Artists, of course, don’t know the quality of the vintage until the label is already affixed. The supremely talented Joan Miró found himself on the forgettable 1969, a year when no one in Bordeaux made very impressive wine, while John Huston, known for his film direction rather than his drawing, scored the legendary 1982.

In any case, the pay must go down easy. Following the custom established by Baron Philippe, the baroness recompensed Freud for his labors with 10 cases of wine in total: five of the Mouton 2006 that his work adorns and five of earlier years that are more ready to drink.

The artists seem happy with the arrangement. Ilya and Emilia Kabakov, whose work graces the 2002, received some of the excellent 1989 (label by Georg Baselitz). "We’ve opened only one bottle," says Emilia, who adds that the main reason they participated was to be in such stellar company. "All the famous artists are there. It’s a very prestigious tradition."

So Mouton’s labels are a kind of marketing magic that burnishes reputations all around: of the wine, of the artists, and — if the first two are up to snuff — of the drinkers themselves.

Ted Loos, executive editor of Art+Auction magazine, is the former features editor of Wine Spectator and has written on wine for Bon Appétit, Town & Country, and many other publications. He's the author of Town & Country Wine Companion: A Tasting Guide and Journal (Hearst Books; $12.95), published in fall 2007. "In the Cellar" appears on ARTINFO every other Wednesday. "Freudian Sip" will appear as "Label Conscious" in the March 2009 issue of Art+Auction.