WINE JOURNAL WINE JOURNAL Your guide to leading wines and wineries in 2023
Andrew Caillard MW and Angus Hughson
WINE JOURNAL Your guide to leading wines and wineries in 2023
Andrew Caillard MW and Angus Hughson
VINTAGE JOURNAL e
CONTENTS
ABOUT THE AUTHORS
vi
FOREWORD
vii
LEEUWIN ESTATE
1
Tasting notes
15
SIR JOSEPH BANKS AND JOSEPHINE BONAPARTE
31 33 46 65 72 84 87 94
THE BAROSSA VALLEY
Tasting notes
BORDEAUX
Tasting notes
WINE HISTORY: MINCHINBURY & SEPPELT
JIM BARRY AND THE ARMAGH
Tasting notes
OUR PLACE IN WINE
101 113 115 120 121
CHAPEL HILL
Tasting notes
OLD & NEW HUNTER LEGENDS
Tasting notes
PENFOLDS COLLECTION 2022
123 127
Tasting notes
MARGARET RIVER
141
IDÉE FIXE
162 163 165 168
Tasting notes
TEN MINUTES BY TRACTOR
Tasting notes
BLOODLINES
172
CLOUDBURST
175 191
Tasting notes
ROALD DAHL TASTE
196
FRANKLAND ESTATE OLMO’S REWARD
199 204
Tasting notes
AUSTRALIAN CLASSICS: AULDANA & BALGOWNIE
208
TYRELL’S
211 215
Tasting notes
FESTIVE WINES
219
ABOUT THE AUTHORS
Andrew Caillard MW (Master of Wine) is the author of several books, including Penfolds: The Rewards of Patience (six editions), Imagining Coonawarra , A Travel Through Time (the history of leading Spanish winery Marques de Riscal) and co-authored educational books Australian Wine and A Taste Around the World of Wine . The Essence of Dreams, a history of the Mornington Peninsula’s wine industry was published in late 2022. Andrew has also written a definitive 3-volume history of Australian wine with plans for publication in 2023. The Wine Journal draws on Andrew’s periodical publication, The Vintage Journal , containing research, experience and tasting expertise gathered during over 40 years working in the secondary market, the corporate retail world, the wine media, film and painting. Angus Hughson is the Drinks Editor for WISH Magazine , Australian editor for the globally renowned Vinous , contributing writer to Gourmet Traveller WINE magazine and author of Worldwine: The Imported Wine Guide .
Angus Hughson (L) and Andrew Caillard
vi The Wine Journal – 2023
FOREWORD
2022 marked my 43rd year in the Australian and International wine trade. And while many things have changed, much has remained the same. The greatest winemakers in this country are still those that show curiosity, never rest on their laurels and are constantly working tirelessly in their vineyards and wineries to make something that resonates. They do this standing on the shoulders of generations that have paved the way before them. In late 2021, wine writer and co-publisher Angus Hughson and I launched The Vintage Journal , a free resource primarily published for the fine wine industry and wine collectors. We specialise in Australian and International fine wine reviews, tasting notes and scores, opinions, essays, and podcasts. We also publish snippets of Australian wine history from my forthcoming 3-volume work The Australian Ark which charts the path of our wine industry from 1788 to the present day. Angus and I plan to build The Vintage Journal into a leading forum that promotes the cause of fine wine while highlighting Australia’s remarkable and often little-known wine history. Throughout 2022 Angus and I have travelled the world and tasted an astonishing range of wines. Trips to the Barossa and Clare Valleys as well as Margaret River and Bordeaux highlight the diversity of wine available to Australian wine drinkers and beyond. It has been fascinating to taste multiple vintages of some of Australia’s greatest wines with more frequency than before. Tasting reviews of Leeuwin Estate Chardonnay, Tyrrell’s Vat 1 Semillon and Jim Barry The Armagh Shiraz reveal their storied journeys. We also enjoyed tracking the development of emerging stars such as Ten Minutes by Tractor Pinot Noir, Frankland Estate Olmo’s Reward, Cloudburst, Chapel Hill and Idée Fixe. Of course, no year is complete for wine collectors without a review of Penfolds, a wine brand that forms one of the foundations of the Australian collectible wine market. This Wine Journal 2023 is a collection of our favourites moments, stories and discoveries from 2022 peppered with opinion pieces and vignettes of Australian wine history. These unfolding pages are the wines and stories that left us with the most lasting impressions. This wine annual is very much a collaborative project and we hope that you enjoy the wines that we would happily revisit again and again.
Andrew Caillard MW
Foreword vii
viii The Wine Journal – 2023
LEEUWIN ESTATE
‘From nowhere to somewhere’ Leeuwin Estate is an Australian masterpiece and represents the dream of coming ‘from nowhere to somewhere’. It is an accidental creation born from happenstance and naivety yet steeped in ambition and generosity. Since 1969, Tricia and Denis Horgan have played an important role in defining the Margaret River wine region’s identity. Their vision to ‘produce wines that rank with the best in the world through the pursuit of excellence’ has been fulfilled in their lifetime, achieved by brilliant planning, hard work and a remarkable fidelity to nature and nurture. The expressive Leeuwin Estate Art Series Chardonnay is the jewel in the crown and all around it are reflected in its glory. This monograph explores the history and making of Leeuwin Estate from 1969 to the present day. It also comprises vertical tasting reviews and highlights the collectability and longevity of its wines. As a specialist wine auctioneer, I witnessed first-hand the growing stature of Leeuwin Estate from the mid-1980s. The 1987 Leeuwin Estate Chardonnay was the first Australian white wine to break the $100 (per bottle) mark at auction. Its lasting quality and individuality are well known and appreciated by aficionados around the world. But it is also an historic label because of its profound connection with the Gingin clone and the lateritic soils of the Margaret River. This prolifically planted clone has shaped the destiny of Margaret River Chardonnay and places this regional style as one of the greatest in the world. Moreover, Leeuwin Estate is now a cultural centre and destination for wine, art and music lovers. The soaring stands of karri trees and natural amphitheatre have become an iconic feature of the Western Australian landscape. Margaret River Cape Leeuwin is where great forces of nature, propelled by the Roaring Forties, create a natural foment. It is here that the great Southern Ocean collides and confluences with the Indian Ocean. The seas smash and roll into a jutting coastline or swell and break against endless white beaches with relentless power. Westerlies and Southerlies waft and breeze or muscle it out with stupendous strength. In February the landscape
Leeuwin Estate 1
is a rich cloth of gold exaggerated by the afternoon light. The land pitches and yaws along Caves Road, through immense stands of apricot-pink karri timber and past Tasman blue dams, ancient caves and generous pastures dotted with Friesian cattle and Merino sheep. Bright green vineyards stretch and undulate into the distance, cutting a swathe across dry flaxen paddocks. The Margaret River region of southwest Western Australia is one of the most ancient parts of the world, a weathered granitic island conjoined to the Australian mainland by a sedimentary basin.
‘OUR MISSION IS TO PRODUCE WINES THAT RANK WITH THE BEST IN THE WORLD THROUGH THE PURSUIT OF EXCELLENCE.’ Denis Horgan, Founder and co-proprietor (with Tricia Horgan) of Leeuwin Estate
How it all Began During the 1960s Margaret River was still an isolated backwater 300 kilometres south of Perth. Throughout the 19th and early 20th century, the region developed primarily as logging and dairying country. The left-hand breaks were notorious among surfies. The beautiful natural environment also attracted young people in search of a free-spirited lifestyle. The unfolding social demography of the region foreshadowed an emerging community aspiration for sustainable living. Although it took a while for local farmers to fully accept change, the development of a wine industry has played an important role in harmonising outlooks and bringing economic prosperity to the region. A 1955 visit to Western Australia by Dr Harold Olmo, professor of viticulture at the University of California’s Davis Campus, led to a “A Survey of the Grape Industry of Western Australia”. The report was largely ignored by the State Government but it was noticed by State Viticulturalist Bill Jamieson and scientist Dr John Gladstones. Although Olmo had championed the potential of Frankland River, Gladstones, of the University of Western Australia, went one step further. In 1965 the Journal of the Australian Institute of Agricultural Science published his paper “The Climate and Soils of South-Western Australia in Relation to Vine Growing”. Gladstone’s perceptive understanding of weather patterns and soil profiles of the region was a remarkable validation for the area’s potential. In 1966 he predicted that ‘Margaret River will with time become one of the world’s great wine regions’. State Viticulturalist Bill Jamieson and viticulturalist / winemaker Dorham Mann, the son of legendary winemaker Jack
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Mann, were instrumental in getting the region going, advising new vignerons on the best places to plant vines and how to manage their vineyards. When Dr Thomas Cullity, a Perth cardiologist, planted his original Vasse Felix vineyard in 1967 on ‘red gravel in red gum country’ in the Wilyabrup sub-region, he began a movement that kicked-started wine making in the Margaret River region. Leeuwin Estate was among the first wave of new vignerons to activate the terroir and create new beginnings. Cape Mentelle, Cullen, Leeuwin Estate, Moss Wood, and Vasse Felix, the original quintet, represent a symbol of Australian agricultural wealth and individuality. Denis and Tricia Horgan Denis Horgan was born in 1940 and grew up in Perth’s Claremont and Nedlands suburbs. After his father died at a young age, he worked to helped provide income for his family while studying accountancy part-time. His first job, at age 14, was as an office boy for Sir Charles Court, a chartered accountant and later premier of Western Australia. After graduating as a chartered accountant, Denis Horgan established a local practice which became one of the State’s leading M&A firms. After marrying Tricia Hollett, whom he met while auditing a finance business, they formed an
Denis, Tricia, Simone, and Justin Horgan
Leeuwin Estate 3
enduring partnership based on trust, optimism and entrepreneurial vision. But their entry into wine was purely accidental. Denis Horgan, described by his colleagues in his younger years as a beer-drinking surfie, was arguably the least likely person to venture into a wine business. But happenstance intervened. An offer to acquire Western Australia’s ‘largest high-rise plumber’ was initially ignored until it was discovered that the sale included a farm close to some of the finest surfing beaches in the State. In 1969 Tricia and Denis Horgan travelled down to Margaret River and fell in love with the property. The previous owner had put together several soldier settlement blocks to form 1150 acres (465.4 hectares) of glorious farmland. The plan was to continue as a grazing property. There was never any intention to plant vineyards. Today, the property totals 668 hectares with 153.5 hectares under vine including recent plantings. Margaret River Vignerons A chance meeting, however, with Californian vigneron Robert Mondavi changed everything. In 1972 Denis Horgan received a telephone call from his solicitor announcing that an American attorney from Seattle was in town with a visiting winemaker. ‘They are interested in your property’, he said. ‘Are you going to sell?’ Denis Horgan invited them around for a drink out of interest, rather than with any intent to sell. In the meantime, learning of Robert Mondavi’s reputation, he purchased some of ‘the most expensive wines in town because they must be good’. At that fateful meeting the Horgans discovered that Robert Mondavi was consulting to an American syndicate looking for suitable land to grow ‘really high-quality wine in the alternative hemisphere.’ The syndicate had read the reports by Dr John Gladstones and Professor Olmo. According to Denis Horgan, Mondavi had visited his Margaret River farm three times over three years, unbeknown to him! This was quite a shock because in 1972 the roads around Margaret River were poor, farm properties were difficult to access and the region was not yet known for wine, with only a few vineyards planted. The American syndicate was initially involved in helping finance vineyard plantings at the Horgan’s farm in 1973, but its involvement soon evaporated. Robert Mondavi, however, became a friend of the family and helped them work out a plan to develop a wine business. Denis Horgan said, ‘Chartered accountants are always taught that you must have a mission statement, and with Robert’s help we came up with one: to produce wines that rank with the best in the world through the pursuit of excellence’. Recollections of shaping ‘a beer-drinking surfie’s mission, a darling wife, four kids and a fair bit of blank space’ into a common purpose seem remarkably naive, but the Horgans were well capitalised and well researched. All that was needed was to ‘put the pieces in place’. Among the priorities was actually knowing what great wine was and establishing the newly named Leeuwin Estate.
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The Story of Leeuwin Estate Leeuwin Estate initially planted 97 hectares over a five-year period, initially under the supervision of Stan Heritage, a contract viticulturalist from South Australia. This was an enormous investment, the largest vineyard planting in the State. Varieties included chardonnay, cabernet sauvignon, shiraz, riesling, sauvignon blanc, semillon and gewürztraminer. According to Denis Horgan, Robert Mondavi was instrumental in finding the right people to join the project. The appointment of viticulturalist John Brocksopp and winemaker Bob Cartwright (28 vintages) was enlightened and lasting. Their very long careers at Leeuwin Estate shaped the direction, quality and style of the wines. The Leeuwin Estate team also included Polish immigrant farm manager Henry Kowalski, a Father Christmas character inherited from the previous owner who brought a sense of magic, wisdom and local knowledge. The first vignerons of the Margaret River also sought each other’s company to share first-hand knowledge, contacts and a glass of wine. Dr Tom Cullity of Vasse Felix, Dr Kevin Cullen of Cullen and Dr Bill Pannell, all medical practitioners, were
®
Leeuwin Estate 5
particularly helpful and friendly. Denis Horgan said, ‘They had a big influence on us in the early days. The founding fathers set the standards. They had such passion!’ Robust debate, shared experiences, borrowing each other’s vineyard equipment, raising families and talking wine created longstanding bonds. Denis Horgan once pointed out, ‘Down here we like to think that if we all work together, everybody is better off’. Benchmarking Robert Mondavi travelled to Western Australia regularly during the early days of Leeuwin Estate and would show benchmark chardonnays and cabernets around the world for the team to taste and evaluate. During these tastings, Château Mouton Rothschild labels caught the attention of Tricia and Denis Horgan. They were both interested in Australian art and had collected paintings from well-known artists. They loved the concept. On a trip to Europe, Denis Horgan travelled to Bordeaux and met Baroness Philippine Rothschild. Together with her husband Baron Phillipe, she had formed the joint venture Opus One in California with Robert Mondavi in 1978. After visiting the wine museum and display of labels at Château Mouton Rothschild, Denis Horgan asked his host whether she would object to Leeuwin Estate creating its own Art Series labels based on Australian artists. Enthusiastic and generous, she encouraged the idea. Western Australian artist Robert Juniper’s ‘Caves Road’ was the first Leeuwin Estate Art Series Label and today the winery’s collection of modern and contemporary works now comprises over 160 paintings, all hanging at Leeuwin Estate’s recently renovated art gallery. Robert Mondavi’s advice, ‘Don’t put your wines into wine shows’, became a ‘bone of contention’ between the Horgans and their close friend Len Evans, one of Australia’s great wine ambassadors and a fierce champion of the Australian Wine Show system. But it is difficult to know what type of success Leeuwin Estate might have had. There is an element of being in a lottery when showing wines in this group blind-tasting format, although distinctive wines tend to not be overlooked. Nonetheless, the Horgans ‘stayed true to Mondavi’s advice to benchmark Leeuwin Estate wines against the world’s best and not make show wines the benchmark’. During my career as a fine wine auctioneer, I observed frequently that collectability is linked to reputation and track record. Langton’s Classification of Australian Wine – released for the first time in 1989 – was also based on this truth. Robert Mondavi understood the levers of influence well before most new world wine producers. His Opus One venture with Mouton Rothschild is an extraordinary legacy of that mindset.
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Leeuwin Estate Concert Series During the 1980s there were also aspirations to create an event that would attract more visitors to Leeuwin Estate and the Margaret River. With a 220-acre-bearing vineyard and plans to plant more vines, a market needed to be found. The idea of the Leeuwin Estate Concert Series was another madcap idea that most vignerons of the time would have shirked. But Denis and Tricia Horgan were different, possessing grand visions and the mettle to back themselves. The first attempts failed, but a chance approach by Perth Festival’s David Blenkinsopp for Leeuwin Estate to ‘underwrite a prospective visit to Australia by the London Philharmonic Orchestra (LPO)’ laid the foundations of a new Margaret River tradition. Denis Horgan, in typical swashbuckling form, offered to help if the LPO were prepared to schlep 300 kilometres to the winery to give an outdoor concert. To everyone’s surprise the orchestra agreed. Over 100 LPO musicians and crew made their way to Leeuwin Estate in February 1985 and gave ‘the most extraordinary concert ever held in Australia’ to a sell-out crowd. Thus began the coveted and ground-breaking Leeuwin Estate Concert Series held at the winery every summer (except during the pandemic years). Some of the world’s most loved entertainers have played under the star-spangled southern skies, including Dame Kiri Te Kanawa, Ray Charles, Tom Jones, James Taylor, Carole King and Sting.
Leeuwin Estate 7
‘LEEUWIN ESTATE IS ALL ABOUT FINE WINE, MUSIC, THE ARTS AND GREAT FOOD. WE WANT TO BRING ALIVE EVERYTHING AROUND OUR WINES AND HAVE PEOPLE COME DOWN HERE TO ENJOY THE EXPERIENCE.’ Simone Furlong, Joint CEO, Leeuwin Estate Margaret River Promise The promise of Margaret River as a premium wine region was realised early. Cape Mentelle Cabernet Sauvignon (1982 and 1983) won the Royal Melbourne Wine Show’s prestigious Jimmy Watson Trophy twice, in succession. During the mid 1980s this trophy guaranteed sell-out sales in Australia’s major commercial wine markets. This validation of quality also brought considerable focus and new investment to the region as newcomers tried their luck. Leeuwin Estate’s own success in London for its Art Series Chardonnay in the early 1980s also foreshadowed a long and consistent export market in the United Kingdom. But it was the astonishing success of the 1987 vintage that added an extra level of sophistication surrounding Margaret River Chardonnay. The region’s extensive plantings of ‘Gingin’ clone chardonnay is in part a result of Leeuwin’s successful track record in the vineyard and the marketplace. During the 1980s and 1990s Australian wine merchants and distributors assisted Leeuwin Estate in building support and recognition in the retail and hospitality
8 The Wine Journal – 2023 Leeuwin Estate Art Gallery
markets. The winery’s quest for recognition was also helped by the growing interest in the other pioneering Margaret River wineries including Vasse Felix, Cullen, Moss Wood and Cape Mentelle. This momentum spilled into new export markets, including the UK and US, where the Leeuwin Estate brand gained strong footholds. At the winery itself, the cellardoor operation and restaurant became a key tourist destination. A helicopter landing pad also enabled wealthy Perth denizens to rapidly shuttle to the winery with their clientele and showcase the glorious Margaret River coastline and vineyard paradise.
Brocksopp, Cartwright and Atwood
Meanwhile viticulturalist John Brocksopp and winemaker Bob Cartwright, inspired by Robert Mondavi and the Horgans’ ambition, created a technical vision for Leeuwin Estate. Their dedication to quality worked from the ground up and set standards and ways of working that are still respected by their successors today. John Brocksopp brought in a particularly creative form of viticulture. Although technically trained at Roseworthy Agricultural College, he saw grape growing as a quest for identity. He once reflected, ‘We grow individual grapes for individual wines. Fundamentally we are against homogenised and prescriptive recommendations of scientists. We seek to find and promote what is individual in our vineyards and our wines.’ John Brocksopp was way before his time as a viticulturalist. His approach to grape growing was rare. His approach and influence foreshadowed the shift towards sustainability, environmentalism and regenerative viticulture. His excitement and joy for the land are memorable. I remember him saying to me, in wonder, ‘The soils here are older than Japan! Can you imagine that?’ Prior to his appointment as winemaker at Leeuwin Estate, Bob Cartwright is believed to have made the first Western Australian chardonnay in 1974. The fruit derived from Gingin clone chardonnay vines was vinified in a 44-gallon drum at Valencia Wines at Caversham in the Swan Valley. At the time there were no small stainless steel containers or barriques and no refrigeration. Leeuwin Estate’s Gingin cuttings were sourced from Moondah Brook Vineyard and planted in 1975. The first crop was harvested in 1979 and used as a sparkling base wine. Bob Cartwright played a defining role and supervised the estate’s crush from 19 tonnes to around 1,200 tonnes. He established the Arts Series Chardonnay as a reference style and brought Leeuwin Estate into sharp focus as Western Australia’s marquee wine estate. After Bob Cartwright’s retirement in 2005, his deputy of eight years took over as senior winemaker and continued to build on his legacy. Under Paul Atwood’s custodianship, the Art Series Cabernet Sauvignon style was improved by refining the tannin profiles and oak maturation. This was aided by more investment in vineyard
Leeuwin Estate 9
management and oak sourcing. A significant step up in quality was achieved between 2003 and his retirement in 2016. This has been recognised in the Australian secondary wine markets where wines from his era are well appreciated by collectors. It also led to further exploration and research into how wine, oak and oak types interact during the maturation process. Leeuwin Estate’s Winemaking Team Simone Furlong points out that the business team rarely interferes with the workflow of the winemaking team beyond normal financial controls and regular catch-ups. This is a tradition that harks back to Leeuwin Estate’s earliest days. This collaborative approach promotes creativity, respect and a sense of purpose, and it allows team members to be themselves. Their individuality, enthusiasms and detailed knowledge bring a distinct and optimistic family character. This energy and professionalism translates into the image and reputation of Leeuwin Estate itself. The winemaking team is remarkably tightly knit, with visions to progress the Leeuwin Estate story. Former geologist and viticulturalist David Winstanley arrived at Leeuwin Estate in 1999 and shadowed John Brocksopp (‘a very fine mentor’)
before he retired in 2002. Since then, original ambitions have been respected, but new perspectives and improvements have been made over the last 20 years. Of note is Leeuwin Estate’s commitment to sustainability and conservation. The previously neatly managed vineyards have become a ‘mess’ of vine health, biodiversity and energy, but the quality of fruit, as the wines attest, has progressed. During recent times, Winstanley’s experience and knowledge has also been backed up by Augusta local Lane Williams, as Assistant Viticulturist, with over 20 years experience in the region From left: Snr Winemaker Tim Lovett, Viticulturalist David Winstanley, Winemaker Phil Hutchison
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Senior winemaker Tim Lovett, who joined Leeuwin Estate in 2010, describes his role as ‘translating the vineyard to the glass’. He succeeded the highly regarded Paul Atwood as the estate’s third senior winemaker. Although Lovett inherited an unbroken track record of success, he was also the right person to steer Leeuwin Estate into the future. After graduating in agricultural science at the University of Adelaide, he worked as an understudy with some of Australia’s most enlightened thinkers, including winemakers Tom Carson, Robb Mann, Cliff Royle and, of course, Paul Atwood, whose collaborative and generous nature allowed Tim Lovett to take over the role seamlessly. Their detailed approach, curiosity and love for wine instilled a discipline that combined science, empathy and creativity. Tim Lovett’s open can-do personality, drive and ambition aligned with the Horgan work ethic, and these qualities, and workload, are shared by winemaker Phil Hutchison, a Curtin University graduate who joined Leeuwin Estate in 2010. Previously, ‘Hutchy’ worked at Xanadu, Mount Langi Ghiran and in France (Bordeaux and Châteauneuf du Pape). The technical team also includes assistant winemaker Breac Wheatley. ‘WE ALL TRUST EACH OTHER TO DO OUR BIT. EVERYONE AT LEEUWIN ESTATE, INCLUDING VINEYARD WORKERS, CELLAR HANDS, FRONT-OF-HOUSE STAFF AND THE SALES TEAM, HAS A ROLE TO PLAY. IT IS THIS COLLABORATIVE CULTURE AND FEELING OF BEING ON THE SAME JOURNEY THAT MAKES LEEUWIN ESTATE A SPECIAL PLACE TO WORK.’ David Winstanley, Viticulturalist Over the last 30 years Leeuwin Estate has built on its successes and further invested in vineyards, wine-making technology, oak maturation and skills, assisted by longstanding distributors and agents around the world. Certification by Sustainable Winegrowing Australia highlights increasing investment in regenerative agriculture, conservation and sustainable practices. Denis Horgan’s brilliance as a chartered accountant and succession planner has seen a completely new generation take over the running of the business without any sign of weakness. The transition from the first generation to the next is now complete, with Justin Horgan and sister Simone Furlong working as co-managing directors. Together with their siblings, Rebecca and Christian, and a third generation of nine cousins, they continue to work towards and beyond Tricia and Denis Horgan’s ambitions. Succession has been seamless and has allowed Leeuwin Estate to build momentum without distraction.
Leeuwin Estate 11
Viticulture and Winemaking
THE LAND Leeuwin Estate winery is located just south of the Margaret River township, virtually equidistant between Cape Leeuwin and Cape Naturaliste. The property lies almost at the tension point between the Southern and Indian Oceans. The atmospheric energy has a significant impact on growing season and tempers Margaret River’s Mediterranean climate. According to viticulturalist David Winstanley, the region receives most of its rainfall during winter, but intermittent spring rains, carried by frontal systems from the ocean, bring more moisture into the soils. By the time of flowering, in late spring, drier and sunnier weather conditions prevail. As the grapes ripen, warm summer conditions are moderated by cool onshore breezes. Significant heat spikes rarely occur because of this refrigerating effect. The vineyards are rarely, if ever, stressed, highlighting the unique location of Margaret River and the relative stability of the seasons. The Boodjidup Creek system, which flows west to the Indian Ocean, is the ‘major’ geomorphic feature in the development of the complex soil landscape of Leeuwin Estate. Over the last million years an ancient lateritic plateau has been carved and shaped by the Boodjidup Brook’s strong-flowing and meandering channels, especially in winter, to form the series of rolling hills and various slopes of the Leeuwin Vineyards. Conservation of the Boodjidup Creek is a key focus of the Estate’s sustainability management programme. The thick stands of giant karri (Eucalyptus diversicolour), marri (Corymbia calophylla) and peppermint (Agonis flexulosa) trees are an important feature of the Estate’s biodiversity, as are the rare freshwater fish that lie in their shadows during summer. The deeply weathered soils are derived from decomposed Precambrian granite gneiss and lateritic gravelly alluvium. The free-draining surface soils are typically red-brown gravelly sandy loam to sandy clay loams peppered with lateritic pisolites. Soil clay content increases further down the profile. At around 1.5–2 metres’ depth, the soils are predominantly red-brown medium clays. These are some of the finest soils anywhere in the world to grow wine grapevines. VINEYARD PLANTINGS Leeuwin Estate’s original vineyards, comprising mostly chardonnay, cabernet sauvignon and riesling, were planted between 1975 and 1978. According to David Winstanley, these vineyards remain the backbone of the Art Series wines. New chardonnay blocks were established in 1996 and 1997, followed by more plantings in 2016, 2017 (East Hill Vineyard), 2019 (Henry’s Vineyard) and 2021 (Helicopter Hill and Airstrip West Vineyards). All of these sites, on low to mid slopes, were selected after extensive soil sampling. Vineyard planning is matched to the variations of
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lateritic and granitic soil profiles. The Gingin clone, ‘cut and grown from Block 20’, continues to anchor Leeuwin Estate’s chardonnay story. Houghton selection cabernet sauvignon is also extensively planted. Propagated cuttings from the 1976 Block 9 Vineyard, as well as clones H5 and H20 from this selection, form the foundation of Leeuwin Estate’s cabernet sauvignon vineyards. New plantings of French clone 337, renowned for its richness of flavour and softer tannin profile, reveal an ambition to further improve the Art Series Cabernet Sauvignon style. Further south, Leeuwin Estate planted its first shiraz vines at Peppy Park, near Karridale, in 1997. The ‘slightly inland’ vineyard is planted with ‘original’ WA clone, 470 and Waldron. The warmer days and cooler nights foster the development of very good flavour profiles, tannin development and acid balance.
Leeuwin Estate 13
Cool and wet springs tend to encourage ‘hen and chicken’, or ‘millerandage’. This erratic development of chardonnay bunches is caused by uneven fertilisation. According to winemaker Tim Lovett, the ‘chickens’ offer more intense and powerful flavours while the larger berries, the ‘hens’, carry much higher acidities. This is counterintuitive to previous thinking, but research has proven that the once-perceived shot berries are perfectly formed and sugar ripe. Combined, the chardonnay fruit brings exceptional concentration and flavour with naturally high acids. The quality of the vineyards is well recognised. Many cuttings have been taken from the 1975-planted Block 20 and 1977-planted Block 22 to establish new vineyards within Leeuwin Estate and by other Margaret River wineries. These blocks continue to represent the backbone of the highly regarded Art Series Chardonnay. The unirrigated vineyard gently slopes on gravelly and well-drained soils towards Stevens Road on the western boundary. GINGIN CLONE The Gingin clone has a very interesting history and exemplifies the connection between 19th century aspirations and modern ambitions. Plant breeding and economic botany are the foundations of modern viticulture. Vine selection to improve performance and resistance against virus and disease is a foundation principle of modern winemaking. Chardonnay was brought into Australia as early as the 1830s as either pineau blanc (James Busby importation catalogue 49) or morrillon. Although there are claims and counter claims about who produced Australia’s first chardonnay, there is evidence that Leo Buring showed an example of Australian chardonnay in London in 1893. In Western Australia, there was a growing interest by the Department of Agriculture in further developing the wine industry. In 1956 it ordered cuttings of seven varieties from the University of California. Among this consignment were 24 cuttings of chardonnay. According to vigneron Brian Croser, ‘The clone FPS 1 was in the Armstrong Vineyard in 1930 towards the end of Prohibition. It is likely given the circumstances that not much was planted or selected during Prohibition from 1920 to 1933, so FPS 1 is likely to be a pre-Prohibition clone.’ The provenance of the material can be traced back to Californian-imported budwood from Meursault in 1882. FPS 1 was withdrawn from distribution in 1961 because it was thought that its tendency for hen and chicken was caused by leafroll virus – but not before State Viticulturalist Bill Jamieson had secured these ‘Old Farm’ or ‘Old Foundation’ cuttings and planted them at Valencia (nowadays known as Moondah Brook Vineyard), at Gingin, north of Perth, Western Australia.
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tasting notes
LEEUWIN ESTATE ART SERIES CHARDONNAY Preservation of pristine fruit characters through vinification and maturation remains at the heart of winemaking. This, of course, starts in the vineyard where observations, reaction and mitigation of environmental patterns are key to vineyard management practices. The vineyard blocks are planted on a series of rolling hills facing all directions. The morphology of the Gingin clone sees the berries ripen differently. The smaller berries usually possess slightly higher sugars and acidity. Vintage takes place in mid February to early March and the grapes (about 2–3 kilos per vine) are hand- harvested when they have reached a point of ‘energy, bone and pop!’ This translates to intense pure fruit aromas, richness of flavour, fine al dente textures and fresh indelible acidity. These are the hallmark qualities of Gingin clone chardonnay. I have often wondered at the clone’s provenance and passing resemblance to Meursault. Tim Lovett describes the estate-grown chardonnay fruit as a ‘miracle’. The fruit is mostly destemmed, chilled and cold-soaked under a blanket of CO 2 for eight hours to prevent oxidation and promote some skin contact to amplify flavour and texture. Some parcels of fruit are also whole-bunch-pressed to produce more solids and phenolic compounds. After cold-settling, the batches are racked into 100% new French oak. Among the many small refinements is the transition to 100% Bordelaise barriques. Tim Lovett believes in the concept of selecting oak ‘inside out’. He particularly appreciates the tight, slightly green-grained quality of maritime- influenced oak, because it does not overly transmit oaky flavours into the wine during barrel fermentation and maturation. After fermentation the wine is sulphured up and cold-stored in barriques to protect the pristine unsculptured fruit. During barrel maturation the wine is stirred weekly for three months and then every fortnight for eight months. After 11 months in oak, the wine is racked into refrigerated stainless steel for six months before assemblage and bottling. Tim Lovett says ‘the key points surrounding winemaking is that we seek to preserve fruit characters of the vineyard. This is achieved by taking a very light-handed approach. A touch of skin contact prior to fermentation and protective control during the maturation phase promotes flavour and purity of fruit. A fine- boned mineral structure and completeness is achieved through precision oak handling and preserving the natural levels of malic acidity in the wine. Nature takes care of the rest.’ REPUTATION Leeuwin Estate Art Series Chardonnay won a reputation among collectors for its cellaring longevity by the 1990s. After the release of the 1987 vintage, it became a reference and one of the few Australian chardonnays that could withstand the test of
Leeuwin Estate 15
time. It quickly became the leading collectible Australian white wine in the Australian secondary wine market. It is regarded as an Australian First Growth and classified as ‘Exceptional’ in Langton’s Classification of Australian Wine . The much tinier Giaconda winery, in the Beechworth area of northeast Victoria, and Grosset Polish Hill Riesling from the Clare Valley in South Australia are the only two other Australian white wines that have achieved this accolade. Leeuwin Estate Chardonnay is also highly prized in other forums. Recently the 2018 vintage was voted the top wine in the 2021 ‘Judgement of the Napa’, beating a stellar list of Burgundian and Californian producers. STYLE Leeuwin Estate Art Series Chardonnay is long-lived and fine-boned, with superb fruit definition and clarity. Exuberant fruit, savoury complexity, creamy richness, al dente textures and fresh indelible acidity are typical of younger vintages. With a few years of bottle maturity, the Art Series Chardonnay sheds its aniseed top notes, revealing beautifully defined grapefruit / melon aromas and complex lanolin nuances. The palate becomes richer and fleshier, but remains minerally and fresh. These are simply gorgeous wines of great flair, technical brilliance, consistency and longevity. And, like Penfolds Grange, it has always kept true to the original blueprint. Leeuwin Estate Art Series Chardonnay is an historic marque, because of its profound impact on the story of Australian wine. It has been bottled under screw cap since 2004.
16 The Wine Journal – 2023
®
Leeuwin Estate 17
2019 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “Turquoise Rush Hour” by Leon Pericles
Pale colour. Intense lemon curd, grapefruit, peach, tropical fruit aromas with underlying roasted cashew / hazelnut notes. Lovely grapefruit, lemon curd, tropical fruits, fine persistent chalky textures, attractive mid palate volume and fresh long indelible acidity. Finishes al dente, with savoury oak note. Still elemental but wonderfully balanced with the fruit density and torque to last the distance.
y Now–2036 y 13.5% alc y 98+ points
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2018 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “Soul Search” by Virginia Cuppaidge
Pale colour. Fresh lime, grapefruit, yeasty tonic water aromas with grilled nut notes. Fragrant grapefruit, white peach, nectarine fruits, bitter lemon, hint of tropical fruit notes, lovely integrated savoury oak complexity, al dente chalky textures, and fine mineral acidity. Finishes crunchy and long. A beautifully balanced Margaret River Chardonnay with superb precision, purity and concentration. A classic.
y Now–2036 y 13.5% alc y 99 points
Leeuwin Estate 19
2017 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “Veiled Spectrum V” by John Young
Pale colour. Intense lime grapefruit aromas with grilled nut vanilla notes. Fresh lime, bitter lemon, grapefruit flavours, plentiful loose-knit chalky textures, attractive vanilla notes and fresh long linear acidity. Finishes crunchy, minerally and long. A cool spectrum of aromas and flavours, but a well-balanced wine with attractive fruit definition and mineral length.
y Now–2030 y 13.5% alc y 95 points
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2016 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “Influence” by Kim Maple
Pale colour. Fresh flinty, lemon curd, bitter lemon, grapefruit aromas with yeasty, vanilla, roasted hazelnut. Generous ripe peach, nectarine, grapefruit, pear flavours, fine silky textures, superb mid palate creaminess and integrated mineral acidity. Finishes al dente with crunchy nectarine fruits and underlying savoury notes. Lovely extract, volume and persistency. A racehorse.
y Now–2036 y 13.5% alc y 100 points
Leeuwin Estate 21
2015 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “Tjukurpa Tjuta” by Ginger Wikilyiri and Bernard Tjalkuri
Pale colour. White peach, pearskin, grapefruit aromas with grilled nut, marzipan, lanolin notes. Generous peach, nectarine, grapefruit flavours, fine loose-knit chalky textures, aniseed notes, vanilla and long mineral acidity. Finishes chalky firm with plentiful aniseed notes. Well balanced and solid with generous sweet fruits and sinuous textures. Delicious drinking wine.
y Now–2028 y 14% alc y 96 points
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2014 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “Tetrad III” by John Peart
Pale colour. Fragrant lime squash, bitter lemon, grapefruit aromas with roasted hazelnut / vanilla oak. Superbly developed and balanced palate with lime, lemon curd, grapefruit, white peach flavours, fine lacy / chalky textures, attractive mid palate viscosity, roasted hazelnut, biscuity notes and fresh indelible acid cut. Finishes crunchy with plentiful nectarine, lemon fruits. A classic Leeuwin with the fruit definition, linear structure and tension for the long haul. A very age-worthy wine. y Now–2034
y 13.5% alc y 98 points
Leeuwin Estate 23
2013 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “a fixed address (fish and marron)” by Tim Monangle
Pale colour. Fresh lime, grapefruit, nectarine aromas with vanilla aniseed notes. Beautifully balanced wine with developed grapefruit, stone fruit, vanilla flavours, hints of butterscotch, fine chalky textures and fine long crisp acidity. Finishes chalky / crunchy with abundant sweet nectarine fruits, roasted hazelnuts and a kick of aniseed. A well-developed style with excellent fruit complexity and precision.
y Now–2032 y 13.5% alc y 97 points
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2012 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “Boundaries” by David Aspden
Pale colour. Lime, lemon curd, grapefruit aromas with flinty hint of lanolin notes. Supple textured wine with plentiful lime, lemon, grapefruit, tonic water flavours, fine loose-knit chalky textures and fresh linear bell clear acidity. Finishes al dente and crisp with sinuous nectarine, grilled nut, vanilla / pastry notes. A gentle style with lovely complexity and tension.
y Now–2028 y 14% alc y 96 points
Leeuwin Estate 25
2011 LEEUWIN ESTATE ART SERIES CHARDONNAY Artwork “Axis Mundi” by Tim Johnson and Nava Chapman
Medium pale colour. Fresh grapefruit, lemon glacé, cashew nut aromas with vanilla creamy marzipan notes. Richly concentrated wine with developed grapefruit, baked lemon, grilled nut, marzipan flavours, fine lacy chalky textures and some aniseed notes. Finishes chalky firm with tonic water / bitter lemon notes. A superbly balanced wine with beautifully developed fruit, mid palate volume and fine indelible acidity.
y Now–2030 y 13.5% alc y 97 points
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2010 LEEUWIN ESTATE ART SERIES CHARDONNAY Painting “Untitled” by Yukultji Napangati
Medium pale colour. Intense grapefruit, pineapple, lemon curd aromas with light roasted hazelnut notes. Generous and creamy with fresh grapefruit, pineapple, nectarine fruits, fine lacy al dente textures, superb mid palate viscosity and underlying vanilla notes. Finishes al dente firm with plentiful stone fruit notes. A reference Margaret River Chardonnay showing extraordinary density, richness and torque, all elements beautifully balanced.
y Now–2028 y 14% alc y 98 points
Leeuwin Estate 27
28 The Wine Journal – 2023
MARGARET RIVER WESTERN AUSTRALIA
RESTAURANT CELLAR DOOR ART GALLERY
www.leeuwinestate.com.au
Leeuwin Estate 29
30 The Wine Journal – 2023 Sir Joseph Banks, ca.1808-1809, painted by Thomas Phillips. State Library of NSW.
SIR JOSEPH BANKS AND JOSEPHINE BONAPARTE
Aspirations for a wine industry in Australia go back to 1788, and even before. Sir Joseph Banks (1743–1820), who accompanied Captain James Cook on his voyage to Australia in 1768–1771, was a botanist of enormous social and political influence. He embodied the Age of Enlightenment, where sapere aude – dare to think for yourself – was the motto of the time. Sir Joseph Banks was one of the most powerful and influential men of his time. A gentleman with means, he epitomised the ambitions and curiosity of a modernising world. At just 21 he inherited vast wealth, including his late father’s estate, Revesby Abbey, in Lincolnshire. Although this interrupted his formal education at Oxford, he continued his fascination with natural sciences by making friends with the leading scientists of the day. In 1766, the same year he was elected a member of the Royal Society, Joseph Banks participated in an expedition to Newfoundland and Labrador, where he collected rocks, plants and animals. He recorded specimens of flora and fauna using the method of descriptions invented by Carl Linnaeus. When the Royal Society discussed a proposed voyage to the South Pacific with the Admiralty, it suggested that ‘Joseph Banks … a Gentleman of large fortune … well versed in natural history’ should be allowed to join the expedition ‘with his Suite.’ Banks and his entourage of eight scientists, artists and attendants accompanied Captain James Cook on a combined Royal Navy and Royal Society sponsored voyage to the South Seas. The HM Barque Endeavour, previously used as a collier ship, was chosen for its flat-bottomed hull and ability to sail in shallow waters. The expedition, comprising 94 people and 18 months of provisions, observed the transit of Venus at Otaheite (Tahiti) in 1769, mapped New Zealand, and encountered the eastern Australian coastline in 1770. After this famous voyage of discovery, Sir Joseph Banks became a celebrity in Georgian society and soon enjoyed royal patronage. When Kew Gardens was first established, King George III sought his advice to create the greatest collection of exotic plants from around the world. Empowered by the King’s confidence and emboldened by his social and political connections, Joseph Banks became ever more influential. Sir Joseph Banks was also in correspondence with Josephine Bonaparte, who was enthusiastically interested in natural science and the newly discovered lands of Australia and Van Diemen’s Land. In 1802, she thanked him for sending her seeds. Her garden at Château de Malmaison, which she purchased in 1799, was full of flora and fauna from around the world, including South Africa, South America, Australia, and the South Pacific, and included acacia, kangaroos, and black swans.
Sir Joseph Banks and Josephine Bonaparte 31
32 The Wine Journal – 2023
THE BAROSSA VALLEY
Introduction Protection of identity lies at the heart of the terroir story. It began as a post- revolutionary model of agriculture which would assist wealth creation and support a growing population. Origin and the productivity of the soil were key elements. Throughout the 19th and 20th centuries these concepts were increasingly associated with fine wine production and assisted merchants to differentiate the produce of vignerons. The 1855 Bordeaux Classification epitomised this type of thinking and the development of hierarchies based on quality and sub-region. Delineations of vineyard areas, classifications, legislation, economics, community values and politics have all played their part in defining and defending the quality, character and price of wines. A regional narrative based on vineyard diversity, individuality of wines and cultural principles is the essence of fine wine. The Barossa Grounds Project cleverly avoids the politics of strict delineations yet promotes the broad agreement of winemakers that there are major sub-regional differences in all Barossa wines. Winemaking techniques and maturation handling also contribute greatly to style, quality and impact. Although Shiraz is the control variety in this study, most observers will agree that all varieties perform differently across sub-regions. The matrix of nature and nurture makes it impossible to fully unravel or explain the mystery of wine. Nonetheless the differences between vintages, vineyards, sub-regions and wine producers create a lovely contrast of styles in the Barossa. Shiraz Barossa Shiraz is the foundation of Australia’s ultra-fine wine market. Although it has a reputation for being full-bodied and chocolaty, it is far more nuanced than this, with sub-regional characters often showing through. The differences between Eden Valley (aromatic/elegant) and the western edge of the Barossa Valley (concentrated and vigorous) are the most contrasting. Although fruit quality and character are inevitably connected to vineyard site and vine age, the methods of winemaking and maturation in the end play a vital part in determining the outcome. For instance, the roasted-chestnut-barrel maturation characters in the wines of Soul Growers were consistent across all entries and added complexity and stature. The high alcohol and ripe expressions of Greenock Creek Wines highlighted a style consistent to its
The Barossa Valley 33
audience. The fragrant blackberry-pastille sage-like aromatics, al dente structure and integrated mocha oak of Henschke’s Eden Valley wines emphasise seasonal character of vineyards and house style.
Cabernet Sauvignon Cabernet Sauvignon was first planted in the Barossa Valley in the 1880s and possibly before; Penfolds Block 42 (1888) is the oldest-surviving vineyard. The variety is notoriously inconsistent, but in many years it can really show its class – 2018 may well be such a year. John Duval’s Integro Cabernet Sauvignon Shiraz and Paul Mara Apotogi Cabernet Sauvignon are bloody good examples of high-fidelity cabernet sauvignon sourcing and wine making. The fruit definition, density and oak maturation are beautifully aligned.
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