands crus of Climens, Coutet and Doisy-Daëne. Gravas would go on to acquire a total of 15 hectares, 11.5 devoted to Sauternes and 3.5 to red and white Graves.

Family-owned for six generations, the diminutive estate has an outsized gift for warmth and conviviality. Florence Bernard, who since 2001 has run the vineyard with her husband, Michel, says her family has always loved welcoming visitors. They have hosted everything from intimate concerts and garden parties to exhibitions of local artists, fashion shows and Christmas markets.  And much to visitors’ delight, she insists on giving every tour of the property herself.

During the past 15 years, the Bernards have forged a close friendship with Alsatian painter and sculptor Paul Flickinger, an internationally renowned artist whose work has become emblematic of the château. His large-format paintings on plexiglass hang in the cellar, his large sculptures grace the garden, and he consults with the couple to choose themes for annual exhibitions.

His work also appears on the labels of three of their four wines. Each tells a story: one is a delightful portrait of Florence and Michel holding a heart in a composition that evokes the shape of a wine glass. For visitors, this enduring and improbable collaboration between celebrated artist and modest family vineyard offers a unique charm.

In 2016, the Lesgourgues family, owners of Château Haut Sèlve, announced the creation of a contemporary art endowment called Quasar. It was the logical next step for patriarch Jean-Jacques Lesgourges, who had been collecting art for 35 years and supporting artists through residency programs and site-specific commissions at his four vineyards. Now his collection, some 1,200 works by 90 artists from the period 1980-2000, is the basis for exhibitions in various venues, giving these artists additional exposure.

One of these took place at Haut Selve in 2020-2021, when Quasar and the FRAC (Fond Régional d’Art Contemporain) Aquitaine teamed up to mount “Couleur de Vin” showcasing the work of 16 artists. No exhibitions are currently planned for 2022, but visitors may enjoy the sculptures created for Haut Sèlve—the only Bordeaux winery built entirely from scratch during the 20^th century.

For these site-specific pieces, artists were invited to spend time at the vineyard, then express something of the place in their art. The results include busts representing the five senses by Spanish artist Juan Bordès, who also crafted muscular sculptures of Castor and Pollux, the sons of the mythological swan Leda (Leda is the name of the Lesgourgues’s wine distribution company).

French artist Yves Guérin also contributed two works: A stainless-steel sculpture celebrating wind, fire and water, and a tribute to Giacometti’s “The Glade” that is set amid a 15-acre park planted with thousands of trees—another of the owners’ passions.

The family’s love for trees is also evident in the entrance hall. Here, artist Bernard Pagès sculpted the enormous twisted roots of a yew tree that was knocked over at Haut Sèlve during the violent 1999 storm that uprooted more than a hundred trees on the Lesgourges properties. It is painted red, evoking the “tears of wine” the tree cried at the moment of its death.

Liber Pater, the iconic winery based in Landiras in the Graves (but bottled as a Vin de France since the 2015 vintage) makes for a different kind of visit. The winery is open to everyone, but you have to let owner Loïc Pasquet know in advance that you will be there – mainly because you’ll never find it on your own, as there is no sign outside to indicate that you have arrived.

Inside, you’ll find amphoras on the ground floor level, and a small art gallery upstairs with some fascinating wine artefacts dating back centuries, a collection of rare wine books, and this selection of paintings created by artist and sculptor Gérard Puvis. All created for the labels of Liber Pater, they take an ironic look at many sacred wine ideas, in keeping with the spirit of this unusual estate, and use unusual materials in their creation – for example you’ll find an array characters in the paintings that are created from the tin of old wine bottle capsules.