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Land Coaster

One of the most distinguished sculptors of the post-war period, David Smith radically introduced the language of industrial manufacturing and metallurgy into post-war fine art , expressing through his large-scale sculptural compositions the mythology of Abstract Expressionist painters. Executed in 1960, Land Coaster is an early example of Smiths mastery of metallurgy and his experimental handling of three-dimensional space and form. The welded elements of Land Coaster present an elegant yet weighty presence that, conceptualized around open spaces rather than carved in concrete form, testify to Smiths sophisticated genius for balancing void and solid within a single sculpture, and his appreciation for figurative and natural imagery while prioritizing sculptural integrity. Contributing to the importance of the present work in Smiths grand oeuvre, Land Coaster belongs to a limited number of sculptures beginning in 1957 with Wheel III which incorporate wheels as an integral element of their design, the inclusion of which as a purely aesthetic element with no intended utilitarian purpose radically collided pure form with industrial use value. Undoubtedly influenced by Alberto Giacomettis Chariot executed ten years prior in 1950, Land Coaster refers back to Smiths earliest body of works which more clearly reveal the influence of Giacomettis sculptural Surrealism, while simultaneously showcasing Smiths innovative spirit and experimental approach to sculpture. In Land Coaster, star-like metal disks rise out of the wheeled platform base, pre-existing elements which Smith has intricately welded together in a collage-like composition such that they sweep skyward with a degree of movement and agility that belies the weightiness of the metal elements and brings to mind the clustering of stars in an astronomical constellation. Demonstrating Smiths captivating ability to suggest latent figuration through total abstraction, Land Coaster carefully retains a sense of the human figure: a circular disk crowns the top of the vertical structure like a head, and the two wheels at its base ground Land Coaster like feet. In its intricate geometric logic and arresting frontality, the present work is particularly evocative of the artists Cubi sculptures; evincing the captivating juxtaposition of abstract form with compelling figuration for which the revered Cubi are known. In a series of oft-reproduced photographs, Land Coaster is remarkably captured in progress on Smiths garage studio floor at Bolton Landing and identified by Smith himself with inscriptions on the photograph. Capturing Land Coaster in a state of half-completion magnificently reveals the collage-like approach of found readymade materials that Smith took to his sculptural compositions. Assuming approximately the positions of their ultimate three-dimensional arrangement, the distinct elements of Land Coaster here lay arranged on a strip of floor which Smith painted white. This approach uniquely allowed Smith to compose and rearrange elements without concern of gravity, and the white floor provided him a sharp contrast of color that facilitated his ability to imagine negative space in the finished work. This photograph also reveals numerous works underway in varying stages of completion, notably Doorway on Wheel, also from 1960 and now in the permanent collection of the Harvard Art Museum. That Smith simultaneously worked on and revised numerous sculptures at once reveals the meticulous consideration and painstaking deliberation he paid each element and the collaborative approach he took to creating these sculptures, each informing and influencing one another. Magnificently capturing Smiths exceptional craftsmanship and exemplifying his revolutionary understanding of sculpture as drawing in space, Land Coaster is an enduring monument to the legacy of one of American postwar arts most radical sculptural innovators. Inscribed with the artist's signature and dated 2/10/60

  • USAUSA
  • 2018-05-16
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Personnage

Conceived in 1982. Inscribed Miró, numbered 3/4 and stamped with the foundry mark FONDERIA BONVICINI VERONA ITALIA "What are these figures of Miró that stand before us... Neither men nor beasts, nor monsters nor intermediate creatures, but with something of all these. Of what 'elsewhere' are they native, from what regions of the fantastic have they traveled" (J. Dupin, "Miró as a sculptor" in Miró in Montreal, Montreal, 1986, p. 31). Confronting the fantastical and inexplicable three-dimensional forms Miró created, his biographer, Jacques Dupin, has written, Miró was the drunken sculptor who staggered but did not fall, who pursued his tight-rope dance among malicious spirits taking form, and answering to his step. It was just a game, but a game in which all the danger lay in this similar to the delirium of sleep, where minuscule creatures take on gigantic dimensions And the only way we may face them is to submit them to our own personal whims or to submit to theirs: this is the rule of reciprocity of these works.  Each partner is vulnerable, each awaiting that the other affirm his existence. (J. Dupin, Miró, Barcelona, 1993, p. 382) Miró experimented with a variety of media in the creation of his sculptures. He worked in ceramic as well as the more traditional method of modeling in clay for casting in bronze. One of his great innovations was the employment of found materials, which he either uniquely assembled in a collage fashion or cast in bronze for integration with freely modeled forms. While the processes and materials that make up Mirós sculptures can be described and identified, an explanation or interpretation of the specific forms continuously eludes us. Just as Dupin views the works as independent presences that exist by their own logic, Joan Texidor notes, The personages now achieve a more self-assured forcefulness, they have become guardian effigies. We could, thus, justly qualify them as enormous. And enormity is precisely the first feature to impress us. Yet, slowly, the initial impression of their massiveness shifts toward other sensations. Finally, we clearly sense that these enigmatic totems have once again arisen before us to question us. (quoted in ibid., p. 382)

  • USAUSA
  • 2018-05-16
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A RUBY AND DIAMOND 'BUTTERFLY' NECKLACE, BY FAIDEE

A RUBY AND DIAMOND 'BUTTERFLY' NECKLACE, BY FAIDEE Designed as a series of butterfly motifs, set with thirty graduated oval-shaped rubies weighing approximately 5.01 to 0.98 carats, to the marquise and pear-shaped diamond wings and brilliant-cut diamond accents, mounted in platinum and 18k yellow gold, 39.0 cm long, in black Faidee case With maker's mark for Faidee Accompanied by report no. 13037267/1 to 30 dated 18 March 2013 from the Gübelin Gemmological Laboratory stating that the rubies weighing 5.01 to 0.98 carat are of Burma (Myanmar) origin, with no indications of heating and this colour variety may also be called "pigeon's blood red" in the trade Also accompanied by report no. 6142751630 dated 1 March 2013 from the Gemological Institute of America stating that the natural rubies weighing 48.30 carat total are of Burma (Myanmar) origin, with no indications of heating and the color appearance of the rubies are described in the trade as "pigeon's blood"; also accompanied by a monograph and letter stating that the rubies are wonderful examples of the classic Pigeon's Blood colour. The intensity of the red colour combined with the exquisite design gives these gems a sensation that is truly fitting subject for detailed documentation Report no. 1139845998 dated 27 August 2012 from the Gemological Institute of America stating that the 1.34 carat diamond is E colour, VS1 clarity, excellent polish The total weight of the certified rubies is 48.30 carats

  • CHNChine
  • 2013-09-26
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Fish and Water Weeds

Delicate, dynamic, and dazzling to behold, Alexander Calder's Fish and Water Weeds from circa 1942 beautifully exemplifies the imagination and ingenuity that characterize the inventive sculptures from the early part of the artist's prolific career. Executed entirely in brass, the present work reveals Calder in the earliest years of his career as one of the most inventive and avant-garde artistic figures at the forefront of European and American Art. The fish is one of Calder's most celebrated and enchanting subjects, a form he thoroughly explored in some of his most accomplished works. Made from simple raw material that nevertheless produces a magically engaging visual experience, Fish and Water Weeds brings to life Calders spontaneity in an elegant mobile whose enchanting magnificence belies its industrial medium.  Some of the most significant formal and kinetic developments early in the artists career are perfectly crystallized in the intimately sized Fish and Water Weeds, enchantingly capturing Calder's inimitable drawing in space. Five whirls of curlicue adorned wire cascade down from the apex of the frame, suspending two gracefully outlined fish, which have been reduced to an almost simplistic and economical use of line. The floating forms of hammered brass catch the light as the abstracted weeds and fish gently sway in midair, adding a lustrous texture to the work and mimicking the effects of light shimmering underwater. In a brief introductory text meant to inspire younger artists to draw, titled Animal Sketching, Calder described his immediate and direct approach: Animals Action. These two words go hand in hand in art. Their lives are of necessity active and their activities are reflected in an alert grace of line even when they are in repose or asleep. Indeed, because of their markings many animals appear to be awake when they are sleeping, and many mammals sleep so lightly that even when apparently asleep they will move their ears in the direction of a sound that is inaudible to usSo there is always a feeling of perpetual motion about animals and to draw them successfully this must be borne in mind. (Alexander Calder, Animal Sketching, Pelham, NY, 1926, p. 9) Calder captures the animation latent in living creatures in the present work, allowing nature itself to dictate the movements of both the fish and weeds, and indeed imbuing his brass animals with life. A descendant of sculptors Alexander Milne Calder (the artists grandfather) and Stirling Calder (the artists father), Alexander Sandy Calder was first introduced to art at a very young age when his parents used him as a model for their sculptures and paintings. Through acquaintances of his parents Alexander and Nanette, Calder met several patrons and artists who furthered his unconventional artistic education. From an early age, Calder experimented with manipulating small pieces of brass into minute objects; he would subsequently construct sculptures for his parents, jewelry for his sisters dolls, and even a small wagon with his uncle, Ronald Calder. Following his graduation from the Stevens Institute of Technology in Hoboken, New Jersey in 1919, Calder occupied a number of disparate jobs, none of which satisfied him as much as the drawing classes he took at night. In 1923, Calder returned to school and enrolled at the Art Students League, which provided a more progressive and structured schooling than his upbringing. Having settled on what was arguably his destiny as an artist, Calder began to sketch constantly, finding inspiration in everything from animals to sporting events to the circus. Although he would eventually turn to abstraction, Calder sometimes returned to the figure, evident in the present work. It was not until 1925 that Calder would execute his first sculpture in wire, and like the present work, it was zoomorphic. Of this crucial moment in his career, Calder reflected: I had no clock and faced south, so I made a sundial with a piece of wire a wire rooster on a vertical rod with radiating lines at the foot indicating the hours. Id made things out of wire before jewelry, toys but this was my first effort to represent an animal in wire. (Alexander Calder, Calder: An Autobiography with Pictures, New York, 1966, pp. 71-72) Calders love for animals and action would persist as a common theme in his jewelry, drawings, mobiles, and sculptures, a fascination that is captured in the enchanting Fish and Water Weeds. Like his contemporaries F. Scott Fitzgerald, Ernest Hemingway, Gerald Murphy, and Man Ray, Calder was drawn to Paris as an affordable place to live and a captivating environment in which to experiment with new forms and materials within his practice. It was in Paris that Calder met the Spanish artist, Joan Miró, and gained introduction to the work of the Surrealists; although Calder would never lend himself to their pure psychic automatism (the phrase André Breton coined to define the Surrealist movement), he did align with their sensibility of freeing the imagination and the Subconscious. Joined to Miró by his love of the unconventional and the unexpected, Calder began drawing in space with wire, creating portraits of friends and acquaintances, among them Fernand Léger. Not only did Calder veraciously capture his models likenesses, but he also succeeded in imbuing these works with each subjects individual personality. Inspired by the exuberant movements of the vivacious and internationally renowned dancer Josephine Baker, Calder suspended several of his wire portraits of her from threads so that they moved freely and more accurately represented the dancers elegance and grace. Of this momentous breakthrough achieved in the late 1920s, Joan M. Marter elaborates: These suspended wire constructions took Calder one step closer to the creation of his wind-driven mobiles of the 1930s. Even before he began composing abstract elements to form mobiles, Calder had taken into account the delicate equilibrium the sculpture would need to hang properly and move freely. (Joan M. Marter, Alexander Calder, Cambridge, 1991, p. 60) Even before he became known for his iconic mobiles and stabiles, Calder was well-regarded both in America and Europe, and by 1930 had held several exhibitions on both sides of the Atlantic. The present work, although executed in the early 1940s when the artist had already visibly demonstrated a shift toward abstraction, remains a critical coalescence of the breakthroughs that would transform Calders practice from drawings to wire sculptures to suspended sculptures to the quintessential mobiles and stabiles with which he would forever be associated. This work is registered in the archives of the Calder Foundation, New York, under application number A09301.

  • USAUSA
  • 2018-05-16
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La Chouette en colère

"Sculpture is the best comment that a painter can make on painting." - Pablo Picasso  The subject of La Chouette en colère had a special appeal for Picasso who had rescued and cared for an owl that had fallen from the ceiling beams while the artist was painting at the Château Grimaldi in Antibes in 1946. In her autobiography, Picassos lover Françoise Gilot fondly recalled his combative relationship with the owl: Every time the owl snorted at Picasso he would shout Cochon, Merde, and a few other obscenities, just to show that he was even worse-mannered than him, but Picassos fingers, though small, were tough and the owl didnt hurt him. Finally the owl would let him scratch his head and gradually came to perch on his finger instead of biting it, but even so, he still looked very unhappy (F. Gilot, My Life with Picasso, New York, 1964). The owl was a subject which came to permeate Picassos visual language, providing a major motif through the 1950s and 1960s, particularly in his ceramics. In these exquisitely crafted ceramics, the owl became part of his personal iconography; Picasso was aware of the owl-like quality of his own face and thereby in extension the work can be read as a projection of the artists identity. Executed in 1953, this unique work is one of a number of individually painted ceramic owls which were cast from an original white earthenware model. Long-celebrated as amongst the best examples of the artists playful and innovative approach, Picassos ceramics have undergone a crucial reassessment in recent years. Following a number of important exhibitions as well as series of critical studies, his ceramics have come to be understood as a key aspect of his wider artistic production. This has realigned his work in clay as an activity concurrent with his painting and sculpture and emphasized the important reciprocal links between them in ceramics Picassos imagination was matched by the versatility of the medium. Picassos son Claude has vivid memories of the creative process involved in producing ceramics: Working with the primal elements fire and earth must have appealed to him because of the almost magical results. Simple means, terrific effect. How ravishing to see colours sing after internal fires have given them life. The owls managed a wink now. The bulls seemed ready to bellow. The pigeons, still warm from the electric kiln, sat proudly brooding over their warm eggs. I touched them. They were alive really. The faces smiled. You could hear the band at the bullfight (C. Picasso, in Picasso: Sculptor/Painter (exhibition catalogue), Tate Gallery, London, 1994, p. 223). Claude Picasso has confirmed the authenticity of this work. Signed Picasso

  • USAUSA
  • 2018-05-16
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The 114 bottle romanee-conti superlot 1992-2010 (114 bts)

THE 114 BOTTLE ROMANEE-CONTI SUPERLOT 1992-2010 Domaine de la Romanee-Conti Cote de Nuits, Grand Cru 1992 (6 bts) owc 1993 (6 bts) owc 1994 (6 bts) cn 1995 (6 bts) owc 1996 (6 bts) owc 1997 (6 bts) owc 1998 (6 bts) owc 1999 (6 bts) wc 2000 (6 bts) owc 2001 (6 bts) wc 2002 (6 bts) wc 2003 (6 bts) 2 owc 2004 (6 bts) 2 owc 2005 (6 bts) 2 owc 2006 (6 bts) owc 2007 (6 bts) 1 owc, 1 cn 2008 (6 bts) 2 owc 2009 (6 bts) 2 owc 2010 (6 bts) 4 owc Lot 6020 114 bottles, 23 owc, 3 wc, 2 cn per lot: HKD 12000000-20000000 per lot: US$1500000-2500000 THE 114 BOTTLE ROMANEE-CONTI SUPERLOT 1992-2010 This unique lot contains a total of 114 bottles - six bottles of each of the 19 vintages of Romanee-Conti made from 1992 to 2010. With an annual production of about 5,000 bottles, Romanee-Conti is one of the rarest and most desirable wines in the world. To find 114 bottles in one lot is unheard of and as such, represents a once in a lifetime opportunity to acquire an instant library of this Burgundy icon All bottles were acquired by a private collector from excellent UK trade sources and recently shipped from London to Sotheby's Hong Kong warehouse via temperature controlled reefer containe. This is undoubtedly the most exciting Superlot we have ever sold, anywhere, and it is entirely composed of the wine that many would regard as the greatest in the world, Romanee-Conti. It is difficult to imagine such a treasure trove of such a rare, and superlative, wine, but exist it does and here it is in Hong Kong. Romanee-Conti hardly needs any introduction. However, many would only know it as a name, as the incredibly small production (average annual production 450 cases) precludes widespread sampling. Existing as a separate entity since 1584, this plot of a mere 1.81 hectares of brown, chalky soil, with clay and iron content, produces wines of such scent and finesse, length, breed and sheer beauty that they almost defy description. We continue to try, evoking truffles, damp earth, ethereal texture, depth and complexity. This precious piece of land is managed with consummate skill and extreme care, on biodynamic principles and always with the aim of obtaining perfect grape ripeness, whatever the risk. Initially slow to show its full impact, Romanee-Conti keeps its counsel for years, gradually exploding into its great, hedonistic, full-blown intensity. Under normal circumstances, it would be difficult for anyone to follow this magical process, but the buyer of this Romanee-Conti Superlot can do just this. With 6 bottles of each vintage from 1992 to 2010, bottles can be tried at various stages of their life, an intoxicating experience. This period of time encompasses a great epoch for Burgundy, with a string of very fine vintages of which Romanee-Conti took full advantage. I follow each vintage from its youth, when the promise of glory is mega-evident, but to be able to reach for a bottle at every moment of its maturity would be a treat of the highest order. The sourcing of these wines was impeccable, curated by a Master of Wine at all stages of its acquisition. I once wrote that, if a wine could have a soul, it would be Romanee-Conti. I still believe that and only wish that I could 'soul-search' on a more frequent basis! Serena Sutcliffe M.W. Head of International Wine ROMANEE CONTI SUPERLOT CONDITION NOTES 1992 u. 2x3cm, 1x3.5cm, bottle #s 01403-01408, 2 corks slightly raised, otherwise excellent appearance 1993 u. 1x3cm, 4x3.5cm, bottle #s 01392-01397, 1 label has a small stain in the bottom left corner, 1 slight sign of old seepage, otherwise very good appearance 1994 Bottle #s 01332, 01335, 01336, 01338, 01340, 01343, 1 label has a tiny mark, 2 back labels slightly marked in red 1995 Bottle #s 01770-01775, excellent levels and appearance 1996 Bottle #s 02038-02043, excellent levels and appearance 1997 u. 1x3cm, 1x4cm, bottle #s 02337-02342, 1 very slight sign of old seepage, otherwise excellent appearance 1998 Bottle #s 01917-01922, excellent levels and appearance 1999 Bottle #s 02086, 05180, 05055, 04539, 05665, 05723, 1 label very slightly damaged in bottom right corner, otherwise good levels and appearance, DRC wooden case 2000 Bottle #s 02191-02196, excellent levels and appearance, straw wrapped 2001 Bottle #s 02355, 02357, 02379, 02380, 04977, 04978, excellent levels and appearance, DRC wooden case 2002 Bottle #s 01375, 01389, 01568, 01577, 01757, 01758, excellent levels and appearance, wine comes from 2 different importers, DRC wooden case, wc missing original lid 2003 Bottle #s 00016-00018 & 00499-00501, 2 labels very slightly smudged, 2 capsules showing slight signs of old seepage, 2 corks very slightly raised 2004 Bottle #s 04650-04652 & 04653-04655, excellent levels and appearance 2005 Bottle #s 02332-02334 & 02329-02331, 1 label lightly marked down left side, otherwise excellent levels and appearance 2006 Bottle #s 02986-02991, excellent levels and appearance 2007 Bottle #s 00478-00480, & 02011, 03308, 03309, excellent levels and appearance, wine comes from 2 different importers, 1x3bt owc 2008 Bottle #s 01717-01719 & 01687-01689, excellent levels and appearance 2009 Bottle #s 04109-04111 & 04235-04237, excellent levels and appearance 2010 Bottle #s 01507-01509, 01164, 01238, 03264, excellent levels and appearance, wine comes from different importers, 1x3bt owc, 3x1bt owc THE 1992 VINTAGE BOTTLES PRODUCED: 4776 This is a delicious vintage at DRC, very enticing in all its fruity scent and charm.-- These are wines to lap up now, but watch out for all the inimitable DRC complexities that then steal up on you. Serena Sutcliffe, MW 1992 Romanee-Conti Tasting Note Quite an earthy nose. Meaty and even 'charred'. A touch of roast on the taste. Good acidity. Just a touch dry at the end with some gaminess. This is now mature, soft and ready. Slips down in silky fashion. Serena Sutcliffe, MW THE 1993 VINTAGE BOTTLES PRODUCED: 3600 Dismiss all thoughts of Bordeaux when you consider the Burgundy 1993s - and, as always, think of DRC as in a class of its own.-- This is a DRC vintage of substance and delight, for the most part now approaching maturity, especially in bottle, although you could keep large formats for longer. Serena Sutcliffe, MW 1993 Romanee-Conti Tasting Note Last tasted in Methuselah. Wonderful nose of wild herbs on the 'garrigues'. The taste gets fuller and fuller in the glass, very much due to the large format bottle, I feel. A superb vintage and a powerful wine. Serena Sutcliffe, MW THE 1994 VINTAGE BOTTLES PRODUCED: 4210 The vintage was not uniformly good throughout Burgundy, but the Domaine makes its own rules and they waited until the sun returned on 20 September before planning the harvest.-- As a result, there is none of the 'severity' you sometimes see in this vintage and the beautiful scents you find in each 'climat' are all there.-- In my view, this is a DRC year, across the board, that you can now broach with pleasure. Serena Sutcliffe, MW 1994 Romanee-Conti Tasting Note A wonderful, breedy scent leads into a taste that just expands on the palate, lingering and beguiling. We decided against decanting and poured it into big Riedel Burgundy 'ballons' and this suited the wine perfectly. There is something briary, smoky and mysterious about this wine. It has now opened out in a silky smooth way. Serena Sutcliffe, MW THE 1995 VINTAGE BOTTLES PRODUCED: 5397 Late picking at the Domaine in this vintage did the trick and the wines have real opulence, attractive plumpness and all the myriad flavours you expect from each precious vineyard.-- I have particularly noticed tastes of black cherry jam of the kind that you get in the best Swiss hostelries! Serena Sutcliffe, MW 1995 Romanee-Conti Tasting Note A piercingly beautiful scent that is pure Romanee Conti. Violets, liquorice, both wild cherries (griottes) and black cherries - the kind you get in Swiss jam. Multi-layered, many splendoured taste. Super-charged red and black fruit, a touch of vanilla and a real dollop of concentrated intensity. Above all, the supreme intensity of Romanee Conti. This is breed "personified" in a wine. Will keep for longer than anyone reading this. Serena Sutcliffe, MW THE 1996 VINTAGE BOTTLES PRODUCED: 6101 This great, beautifully defined vintage has a particular characteristic that is, in fact, found all over France this year - a remarkable concentration of both sugar and acidity, due to the combination of hot days and cold nights, a North wind and dryness.-- This immediately confers strong personality and longevity to the wines.-- The Domaine harvested as late as possible to exploit this exciting marriage of high natural degrees (more than 13 degrees in Romanee Conti and La Tache) and high acidity, giving high-wire balance to the wines.-- Romanee Conti was picked on the glorious morning of 1st October and the harvest finished on 3rd October with La Tache.-- A luminous vintage with wines of great length and precision. Serena Sutcliffe, MW 1996 Romanee-Conti Tasting Note The total experience in this great vintage. The bouquet has everything. Violets, peat, raspberries. A mind-blasting, complete taste. A huge mouthful of wild cherries with plummy fruit and liquorice, all backed up by terrific tannin and ace acidity. Peat and black cherries on the finish. Monumental wine - a pillar of the vinous century in Burgundy. Serena Sutcliffe, MW THE 1997 VINTAGE BOTTLES PRODUCED: 4814 In autumn 1997, Aubert de Villaine said: 'The grapes are perhaps the most perfect we have picked these last few years, real jewels...', but sadly, there were not many of them as 1997 stands as the lowest yielding vintage of the preceding ten years.-- Extremes of cold, humidity and finally fabulous heat ensured that only the hardiest grapes survived and prospered and the result is wines that show purity of fruit, finesse and clear vineyard characteristics.-- The latter quality always makes for riveting comparisons between the Domaine 'climats', one of my favourite pursuits in the whole wine world. Serena Sutcliffe, MW 1997 Romanee-Conti Tasting Note Heavenly "sweet", ripe nose. Deeply scented projection. A mouthful of best Burgundian terroir, untrammelled fruit and multi-dimensional flavour. This is a Romanee-Conti that will turn gamey - I am convinced it will be the grouse wine "par excellence" in a few years' time. Glorious rich, gummy, thick yet elegant texture. Renoir in the glass! Unfolds endlessly. Serena Sutcliffe, MW THE 1998 VINTAGE BOTTLES PRODUCED: 5064 In December 2000, Aubert de Villaine wrote: "Never have I seen a more slowly evolving vintage but we were optimistic - the colours are beautiful, the aromas are enticing and there is lovely fruit with the eyes yet to open." Aubert de Villaine had reason to be optimistic about this profound, complex vintage at the Domaine. -The cause of the 'slow start' was the prolonged 'elevage', with malolactic fermentation taking up to 12 months as opposed to the usual 3-6 months. -Only a single racking took place just before June 2000 and this was done by hand, cask by cask, with the wines falling quite naturally bright and clear. -This is another manifestation of the Domaine's Haute Couture approach. -Will the wines turn out like the 1952s?- That is a tall order, but it is not inconceivable. - Serena Sutcliffe, MW 1998 Romanee-Conti Tasting Note That extra special "elan" on the nose that always distinguishes Romanee-Conti from the rest. A real cherry kernel flavour, deep and persistent. The filigree, lacy texture of the climat. A tight, concentrated finish denotes the potential longevity, plus a mineral sign-off. Serena Sutcliffe, MW BOTTLES PRODUCED: 6917 We are talking about a very grand vintage here, one of the greatest in my lifetime for red Burgundy.-- As expected, the Domaine took full advantage of nature's gifts and rolled out an array of stupendous wines that, twelve years later, are just 'peeping above the parapet'.-- Perfect ripeness on old vines is a magic recipe and, not surprisingly, the Domaine took full advantage of this wonderful raw material.-- Concentrated sugar has given the wines a voluptuous character, with natural glycerol vying with finesse and elegance, all finally combining to create sheer excitement at every level. Serena Sutcliffe, MW Aubert de Villaine was moved to say:- 'We observed this year the almost miraculous combination of high sugar contents and consequent high degrees of alcohol, good acidity from very concentrated berries and perfect health of the grapes.-- It is interesting to underline that the combination of these three factors in the same harvest only occurs very, very rarely.' 1999 Romanee-Conti Tasting Note La Tache may have the grandeur and the flamboyance in this vintage, but Romanee-Conti has the balance, the breed and the endless finish. DRC really did attain perfection this year, for which they can be justifiably proud, while we can be eternally grateful. It is the power and the nobility of bouquet and taste that really set these wines apart in 1999 and Romanee-Conti itself epitomises these qualities. Serena Sutcliffe, MW THE 2000 VINTAGE BOTTLES PRODUCED: 6286 Some erroneously dismiss the 2000s as rather light, but they are opening out to be truly delectable. The DRC wines are, of course, imposing at every level with ripe tannins and considerable charm. The high percentage of older vines, with an average age of 52 years for Romanee-Conti, lies at the heart of the magical quality here. Serena Sutcliffe, MW 2000 Romanee-Conti Tasting Note The Millennium vintage exploded on to the horizon with this beautifully balanced wine, so ripe and with such fresh acidity - those wonderful old vines immensely contributed here. Opulent, complex, refined and intricate, with a huge dollop of 2000 charm. It lingers on the palate in a very filigree, lacy way. Serena Sutcliffe, MW THE 2001 VINTAGE "These are classic 'vins de garde', powerful, beautifully structured, but with both elegance and a seductive quality." Aubert de Villaine BOTTLES PRODUCED: 6407 The weather produced everything in 2001, from extremes of heat and glorious weather to storms and even cold. Meticulous selection was the secret here and the result is tremendous. Serena Sutcliffe, MW 2001 Romanee-Conti Tasting Note At first, a slightly reticent, tremendously breedy Romanee-Conti nose. Then, as it meets the air, high octane wild strawberries nose of utter purity. The scent permeates the whole taste. Amazing flavour of sugared fraises de bois which explodes onto the palate. Such finesse of texture. Loganberries. Tremendous health. This is wine like no other - it knows no rivals. Serena Sutcliffe, MW THE 2002 VINTAGE "For us, they are not wines of charm, they are wines of the future. A beautiful vintage." Aubert de Villaine. BOTTLES PRODUCED: 5548 One can see why Aubert said this - he was anxious that these perfectly lovely wines should not be drunk too young! Their fruity flamboyance might seduce their lucky owners into pulling corks too soon, thus depriving themselves of some gorgeous scents and flavours that emerge with bottle age. The glorious ripeness has real, architectural structure underneath - 2002 had a lower production at the Domaine than both 2001 and 2000. Serena Sutcliffe, MW 2002 Romanee-Conti Tasting Note Without a doubt, this is the Domaine's top wine in this vintage, packing more depth into it than the very attractive La Tache. It is the spiciness together with the breed that win the day, with underlying mineral elements and structure that I think will take it further into the future than La Tache. However, with these two wines, I am always ready to review my opinion! Serena Sutcliffe, MW THE 2003 VINTAGE BOTTLES PRODUCED: 3575 Everything about this vintage is 'legendary'. With ten days in August when the temperature went over 38 degrees Celsius (100 degrees Fahrenheit), the harvest began with the Echezeaux on 25th August and lasted just eight short mornings. The must was so rich that a relatively short vatting of 15 days was effected and the co-owners, Aubert de Villaine and Henri-Frederic Roch, decided not to acidify in spite of the very low acidity readings and to bottle earlier than usual. The wines have increasingly shown their individual terroir and characteristics and they have exciting fruit and freshness. Serena Sutcliffe, MW 2003 Romanee-Conti Tasting Note The amazing element behind Romanee-Conti this year is that the wine has almost 'normal' acidity, whether due to the individual terroir, the remarkably old average age (53 years) of the vines, or the minute yield, we do not know. Suffice it to say that it has a magic scent that is totally true and utterly impressive in its purity and clarity. Complex and packed with aromatics. The taste is of pure bilberries, astonishing. Soft and mellow on the long finish. Reined in glory. Serena Sutcliffe, MW THE 2004 VINTAGE "A vintage which in so many ways exemplifies perfectly our vision for this Domaine, offering a fidelity and transparency in each terroir allied to a purity, elegance and seduction which will assure it a privileged position among the beautiful vintages of these last few years." Aubert de Villaine BOTTLES PRODUCED: 5663 Undoubtedly, the Domaine made the wines of the vintage. This was a year when viticultural skills were tested to the limit and ruthless pruning, combined with the decision to wait until 25 September before beginning the harvest, have given us wines that excel. The naturally high alcohols, for the vintage, were achieved by the numerous super-concentrated berries releasing their sugars at the very end of the fermentations. The rest is history in the glass. Serena Sutcliffe, MW 2004 Romanee-Conti Tasting Note Amazing persistence on the nose, with spicy smokiness. Incredible flavour and length with the silky seduction that marks out this unique vineyard. You could call this weightless density. There is even a touch of nuttiness on the finish which I sometimes see in Romanee-Conti. This wine has a very far horizon of development. Serena Sutcliffe, MW THE 2005 VINTAGE Aubert de Villaine said this about the vintage: "What we have here are wines with incredible energy, virility and concentration: their power more than measures up to a vintage keen to stamp its mark, against which they are fighting long and hard to impose their terroir." BOTTLES PRODUCED: 5489 Aubert's picturesque description of this outstanding vintage reflects both its legendary potential, for these are very long-lived wines, and its inherent 'wildness', a characteristic that I adore in a great Burgundy. The huge fruit and power hit you immediately, almost like a tiger waiting to pounce. Dark density, deeply enveloping flavour and vibrant sweetness are the key words here. Serena Sutcliffe, MW 2005 Romanee-Conti Tasting Note Notes of tobacco and liquorice on the nose. So elegant and streamlined. A completely different texture from La Tache. A huge concentrated kernel, or centre, of cassis. Tight-knit heart. Still guarding its best secrets for us. Will be a landmark Romanee-Conti. Serena Sutcliffe, MW THE 2006 VINTAGE BOTTLES PRODUCED: 5546 This was a rollercoaster viticultural year, crowned with four great weeks in September.-- Virtually the entire month was fine and the grapes ripened apace, reaching a crescendo in the third week when the official harvest date was announced for 18 September, with the Domaine starting two days later.-- Ripeness levels here were as high as those attained in 2005 and the resulting wines surprised us all with their sheer class, style, finesse and elegance, truly packed with flavour. Serena Sutcliffe, MW 2006 Romanee-Conti Tasting Note Extremely complex spicy nose, multi-layered and mysterious. Enormous, packed-down concentration on the palate. A wonderful sweet, gummy taste. A finish of pure blueberries. Peaty aftertaste plus huge fruit. Serena Sutcliffe, MW THE 2007 VINTAGE BOTTLES PRODUCED: 4088 This was a growing season that gave cause for concern.-- After a really warm April start, flowering did not go as planned and then the summer turned into a battle with mildew, oidium and botrytis, dealt with at the Domaine using organic and biodynamic methods. --However, from 20th August until the end of September, it was gloriously sunny, bright and fresh, setting the scene for rapidly increasing degree levels.-- The Domaine harvested in wonderful conditions during the first 8 days of September, giving a natural 13 degrees of alcohol.-- I remember writing, after the first tasting of the great Romanee Conti this year, 'the 2007s here are Chamber Music wines, rather than full orchestral Mahler' - and that is what I love about them. Serena Sutcliffe, MW 2007 Romanee-Conti Tasting Note A smoky, tobacco-like quality to the bouquet. Then the archetypal sweetness comes through, with the emphasis on red cherries. It is like having a whole bowl of red and black fruit in the mouth. This really wins the day in 2007. A beautifully clear, clean sign-off. Rose petals and liquorice. This is pure class in the bottle. Serena Sutcliffe, MW THE 2008 VINTAGE BOTTLES PRODUCED: 3151 Aubert de Villaine put it very succinctly when he said, 'It is extraordinary and something I have hardly ever seen in even 40 years - 2008 has the ripeness and maturity of a great vintage but at a cost in yield that is so savage'.-- Ruthless selection, leaf stripping and bunch thinning encouraged ripening, but luminously good weather did not materialise until 14 September.- The Domaine waited until 27 September to start harvesting, which lasted until 6 October.- Gorgeous, silky concentration is the result and all the sacrifices paid off. Serena Sutcliffe, MW 2008 Romanee-Conti Tasting Note The phenomenally low yield and tireless vineyard work produced a wine that is gloriously expressive on the nose, announcing all the juicy fruit, concentration and silky structure that one finds on the palate. The length is both sensual and seductive, alluring in its purity and ability to fill the mouth with old-vine (an average age of 56 years) sweetness. Serena Sutcliffe, MW THE 2009 VINTAGE BOTTLES PRODUCED: 6465 There has to be something about Burgundy years that end in 9 - just think about it!-- Maybe there is a hint of 1959 in this vintage......It was an exceptionally sunny year, culminating in an Indian summer.-- There was a lot of vineyard protection from April to July, with both heat and storms, but from early August all was sweetness and light, albeit with dry conditions.-- Small clusters, small berries and yet generous quantity all made for smiling faces.-- The Domaine's harvest on the Cote de Nuits lasted from 13-19 September and the wines are terrific, rich, opulent and mouth-filling. Serena Sutcliffe, MW 2009 Romanee-Conti Tasting Note Initially, less exuberant on the nose than La Tache but then the subtlety of all the scents pours in, blueberries and flowers. A 'lightness of being' on the palate in terms of refinement and finesse. Such sweet persistence, all lace and silk while La Tache is damask. A great compote of black fruit with an ethereal finish. One floats away on a cloud..... Serena Sutcliffe, MW THE 2010 VINTAGE BOTTLES PRODUCED: 4636 This is a simply beautiful vintage, but that does not mean it was an easy one!-- The lengthy, irregular flowering ensured a somewhat mean quantity and humid conditions in summer demanded vigilance and work.-- Small berries and thick skins resisted well the heat and storms of August and September, so that the Domaine could wait until 24 September to begin the harvest in Vosne, with the end of the second picking on 5 October.-- It is an extraordinary year for the sheer character and personality of each and every wine, intense, full of impact and, obviously, set for a long life due to the combination of freshness and depth.-- I intend to live long enough to see them burst into full bloom. Serena Sutcliffe, MW 2010 Romanee-Conti Tasting Note 19 hl/ha. Average age of vines: 56 years. Total production: 386 cases. This has the most intense nose of all the DRC wines in 2010, with totally enveloping eastern spices. Reminds me of heavenly apres-ski gluhwein! A mineral bite to it on the palate. Richer and deeper than all the others and the impact of the flavour is more pronounced. Beautifully defined, precise and poised, with a strawberry kickback. The juiciness of this vintage is so appealing. One of the great Romanee-Contis. Serena Sutcliffe, MW The Romanee Conti Superlot (lot 6020) has been designated as a 'Premium Lot' Please see page 167 in the Guide for Prospective Wine Buyers for complete requirements for bidding on Premium Lots. • Clients are requested to register 48 hours before the auction to register to bid on this lot • Online bidding is not available for this lot - bids may be placed in writing via absentee, by phone or live in the auction room • Bidding in person live in the auction room requires a 'Premium Paddle' from the Paddle Registration Desk • Clients who wish to bid on this lot may be requested by Sotheby's to complete the pre-registration application form and to deliver to Sotheby's a deposit and financial references or guarantees

  • HKGHong Kong
  • 2014-10-04
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The Macallan 1926, 60 Year-Old, Michael Dillon

THE MACALLAN 60 YEAR OLD – HAND PAINTED BY MICHAEL DILLON The Macallan is rightly considered by aficionados as the most highly collectible whisky, producing stunning examples of cask-matured single malts from Speyside, particularly their highly prized and exceedingly rare single-cask, limited edition bottlings and Fine & Rare Collection. However, The Macallan 60-Year-Old 1926 takes this rarity to a higher level and is the 'Ultimate Goal' for collectors of The Macallan whisky. 40 bottles of the 1926 were bottled from cask 263 after the whisky had spent 60 years maturing in ex-sherry casks, and is undoubtedly the finest and most collectable single malt produced in the 20th century. Peter Blake, the renowned artist responsible for the album cover of the Beatles' Sgt. Pepper's Lonely Hearts Club Band, and Valerio Adami were asked to design a label each for this special bottling, and 12 individually numbered bottles from each artist were released. Less well-known was that one bottle of this ultra-rare elixir was hand-painted by Irish artist Michael Dillon, famous for his historical decorations. The bottle painting was commissioned and offered for sale through Fortnum & Mason in London in 1999. Christie’s are delighted to be offering this unique Macallan 1926 60-Year-Old Michael Dillon bottle, which is unquestionably the 'Holy Grail' for whisky collectors as it is truly one-of-a-kind. The bottle which beautifully depicts the Easter Elchies House of The Macallan and the Scottish Highlands is offered in a luxurious “The Macallan 60 Year Old” wooden presentation case with a certificate of authenticity from The Macallan. This lot is sold lying at Christie's, London The Macallan 1926, 60 Year-Old, Michael Dillon Speyside Bottled in 1986. Distilled at The Macallan Distillery, Easter Elchies. Hand painted by Michael Dillon. Offered in wooden presentation case with certificate from The Macallan. Level: just below base of neck   1 bottle per lot

  • GBRGrande Bretagne
  • 2018-11-29
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Annonce

Mother with Child on Lap

Conceived in 1982 and executed in an edition of nine. Inscribed Moore and numbered 8/9 The theme of maternity was a central motif in Moore's art. Figures of mothers with their babies appear throughout his career, usually at times in his life when parenthood was particularly on his mind. Moore was a new grandfather and nearing the end of his life when he created the present work, and his own experiences with his grandchild inspired several sculptures devoted to this theme. In the present work, Moore renders the seated mother cradling her baby, and her block form and pyramidal pose call to mind iconic Renaissance images of the Madonna. Although the figures are dramatically abstracted, Moore invests the sculpture with warmth and tenderness. Writing about the attractions of this subject matter for Henry Moore, Anne Garrould has stated: The mother-and-child theme is concerned with a subject which was not only very close to Moores heart but also with the contours and shapes in which Moore delightedthe swelling breast, the rounded thigh, the arched back, the curving, cradling arm. (Exh. cat., Hempsted, New York, Hofstra University Museum (& travelling), Mother and Child: The Art of Henry Moore, 1987-88, p. 22) It was not just the form which attracted Moore towards this theme. The sculptors function creating an artwork from a block of stone, a plaster, a bronze cast draws parallels to the process of gestation, birth and nurture. The theme of the mother and child, not only refers to the paternal relationships but is about fertility, maternity, and growthuniversal ideas. It evokes images of the egg, the womb, and the uncarved stone. The mother and child motif goes beyond the images to a primal motif based on the theme of life and birth, for Moore it means creativity. The art is reminiscent of some of the earliest primitive images due to its conceptual base. Moores work is an attempt to get at the essential nature and to shape it from within. (G. Gelburd in ibid., p. 39) Other casts of this work are included in the collections of the Henry Moore Foundation and the Hakone Open-Air Museum. This work is recorded in the archives of the Henry Moore Foundation.

  • USAUSA
  • 2018-05-16
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A SAPPHIRE AND DIAMOND RING

A SAPPHIRE AND DIAMOND RING Set with a cushion-shaped sapphire weighing 11.18 carats, within a surround set with oval-shaped diamonds weighing from 1.02 to 0.51 carats, mounted in 18k white gold, ring size 6½ Accompanied by report no. 68812 dated 25 June 2013 from the SSEF Swiss Gemmological Institute stating that the 11.18 carat sapphire is of Kashmir origin, with no indications of heating; also accompanied by an appendix stating that the 11.18 sapphire possesses extraordinary characteristics and merits special mention and appreciation. The sapphire exhibits an attractive saturated blue colour, combined with an exceptional purity. The tiny inclusions found by microscopic inspection are the hallmarks of sapphires from the reputed historic deposit in Kashmir, located in a remote part of the Himalayan Mountains in India. The velvety and saturated blue colour of this sapphire is due to very fine and subtle inclusions and a combination of well-balanced trace elements in the gemstone, typical and characteristics for the finest sapphires of Kashmir. This sapphire has been spared exposure to heat treatment and its clarity and colour are thus all natural. A natural sapphire from Kashmir of this size and quality is rare and exceptional Also accompanied by report no. 13067115 dated 21 June 2013 from the Gübelin Gemmological Laboratory stating that the 11.18 carat sapphire is of Kashmir origin, with no indications of heating; also accompanied by an appendix stating that the 11.18 carat sapphire possesses a richly saturated and homogeneous colour, combined with a high degree of transparency, and a finely proportioned cut. In addition, this remarkable gemstone has been spared thermal treatment. Such a combination of characteristics is rare in natural Kashmir sapphires of this size Eight reports dated from 20 December 2007 to 24 January 2013 from the Gemological Institute of America stating that the oval-shaped diamonds weighing from 1.02 to 0.51 carat range from D colour, VVS1 to VS1 clarity Please note that one certificate is more than 5 years old and might require an update

  • CHNChine
  • 2013-09-26
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Château d'Yquem

THE LIQUID GOLD COLLECTION THREE CENTURIES OF CHATEAU D'YQUEM The finest and most extensive Collection of Château d'Yquem, both in bottles and magnums, ever to appear at auction Château d'Yquem Sauternes, 1er grand cru classé. Château-bottled Offered for sale lying in a secure and temperature and humidity controlled location in France Details of the Château The wines of Château d'Yquem are legendary in the world of Fine Wine. This historic property sits on top of a small hill, with commanding views over its neighbouring Sauternes Châteaux, surrounded by its immaculate and well-tended vines that are famous for bearing the grapes that make this world renowned dessert wine. The history of the buildings at dYquem dates back to the 12th Century and the estate itself, established in the 16th Century. Classified in 1855 as Premier Grand Cru Class the reputation and quality of the wines were at that time already widely known and indeed, d'Yquem wines were considered as superior to the other First Growths of the Médoc that were recognised in the same Classification. The most illustrious and successful period of ownership was under the Lur-Saluces Family from 1785-1997 and since that date the property has been owned a by the LVMH group. Because of its trademark richness and opulence, the wines of Château d'Yquem occupy a unique place in the history and appreciation of Fine Wine. The greatest vintages from the 19th and early 20th Centuries, if well cellared, can still offer glorious tasting experiences now in the 21st Century, with the more modern classics from the latter half of the last Century to the present day, still able to be kept for many, many decades. The methods of production have always been strictly controlled and monitored and because of this rigorous selection, it is said that each vine at d'Yquem only produces one small glass of the golden nectar that is without doubt, the most celebrated sweet wine in the world. The roll-call of famous vintages produced here is almost without end and from the 19th Century would include the 1825, 1858, 1864, 1869, 1874, 1893 and 1899. The first half of the 20th Century also produced numerous wines that acquired global fame and reputation such as 1900, 1921, 1929, 1937, 1945, 1947 and 1949. Nor has vintage success diminished in the most recent 6 decades with vintages such as 1959, 1967, 1975, 1983, 1986, 1989, 1990 and 2001 being the most sought-after wines of more recent times. Details of this Collection This incredible and totally unique Liquid Gold Collection of Château d'Yquem, incorporates 128 bottles and 40 magnums; representing a wide range of rare and excellent vintages in bottle from the 19th Century, every vintage produced in bottle from the 20th and 21st Centuries plus the only major Collection of magnums ever offered at auction spanning the period 1900 to 2005. Even more importantly, virtually every bottle and magnum included in the Collection has been seen and approved by the dedicated staff at Château d'Yquem in recent times, either for application of new labels or capsules, or for controlled re-corking of many of the older vintages, during the period of 1989 to 2009. Younger vintages from the most recent half century of vintages, are principally still with original corks, capsules and labels. All are considered to be of excellent appearance with appropriate depth of colour for each vintage. The Romanov Decanter The unique nature of the Collection is further enhanced by its exclusive presentation in custom-built individual wooden cases, carrying the Liquid Gold Collection logo and vintages for each 12 bottle or 6 magnum outer case. Also included with the Lot, is a very rare and special etched Decanter, from a limited edition of 5 only, this being #4, produced especially by Baccarat for Château d'Yquem and taken from an original 19th Century design created for the Romanovs, the Russian Royal Family. This is without doubt in our view, the finest and most extensive Collection of Château d'Yquem, both in bottles and magnums, ever to appear at auction and allows prospective bidders the potential to own a unique and guaranteed collection of one of the world's Number One wines spanning three Centuries. David Elswood International Head of Wine Christie's - one bottle (75cl.) of each of the following vintages From the 19th Century - 1825, 1856, 1857, 1858, 1860, 1862, 1864, 1865, 1867, 1869, 1870, 1874, 1876, 1878, 1879, 1881, 1882, 1884, 1885, 1887, 1889, 1890, 1891, 1892, 1893, 1894, 1895, 1896, 1897, 1898, 1899 From the 20th Century - 1900, 1901, 1902, 1903, 1904, 1905, 1906, 1907, 1908, 1909, 1911, 1912, 1913, 1914, 1916, 1917, 1918, 1919, 1920, 1921, 1922, 1923, 1924, 1925, 1926, 1927, 1928, 1929, 1931, 1932, 1933, 1934, 1935, 1936, 1937, 1938, 1939, 1940, 1941, 1942, 1943, 1944, 1945, 1946, 1947, 1948, 1949, 1950, 1953, 1954, 1955, 1956, 1957, 1958, 1959, 1960, 1961, 1962, 1963, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1973, 1975, 1976, 1977, 1978, 1979, 1980, 1981, 1982, 1983, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1993, 1994, 1995, 1996, 1997, 1998, 1999 (No production existed for Château d'Yquem in 1910, 1915, 1930, 1951, 1952, 1964, 1972, 1974 and 1992) From the 21st Century - 2000, 2001, 2002, 2003, 2004, 2005 - and one magnum (150cl.) of each of the following vintages 1900, 1924, 1928, 1945, 1954, 1959, 1960, 1961, 1962, 1966, 1967, 1973, 1975, 1976, 1979, 1980, 1981, 1982, 1983, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005 All bottles and all magnums prior to the 1962 vintage in this collection have been inspected by Château d'Yquem between 1986 and 2009 and have been checked and reconditioned by them with re-corking where necessary and the application of new labels and capsules where required. Where a bottle or magnum has been recorked, the year of re-corking is branded on the cork. Hence all bottles and all magnums are of exceptional appearance with this unmatched guarantee of authenticity. All bottles and magnums are of the approriate depth of colour considered correct for each vintage and all ullages are at top shoulder/base of neck or better. 40 magnums and 128 bottles per lot

  • HKGHong Kong
  • 2010-05-29
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The macallan m decanter-constantine

The Macallan M Decanter-Constantine See illustration Lot 212 1 imperial - 6 litre per lot: HKD 2000000-4000000 per lot: USD 260000-500000 THE MACALLAN IMPERIALE 6-LITRE "M" DECANTER CONSTANTINE The Macallan M Decanter is a collaboration between The Macallan, Lalique crystal, and Fabien Baron. This is the first time the Imperiale M Decanter has been publically offered. This lot is being offered without reserve and the proceeds will be distributed between local Hong Kong charities The standard 22.5% buyer's premium will be applied to the hammer price, a portion of which Sotheby's will donate to the Hong Kong Charities benefiting from the sale of this lot. The decanter is for collection only from Crown Wine Cellars in Tuen Mun, Hong Kong by the buyer or their nominated agent. The Hong Kong Tax has been fully paid on this lot, however, the buyer has sole responsibility for any transport costs and any duty or taxes when shipping the lot outside Hong Kong. THE DECANTER The 6 litre Macallan M decanter stands at 70 cms (28 inches) tall and weighing 11.3 Kgs empty and 16.8 Kgs once filled. The decanter will serve a total of three hundred 20ml drams. The making of this decanter posed a major technical challenge for Lalique at their works in Wingen-sur-Moder in Alsace, as it is the largest decanter they have ever made. Carrying and hand-blowing this weight of crystal took the decanter to the limit of its breaking point. Forty decanters were created and destroyed due to imperfections before this flawless decanter was completed. Each decanter took 17 craftsmen including two "Meilleur Ouvrier de France" (Best Crystal Craftsman in France) over 50 hours to complete. "Constantine" is unique as of the 4 imperiales created (all named after Roman Emperors - the others are Caesar, Augustus and Justinian) this is the only one signed by the 3 principals responsible for this extraordinary creation. Of the remaining decanters, 2 will be archived by The Macallan and the fourth sold privately. THE WHISKY The whisky for the M Decanter is the creation of Bob Dalgarno, Whisky Maker at The Macallan. He used his years of experience and has drawn on a handful of casks dating from the 1940s to the early 1990s, from nearly 200000 Single Malt casks at the distillery to create this unique interpretation of The Macallan. It is a full flavoured example of the classic Macallan house style characterised by a rich natural colour, derived solely from the wood, interwoven with rich dried fruits, spices, orange citrus and wood notes. THE PEOPLE Fabien Baron, creative Director at Baron and Baron conceived this distinctive, angular design with six striking facets paying homage to the "Six Pillars" at the heart of The Macallan's ethos: Easter Elchies House, the spiritual home of The Macallan; the curiously small stills; the small proportion (cream of the cream) from the spirit stills filled to cask; the exceptional oak casks; the natural colour derived from the casks; and The Macallan itself. Bob Dalgarno, Whisky Maker at The Macallan created a unique interpretation of the traditional Macallan house style while Silvio Denz, President and CEO of Lalique oversaw the production of this flawless decanter drawing on Lalique's 150 years of crystal expertise.

  • HKGHong Kong
  • 2014-01-18
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* Veuillez noter que le prix ne correspond pas à la valeur d'aujourd'hui, mais uniquement à la devise au moment de l'achat.

Vins & Alcools

Tous les alcools mis en vente aux enchères peuvent être trouvés dans cette catégorie, ceci inclue les millésimes, le champagne, les sauternes, le vin de porto millésimé mais aussi la bière, le whisky et d’autres alcools.