A guided tour is available 7 days a week at 11:30am and 2 pm for a nominal fee.

Clos Pegase is a celebration of the ancient marriage of wine and art. The winery's very name alludes to the Greek myth which tells us that the winged horse, Pegasus, unleashed the sacred Spring of the Muses, bringing life to the vines and inspiration to the poets. The Pegasus has also inspired the proprietors of Clos Pegase, Jan and Mitsuko Shrem, to assemble an important collection of 20th century paintings, sculpture, and wine-related art and antiquities spanning 4,000 years which grace the Clos Pegase Winery, inside and out. The art collection at Clos Pegase covers a range of media -- from sculptures in granite, bronze, marble and wood, to oils, watercolors, and collages, as well as rare artifacts, wine vessels and antique vineyard tools. Displayed inside the Offices and Visitor’s Center are masterpieces of the Surrealist, Abstract and Cobra schools by such artists as Henry Moore, Dali, Francis Bacon, Noland, etc., etc. The collection includes hundreds of paintings, sculptures, glassware and wine related artifacts and antiquities.

We welcome you to tour the winery and experience it for yourself.

Use this booklet as an overall guide to some of the highlights.

S e l f - G u i d e d A r t T o u r

C l o s P e g a s e

“For all his shrinking demeanor, Jan Shrem is a key figure in the emergence of the icon winery in modern times. It sounds childish to point and say, “he started it”, but that, effectively is what Shrem did in 1984 when he announced an architectural competition, in conjunction with the San Francisco Museum of Modern Art, to design and build a new winery he and his wife Mitsuko wanted to name after Pegasus, the mythical winged horse. It signaled the start of the modern age of winery design.”

- Wineries With Style by Peter Richards

“Clos Pegase is our first monument to wine as art.”- The Washington Post

“For wine lovers, a place of pilgrimage.” - The San Francisco Chronicle

T h e a r c h i t e c t u r e

Clos Pegase, the stunning example of Postmodernist architecture, was completed in 1987 after 5 long years of planning. The owners of Clos Pegase, Jan and Mitsuko Shrem, wanted to create a world-class winery complex that would express their conviction that

wine is an art form that should delight, illuminate, and surprise. After selecting a site in Calistoga in the scenic northern section of the Napa Valley, the Shrems sought out a visionary architect to design their dream winery and residence. A discussion with the Director of the San Francisco Museum of Modern Art produced the concept of an architectural design competition, which would collect the ideas of talented artists and architects. This competition commenced in May 1984 with the participation of 96 design teams. The esteemed competition jury, including vintner Robert Mondavi, narrowed the field to five finalists, and then declared the winner to be architect Michael Graves. The Postmodern design of Clos Pegase is his style, which merges modern and ancient architecture with strong allusions to ancient Mediterranean themes, especially Crete. Graves describes the character of his creation as tending, “to evoke memories of a European ancestry” and having a “timeless sensibility.” The selection jury explained, “It embodies a celebration of the lifestyle that is unique to the Napa Valley.” Clos Pegase consists of both the winery and the

owners’ residence, which sits atop an adjacent volcanic knoll, into which our wine aging caves were dug out of the rock. The winery is divided into two sections; one for production and the other for the enjoyment of wine. Both are marked by beautiful entrance porticos, which are supported by massive pillars. According to House and Garden Magazine, Clos Pegase “has raised two ancient arts - architecture and winemaking - to a height that resonates with echoes of the ages” and is a must-see by anyone visiting the wine country. The success of Clos Pegase is already legendary. According to the New York Times and the French government, Clos Pegase inspired the Chateau Bordeaux exhibit at the Centre Pompidou in Paris, where it was the only foreign winery featured.

T h e O u t d o o r S c u l p t u r e

Since opening the winery back in June of 1987, Clos Pegase proprietors Jan & Mitsuko Shrem have been gracing the winery grounds with the following collection of 20th Century sculptures by some of the world's most important contemporary artists.

Mitsuko Shrem Winery co-owner Two Spheres: One Small on a tall pedestal, One Large on a short pedestal

A t t h e w i n e r y g a t e

Robert Morris American sculptor, born 1931 Three L Beams, 1965-67

This sculpture took pride of place on the ground floor of the Guggenheim Museum in New York during the artist’s retrospective of his works. Aluminum reconstruction, 3 units. His primary structures embody a single, relatively simple idea composed of geometric forms that forces the spectator to confront his physical and psychological situation.

Tony Smith 1912-1980 Marriage (Black Gate), 1961

Painted milled steel. His background as an architect gave him a mastery of the scale and placement of the minimalist three-dimensional geometrics.

L e f t o f t h e p a r k i n g l o t

Richard Deacon British sculptor, born 1949 Smile, 1992

Dimpled welded stainless steel. Neither a modeler nor a carver, Deacon prefers to be called a ‘fabricator’ using materials of structural potential. His work shows architectonic shapes with emphasis of integration of surface and structure.

Cardenas French-Cuban sculptor from the post-surrealist school Memory of Dreams, 1972

White Greek Pentelic marble on Travertine marble base. A follower of Andre Breton’s Surrealist movement, Cardenas has been strongly influenced by the work of Henry Moore, incorporating totem-like images into his forms.

George Rickey American sculptor and painter, 1907-2000 Two Lines Up Oblique, 1977

Stainless steel. Having studied art and art history in Scotland, England and France, Rickey started as a painter and began his kinetic sculptures in 1950. The movements of his sculptures generally depend on natural air currents; thus they are neither predictable nor exactly repetitive, their slowly moving parts creating an effect of subtlety and calmness.

Mark di Suvero American sculptor, born 1933 Applebone, 1986-87

Steel painted red. Majored in philosophy at UC Berkley and then moved to New York where he began making sculptures on a colossal scale using planks, chains and other junk yard material. His constructions are generally characterized by oblique, centrifugal lines of force and by a tension that holds the various suspended elements in a seemingly precarious balance.

L e f t o f m a i n d r i v e w a y

BEGINNING FROM STREET ENTRANCE

Elyn Zimmerman American sculptor, born 1945 Palisades Project, 1981

Eight slabs of granite, seven of natural cleft granite, one pol-ished, in a reflecting pool. Artist as social designer, she is known for her Plaza with Pool and Rocks at the National Geo-graphic Society Headquarters in Washington.

Anthony Caro British sculptor, born 1924 Sunshine, 1964

Steel painted yellow and red. This was the second sculpture done by Caro after settling in Bennington, Vermont, and the title derives from his impression of the sunny atmosphere of the place.

N o r t h , B e h i n d t h e W i n e r y

Joel Shapiro American sculptor, born 1941 Untitled (Five Elements), 1987-88

Black patinated bronze. This minimalist artist has reduced people, houses, and chairs to their simplest forms. He contributed to a new direction in sculpture by reexamining the possibilities of memory association and psychological content.

Robert Morris American sculptor, born 1931 Wheels II, 1963-88

Corten steel. His primary structures embody a single, relatively simple idea. His sculptures are often composed of simple geometric forms constituting a self-referential presence that forces the spectator to confront his physical and psychological situation.

William Tucker British-American sculptor, born 1935 Leda, 1990

Green patinated bronze, first out of an edition of three. Having studied under Anthony Caro in England where he grew up, he now lives in the US. His works have an abstract dreamlike form marked by their solidity and opulence.

T h e O u t d o o r S c u l p t u r e G a r d e n

L a w n a d j a c e n t t o w i n e r y

Henry Moore English sculptor, 1898-1986 Mother Earth, 1957-58

Considered the greatest sculptor of the 20th century, Moore was a highly inventive artist who specialized in organic, biomorphic forms which imbue his work with humanism. He hollowed out solid volumes to reveal internal forms with block-like shapes far removed from the classical cannon.

W i n e r y E n t r a n c e P o r t i c o

Cesar Baldachini French sculptor, 1921-1999 Pouce (Thumb), 1963

Cesar studied in the Beaux Arts Schools in Marseille and Paris, but his love of experiment and sure instinct for sculptural values enabled him to create a wide range of highly inventive, figurative and abstract works.

L e f t o f C o u r t y a r d

Torino Royal Bacchus Fountain 19th Century

This is one of the proud jewels of the collection! This tri-color marble fountain of the 19th century comes from the Italian Royal Palace and features a depiction of Bacchus, the Roman god of wine made of Carrara marble, extraordinary for its richness of detail in a Renaissance niche and dome.

Sandro Chia Italian sculptor, born 1946 Bacchus as Poet-Painter

The artist has modeled the god of wine as he was revered in antiquity as creator of the arts. On his right flank is a theatrical mask for having birthed the theatre, on his abdomen is the lyre for his role in music, on his leg is a cluster of grapes for wine, and in his arm Bacchus cradles a goat given to him as a sacrificial offering.

R i g h t o f C o u r t y a r d , a g a i n s t c e l l a r w a l l

T h e O u t d o o r S c u l p t u r e G a r d e n

Jean Dubuffet French artist, 1901-1988 Faribolous, 1973

This work is one in a series called “The Parade,” 13’ tall and made of epoxy. For half his life Dubuffet was a wine mer-chant. He was one of the most original and uncompromising of post-war artists, with a versatility of work that is astonish-ing. He coined the expression “art brut” to denote the spon-taneous, unconscious and anti-conventional quality of his style.

Robert Morris American sculptor, born 1931 Barrier, 1962

Steel painted white. His primary structures embody a single, relatively simple idea, composed of geometric forms.

I n f r o n t o f c e l l a r , f a c i n g s t r e e t

A g a i n s t E a s t e r n K n o l l

Mark di Suvero American sculptor, born 1933 Whale’s Cry, 1988

Made of stainless and corten steel. Majored in philosophy at UC Berkeley and then moved to New York where he began making sculptures of colossal scale using planks, chains and other junk yard material.

Richard Serra American sculptor, born 1939 Twins, 1972

Two rolled steel plates in a special environment created for them at the extreme eastern boundary of the winery. Working primarily with enormous steel plates, Serra creates abstract sculptural “anti-environments.” He is a leading American contemporary artist who exploits all of art’s potential for arousing tension, energy, anger and fear.

Tony Cragg British sculptor, born 1949 Bodicea, 1989

Green patinated bronze with a cherry wood support. This is not a giant grape cluster but the Celtic goddess of fertility, frequently represented in antiquity as a cluster of breasts to promote fertility.

Mimmo Paladino Italian sculptor, born 1948 Untitled, 1990

Copper and bronze. Containing the essence of Mediterranean culture, Paladino expresses an idea of living, inherent Grecianness, an existential condition that only a man of the south possesses.

I n f r o n t o f t h e v i s i t o r ’ s C e n t e r e n t r a n c e

T h e O u t d o o r S c u l p t u r e G a r d e n

Renaissance Fountain 17th Century

This is our most important work from antiquity. Renaissance patinated bronze fountain from 17th Century Italy. Seated atop the upper section cast in the form of a Roman temple are four figures representing Bacchus as infants, each holding a dolphin; four Nymphs holding amphoras atop a circular cistern with applied lions’ masks, and below, a grapevine case standard with four Muses cast in the round, each playing a different musical instrument.

I n p i c n i c g r o u n d s

Inside our Visitor’s Center precious sets of antique, serpentine altar columns are on display: one from an 18th century Spanish church featuring Adam, Eve, and a serpent offering grapes rather than an apple, the other a gilded pair from a 17th century French tabernacle. Two dazzling modern crystal Venetian chandeliers hang from the ceiling: one hangs from the center, and in the corner, the other suspends like a waterfall from ceiling to floor. They are both by the Venetian Master Glassblower Enrico Capuzzo. On the Tasting Counter there is an exact replica of Michelangelo's Bacchus, made from a cast taken of the original found in Florence's Bargello Museum. Behind the counter is a mural of a bacchic scene by the great Renaissance Master Mantegna (1431-1506). Note the two satyrs, attendants of Bacchus, on the extreme right, one drinking from a wine horn and the other from a wine bowl. You can find actual originals of these in the glass case inside our Cask Room, just off the Visitor’s Center, a pair of wine horns and a Roman Empire wine bowl, both around 2,000 years old. Also in the Visitors Center are numerous paintings which include Francis Bacon, Noland, Appel, Rioppele. Beneath the latter, on the far wall is a beautiful fireplace surround from an English castle with a Bacchus theme, which has been converted to a table for our display purposes. In the Reserve Room are wall paintings by such artists as Matta, Dubuffet, Herbin, Lipschitz and others. Dominating the room is a dangling sculpture by Texas artist, Michael Scranton, a hammered steel Wrecking Ball about to fall!!

I n t h e V i s i t o r ’ s C e n t e r

In the Cask Room you will find Alternative View of Mastaba, 1967, by Robert Grosvenor (American, born 1937), a sculpture depicting a Pharonic tomb. It is made of huge old bridge wood blocks painted with creosote. Using large, dressed wooden beams he re-jects both fabrication and industrial finish to achieve a muted primi-tivism.

Here, in the glass cases between the upright wood tanks, you will also find rare and ancient free-blown wine vessels, carafes, and glasses spanning 4,000 years, as well as objects in gold and silver. On the wall we have displayed a selection of antique vineyard tools, and one of the first ever free-blown glass bottles made using coal fire, rather than wood fire, from the 17th Century.

C a s k R o o m

A BACCHANALIAN HISTORY OF WINE SEEN THROUGH 4,000 YEARS OF ART

When and where was the grape born? Who was the woman believed to have discovered wine?

Who was Bacchus before he was promoted to god of wine? What aromatic compound in wine stimulates the libido?

Mr. Shrem presents “Bacchus the Rascal” at most of the winery events or for large groups across the country on request. For dates and information of upcoming events, please visit our website. If you’d like to arrange for a private presentation please call Heather Skelly at 707.942.4981 ext. 200, or e-mail Mr. Shrem directly at JShrem@ClosPegase.com.

These and other fascinating aspects of the world of wine are contained in a stimulating presentation that begins with the birth of the grape and the origins of wine and meanders through a hundred wine-related images into the worlds of mythology, religion, history, and love, among others. Mr. Jan Shrem, owner of Clos Pegase Winery, hopes to show the homage the greatest artists of the world such as Da Vinci, Rembrandt, Dali, Picasso, and Chagall have rendered to wine and the art it has inspired. “BACCHUS THE RASCAL” is a humorous and informative power point presentation Mr. Shrem has given hundreds of times across the nation to clubs, universities, museums, wine and food societies, art and educational foundations as his missionary effort to demonstrate that wine in moderation is conducive to a healthy and more graceful life. The presentation was hailed by Nobel laureate Dr. Stanley Cohen of Stanford University and had to be repeated four times at the Commonwealth Club of San Francisco and the Los Angeles Club, one of the nation’s most prestigious. The Culinary Institute of America has video-taped this presentation for use on their campuses and wine journalists have praised this lecture calling it “fascinating” and stating it is “delectable… always with a witty edge.” Dr. Curtis Ellison of Boston University School of Medicine who was twice interviewed on 60 Minutes on wine and health wrote, “I have dozens of people tell me how informative and enjoyable it was. I think that the points you bring out in your presentation help set an historical basis for much of our research. Your presentation and your wines played a major part in making the celebration a success…” This presentation averages 45 minutes in length but can be shortened or lengthened depending on the venue.

CLOS PEGASE 1060 Dunaweal Lane Calistoga, CA 94515

1.800.366.8583 www.clospegase.com

B a c c h u s t h e r a s c a l

The Hospitality Wing contains a magnificent bronze replica of the Renaissance Bacchus by Sansovino (1460 - 1529) and a pair of Baroque serpentine columns from a French church of the 19th century, celebrating wine as a symbol of the blood of Christ. In the dining room, over the fireplace, is a painting by America's Sam Gilliam. On the opposite walls are murals, reproduced from a 15th century Book of Hours, depicting harvest scenes. In one corner is a wooden sculpture depicting a young Bacchus drinking from a wine horn and standing on a wine skin. From the ceiling hang three dazzling hand blown Venetian crystal chandeliers.

H a r v e s t D i n i n g R o o m

At the entrance to the Caves is a major sculpture by Jean Dubuffet, Papa’s Bow-Tie, as well as his Celestial Hand (Cloud) hanging from the ceiling. Inside our Caves, the first art-laden aging caves in the U.S., is an extensive collection of glass, stone, ceramic, wood and terra cotta representations of Bacchus and his attendants. Original works include a terra cotta sculpture of Bacchus on an amphora, and, from northern Italy, 18th century infant satyrs carved in stone. Dominating all at the end of the main cave passage is an original 18th century marble from a French chateau depicting a distraught Bacchus being denied wine and love by an adolescent girl who is hiding his drinking horn behind her back. Within the caves is a Theatre, carved out of the rock, containing a rich collection of 18th and 19th century wine bottles, vessels and ceramics, mostly French in origin, as well as French and Italian carvings in stone of Bacchus and his attendants. In the niche at the end of the Theatre is a piece we call Goddess Athena Taming Pegasus. A larger version of this same piece can be found in Paris in a street fountain.

I n t h e c a v e s