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Château Mouton Rothschild Vertical

Château Mouton Rothschild Vertical Pauillac, 1er cru classé One bottle of each vintage between 1945 and 2008, including two different versions of 1978 and 1993. Pristine appearence unless otherwise stated " Vintage 1945 (1) Philippe Jullian label. Level: top shoulder. Corroded capsule Vintage 1946 (1) Jean Hugo label. Level: top shoulder. Nicked and bin-soiled label Vintage 1947 (1) Jean Cocteau label. Level: top shoulder Vintage 1948 (1) Marie Laurencin label. Level: top shoulder Vintage 1949 (1) André Dignimont label. Level: top shoulder. Nicked and slightly stained label; capsule cut for inspection Vintage 1950 (1) Arnulf label. Level: top shoulder Vintage 1951 (1) Marcel Vertès label. Level: very top shoulder Vintage 1952 (1) Léonor Fini label. Level: top shoulder Vintage 1953 (1) Centenary year commemoration label. Level: top shoulder Vintage 1954 (1) Jean Carzou label. Level: upper shoulder. Nicked capsule Vintage 1955 (1) Georges Braque label. Level: top shoulder Vintage 1956 (1) Pavel Techelitchew label. Level: very top shoulder. Bin-soiled lable; slightly corroded capsule Vintage 1957 (1) André Masson label. Level: base of neck. Bin-soiled label; slightly corroded capsule Vintage 1958 (1) Salvador Dali label. Level: top shoulder. Slightly bin-soiled label Vintage 1959 (1) Richard Lippold label. Level: base of neck. Slightly corroded capsule Vintage 1960 (1) Jacques Villon label. Level: top shoulder. Bin-soiled label; slightly corroded capsule Vintage 1961 (1) Georges Mathieu label. Level: top shoulder. Bin-soiled, stained and scuffed label; corroded capsule Vintage 1962 (1) Matta label. Level: base of neck Vintage 1963 (1) Bernard Dufour label. Level: top shoulder.Scuffed label Vintage 1964 (1) Henry Moore label. Level: top shoulder. Slightly bin-soiled label Vintage 1965 (1) Dorothea Tanning label. Level: top shoulder. Nicked and slightly bin-soiled label Vintage 1966 (1) Pierre Alechinsky label. Level: very top shoulder. Slightly scuffed and bin-soiled label; wrinkled capsule Vintage 1967 (1) César label. Level: into neck Vintage 1968 (1) Bona label. Level: top shoulder. Nicked and corroded capsule Vintage 1969 (1) Joan Miro label. Level: base of neck. Scuffed label Vintage 1970 (1) Marc Chagall label. Level: very top shoulder. Slightly corroded capsule Vintage 1971 (1) Wassily Kandinsky label. Level: top shoulder. Slightly corroded capsule Vintage 1972 (1) Serge Poliakoff label. Level: top shoulder. Bin-soiled and stained label Vintage 1973 (1) Pablo Picasso label. Level: very top shoulder Vintage 1974 (1) Robert Motherwell label. Level: into neck. Slightly scuffed label Vintage 1975 (1) Andy Warhol label. Level: into neck. Slightly scuffed label Vintage 1976 (1) Pierre Soulages label. Level: base of neck Vintage 1977 (1) Tribute to Queen Elizabeth The Queen Mother, who stayed at the chateau in April 1977. Level: very top shoulder. Slightly scuffed label Vintage 1978 (1) Jean-Paul Riopelle labels (two versions). Bottle 1: Level: into neck. Scuffed label. Bottle 2: Level: base of neck. Slightly scuffed and bin-soiled label Vintage 1979 (1) Hisao Domoto label. Level: into neck. Nicked capsule Vintage 1980 (1) Hans Hartung label. Level: top shoulder. Slightly scuffed label Vintage 1981 (1) Arman label. Level: into neck. Nicked capsule Vintage 1982 (1) John Huston label. Level: into neck. Slightly bin-soiled label Vintage 1983 (1) Saul Steinberg label. Level: into neck Vintage 1984 (1) Agam label. Level: into neck. Slightly scuffed label Vintage 1985 (1) Paul Delvaux label. Level: base of neck. Slightly bin-soiled label Vintage 1986 (1) Bernard Sejourne label. Level: base of neck. Slightly scuffed label Vintage 1987 (1) Hans Erni label. Level: into neck. Nicked capsule Vintage 1988 (1) Keith Haring label. Level: base of neck Vintage 1989 (1) George Baselitz label. Level: into neck Vintage 1990 (1) Francis Bacon label. Very slightly damaged label Vintage 1991 (1) Setsuko label. Vintage 1992 (1) Per Kirkeby label. Vintage 1993 (2) Balthus label and blank US label. Balthus label: slightly bin-soiled label Vintage 1994 (1) Karel Appel label. Slightly bin-soiled label Vintage 1995 (1) Antoni Tapies label Vintage 1996 (1) Gu Gan label Vintage 1997 (1) Niki de Saint Phalle label Vintage 1998 (1) Rufino Tamayo label Vintage 1999 (1) Raymond Savignac label Vintage 2000 (1) Special gold enamel relief of the "Augsburg Ram" in the Mouton Museum Vintage 2001 (1) Robert Wilson label. Nicked capsule Vintage 2002 (1) Ilya Kabakov label Vintage 2003 (1) 150th Birthday Tribute label. Slightly scuffed label Vintage 2004 (1) Charles, Prince of Wales label Vintage 2005 (1) Giuseppe penone label Vintage 2006 (1) Lucian Freud label Vintage 2007 (1) Bernard Venet label Vintage 2008 (1) Xu Lei label 66 bottles per lot

  • HKGHong Kong
  • 2012-09-08
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Vosne romanee, cros parantoux 1990 henri jayer

Vosne Romanee, Cros Parantoux 1990 Henri Jayer Cote de Nuits, 1er Cru Lot 6015: 2 slightly scuffed and 1 slightly soiled labels, capsules with French tax stamps, 1 slightly torn capsule, all capsules cut to reveal fully branded corks, very good appearance, excellent color and clarity Lot 6016: 3 nicked labels, slightly scuffed and slightly soiled labels, capsules with French tax stamps, all capsules cut to reveal fully branded corks, excellent color and clarity Lot 6017: 1 label with upper left corner torn and missing, 1 nicked label, scuffed and slightly soiled labels, capsules with French tax stamps, 1 slightly raised cork, all capsules cut to reveal fully branded corks Lot 6018: 3 signs of seepage, 2 stained vintage neck labels, scuffed and slightly soiled labels, capsules with French tax stamps, all capsules cut to reveal fully branded corks, excellent color and clarity Lot 6019: 1 scuffed and slightly soiled label, capsules with French tax stamps, capsules cut to reveal fully branded corks, excellent color and clarity As "cult" as you can get in Burgundy - and sublime quality too. Serena Sutcliffe, MW Lot 6015 6 mags (cn) Lot 6016 6 mags (cn) per lot: HKD 850000-1400000 per lot: USD 110000-180000 The late, great Henri Jayer died during the 2006 harvest but his influence and principles live on with those in Burgundy who saw how he worked and learnt so much from him. Undoubtedly, he is also revered among wine lovers who have his wines in their cellars. For decades he managed the estates of others as well as his own vineyards. He studied oenology in Dijon and particularly appreciated the chance to taste wines other than from Burgundy, thus enhancing his overall knowledge of wine making. From the beginning, Henri Jayer had great respect for the soil and for the grapes, his raw material, preferring 'selection massale' to clones, as then he could produce small berries with resistant skins. He loved old vines, if possible with an average of 50 years, and this enabled him to limit production without recourse to green harvesting. An enemy of any form of 'greenness', he always destalked and was an early supporter of sorting tables. He picked very ripe and used natural yeasts. Cold macerations before fermentation and new Troncais oak barrels were a rule of thumb, always marrying modernity with tradition. We certainly owe much to Henri Jayer, particularly the 'discovery' of Cros Parantoux, which was lying fallow, requiring him to clear it of rocks with a wheelbarrow! To appreciate the great wines of Henri Jayer at their best, remember that they normally have a good deal of sediment, so rest them well after any movement. Serena Sutcliffe, MW

  • HKGHong Kong
  • 2014-10-04
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Richebourg 1976 henri jayer

Richebourg 1976 Henri Jayer Cote de Nuits, Grand Cru u. 3x3cm, 2x4cm, 1x4.5cm, 1 label very slightly soiled, 1 wine stained by old seepage, rest very good appearance, 2 further bottles with signs of old seepage on glass, 1 capsule corroded on top, 1 capsule cut, cork reads "Richebourg, Mise au Domaine Henri Jayer, 1976" Lot 9 12 bts (oc) per lot: GBP 36000-48000 per lot: USD 50500-67500 per lot: EUR 44500-59500 The late, great Henri Jayer died during the 2006 harvest but his influence and principles live on with those in Burgundy who saw how he worked and learnt so much from him. Undoubtedly, he is also revered among wine lovers who have his wines in their cellars. For decades he managed the estates of others as well as his own vineyards. He studied oenology in Dijon and particularly appreciated the chance to taste wines other than from Burgundy, thus enhancing his overall knowledge of wine making. From the beginning, Henri Jayer had great respect for the soil and for the grapes, his raw material, preferring 'selection massale' to clones, as then he could produce small berries with resistant skins. He loved old vines, if possible with an average of 50 years, and this enabled him to limit production without recourse to green harvesting. An enemy of any form of 'greenness', he always destalked and was an early supporter of sorting tables. He picked very ripe and used natural yeasts. Cold macerations before fermentation and new Troncais oak barrels were a rule of thumb, always marrying modernity with tradition. We certainly owe much to Henri Jayer, particularly the 'discovery' of Cros Parantoux, which was lying fallow, requiring him to clear it of rocks with a wheelbarrow! To appreciate the great wines of Henri Jayer at their best, remember that they normally have a good deal of sediment, so rest them well after any movement. Serena Sutcliffe, MW LYING IN GREENFORD, MIDDLESEX Offered Duty Paid only

  • USAUSA
  • 2016-05-11
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Château Cheval-Blanc 1947

CHÂTEAU CHEVAL BLANC The estate of Cheval Blanc is situated at the extremity of Saint Emilion bordering on Pomerol, with views of l'Evangile and La Conseillante, and offers a very curious mixture of soil and subsoil areas whose nature changes at each step. A vineyard walk along the roadside clearly illustrates this for at Cheval Blanc the soils are rich in clay, gravel, deep tan in color, the soil looks nurished and moist. A few yards away, as one encroaches upon La Dominique, the soil change is evidenced by more sand mixed with clay, altogether a lighter color, more beige than tan. Their respective wines are at opposite ends of a spectrum, those of Cheval Blanc retain breed and class. The result of Cheval Blanc's soil diversity and an extremely well-chosen selection of grape varieties, combined with the assiduous care taken over the elevage and winemaking, coalesces to make a wine of a great softness, body and delicacy, plus a delicious bouquet, but most particularly a distinctive style which makes it instantly recognizable and more importantly in demand. No other wine in the appellation has as broad a drinking plateau as that of Cheval Blanc. The wine of Cheval Blanc for most of the last century stood alone in Saint Emilion's hierarchy. It wasn't until the mid-70s resurgence of Ausone that it had to share the stage. The vineyard had been in the Fourcaud-Laussac family for more than 150 years and covers an area of 87 acres. It has remained unchanged since 1850. Vintage 1947 ***** "The second of the three great post-war vintage. An increasingly hot summer followed by harvesting in almost tropical conditions. The grapes had an exceptionally high sugar content but the heat caused serious fermentation problems, resulting in quite a few wines suffering from high volatile acidity. On the whole, exceptionally rich almost voluptuous wines, though some living dangerously." MB, Vintage Wine Château Cheval-Blanc--Vintage 1947 Saint-Emilion, 1er grand cru classé (A) Level: into neck; lightly rubbed label, capsule cut by Christie's to reveal a vintage stamped Château cork also stating "Rebouché en 1982", capsule contemporaneous with recorking date "it is not only the most impressive, famous (and expensive) '47 but is unquestionably one of the greatest wines of all time. It did not put Cheval Blanc on the map - it was already there - but it was and is, a terrific eye-opener. First noted in March 1959 'very full flavoured, soft on the palate yet with very day almost bitter finish. Great quality'. More ecstatic notes in the mid-1966s 'full, very rich, silky, perfect' and in the margin 'knocked Lafite and Margaux out of court'! Three extremely good Harvey's bottlings interspersed with magnificent château-bottlings, including and incredibly rich, fat, ripe, magnificent magnum with high alcohol. But I could go on, and on, for I have been privileged to taste, to drink, to note the '47 Cheval Blanc on well over two dozen occasions. I confess to describing, its mammoth concentration and sweetness as 'port-like' and, dare I say it, prefer the elegance of the 1966! My best notes were made in the 1980s when it appeared to me to be at its zenith: 'huge, soft, complete, rounded, fabulous, concentration' and so forth, but also 'lacking charm', its original opacity is now medium or fairly deep. It was at its best at the Latner dinner: lovely bouquet; losing its positive sweetness, though very rich and powerful (14 alcohol) with a slightly tarry taste. Still impressive. Most recently, faultless yet- dare I say it - unexciting. At Spencer House, London, May 2000 *****" MB, Vintage Wine 1 double-magnum per lot

  • USAUSA
  • 2006-03-02
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Château Latour 1961

Vintage 1961 ***** A great vintage often compared to the 1945 for the two have several things in common. First of all, nature did the pruning: frosts severely reducing the potential crop in 1945 and heavy rain washing away the pollen in 1961. Though there was persistent rain in July, there was drought in August, followed by a very sunny September which resulted in a harvest of small, thick-skinned, well-nourished grapes in turn producing deeply coloured, ripe but concentrated and tannic wines. Opinions vary, some sure of the'61s superiority, some- as I do- considering the'45s greater. The risk is that the tannin well outlive the fruit, Nevertheless some fabulous wines made. With well over a thousand individual notes on '61s, I have to be ruthless in my selection. MB, Vintage Wine Château Latour--Vintage 1961 Pauillac, 1er cru classé Pristine In original wooden case "Of the eight recent notes, its depth of colour is the first thing one notices, and its nose, rather like Lafite's is a bit slow to open up, Suprisingly sweet too yet a very tannic finish (at Aschau in 1994). In 1997, a corky, woody bottle at a Saintbury Club dinner. It was helped along by the cheese souffle. At the La Réserve tasting, despite its extraordinary sweet, nose-filling bouquet, a mammoth wine, all the component parts excessively represented. Most recently, a superb bottle at Josh Latner's dinner. Last tasted Jan 2000 ****(**) Another half century of life." MB, Vintage Wine 1 jeroboam per lot

  • USAUSA
  • 2006-03-02
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Romanee conti 1993 domaine de la romanee-conti

Romanee Conti 1993 Domaine de la Romanee-Conti Cote de Nuits, Grand Cru u. 2x3cm, labels very lightly bin soiled but good for age, several labels very slightly frayed at intervals along edges, 1 capsule has an old sign of seepage, 3 bottles have U.S. import back labels, 2 bottles have no back labels, remaining back labels lightly bin soiled, bottle numbers 00409, 00462, 00705, 00708, 00875, 01787, 01789, 01933, 01935, 01936, 01937, 01955 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. SS. Lot 6208 12 bts (cn) per lot: HKD 700000-1000000 per lot: USD 90000-130000 The Domaine, as it is known, is iconic. Much more important, it also produces the most extraordinary wines in Burgundy - and it has been doing so for some time. The generations responsible for the Domaine change, but the terroir remains. And these are very special vineyard parcels indeed, married to meticulous care and philosophy leading to low yields and healthy, ripe grapes, at whatever cost. During the 1990s, vineyard policy has been organic, with co-owner Aubert de Villaine monitoring everything with his usual attention to detail. Domaine de la Romanee-Conti wines evolve and develop dimensions in a way that resembles a mosaic - points of bouquet and flavour making up a harmonious whole that becomes more beautiful as it unfolds in the glass. Yes, these are hedonistic wines and, yes, they are not like any other. The trick is in capturing what these remarkable plots of vines can give and letting them express themselves through minimum intervention and enlightened nurturing. SS. 1.80 ha (4.32 acres), average production: 450 cases, average age of vines: 52 years In 1760, the Prince de Conti bought the lower part of La Romanee, and a myth was born. The de Villaine and Leroy families acquired Romanee-Conti in 1850 and they still own and run the Domaine jointly. It is interesting that in 1850 Romanee-Conti was estate bottled - then this ceased for a period and restarted in 1911. Thus, the essence of Romanee-Conti was captured but, in my view, never tamed! It is a wild, extraordinary wine, unpredictable and constantly mutating as it matures, but always true to its indubitably great self. The care lavished on Romanee-Conti is shown to all the wines of the Domaine, but the breed and refinement in the taste of Romanee-Conti would point to an indefinable "something extra" in this 1.80 ha plot. Tradition is respected (Romanee-Conti is always vinified in wooden vat number 17 which dates from 1862), but not blindly revered for its own sake. Short pruning, organic fertilizer, low yields, high average age of vines, late picking, selection of grapes, long fermentation with natural yeasts, 70-100% vin de presse added to give quality tannins and good acidity, new Troncais oak barrels from wood the Domaine dries itself, almost no racking (and then only by gravity), fining with 3-4 egg whites per cask only in some years according to the character of the vintage, no filtration - all this is taken for granted. But Romanee-Conti is more than the total of a mass of intricate manoeuvres - it is the pure silk and intoxicating aromas and flavours that appear, as if by magic, from mere marl and limestone. SS.

  • HKGHong Kong
  • 2012-04-01
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Domaine de la Romanée-Conti, Romanée-Conti

A FULL CASE OF ROMANEE CONTI 1988 Lying in Corsham, Wiltshire (Octavian) Domaine de la Romanée-Conti, Romanée-Conti 1988 Grand Cru, Côte de Nuits In new Domaine wooden case, band removed by Christie's, damaged lid. Original straws. Worn capsules. Leroy slip labels. Good appearance, one slightly damaged, labels stamped with green roundels. Levels: 3cms below base of corks or better, one 4cms below base of cork. Bottle numbers 04751 to 04762. Tasting note: In 1988 there are 575 cases of Romanée-Conti. Consumers should be deliriously happy, considering there were only 225 cases in 1987. It is more backward than the 1987, 1986, or 1985, and is one of the fullest and most tannic examples of Romanée-Conti I have tasted this decade. It may even outlive the otherworldly 1985. It is staggeringly concentrated with a bouquet that almost defies articulation. There is no doubting what it is and who made it. It is a flashy, dramatic wine with astonishing length and mystique. I would not dare touch a bottle before the mid- to late nineties. The 1988 production was twice what it was in 1987, but the same as in 1985. The 1988s are fuller-bodied, deeper, more concentrated wines than the superb 1987s, and will need some time in the cellar to shed their generous amounts of tannin. The only vintage they can be favourably compared with is the 1985 vintage, and the 1985s were a great deal more forward and flattering to taste when young. There is more depth in the 1988s than in the 1986s or even the superb 1980s (which turned out to be the finest wines made in that underrated vintage). Robert Parker, Burgundy Book, Jan 1990 12 bottles per lot

  • GBRGrande Bretagne
  • 2016-06-09
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Invendu

Saint Florian

Writing in 1963, Walter Paatz (op. cit.) hailed the Altarpiece in the Church of St Wolfgang in Kefermarkt, Upper Austria as 'the most magnificent Bavarian contribution to a series of masterpieces of late Gothic retable art in southern Germany'. Following his restoration campaign of the Altar in the 1850s, Adalbert Stifter drew such inspiration from the work that he dedicated a lengthy description to it in his Bildungsroman, Der Nachsommer. The present statue of Saint Florian may be counted among the few sculptures independent of the Kefermarkt Altar that can be attributed to this masterwork's elusive author and his assistants. It is a magnificent example of a life-size limewood Saint in full armour, whose appearance on the art market is a rare event. The Church in Kefermarkt was built in the 1470s under the orders of Christoph von Zelking, a captain and counsellor to the Holy Roman Emperor, Friedrich III. In 1476 the Bishop of Passau consecrated the new church in his diocese to St Wolfgang, and it soon became a site of pilgrimage. Documentary evidence suggests that the Altarpiece was ordered sometime before 1490 but not completed until around 1497, when a final payment was made. Frustratingly, the identity of its master is unrecorded, which has inspired a variety of attributions. While the exceptional quality of the Altar has in the past brought it into association with such illustrious names as Tilman Riemenschneider, Veit Stoss, and even Albrecht Dürer, the prevalent view in today's scholarship is that the Master may likely be identified with Martin Kriechbaum. Active between circa 1470 and 1510, Kriechbaum belonged to a family that seems to have run the foremost workshop in southern Bavarian Passau, which cultivated firm links to Upper Austria. Yet in the absence of secured works by Martin Kriechbaum, whose documented commissions are sadly lost or destroyed, the Master of the Kefermarkt Altar will remain an enigmatic visionary. Stripped of its polychromy during restoration works in the mid-19th century, the Kefermarkt Altar is celebrated for its wealth of virtuoso carving in monochrome wood. In its current arrangement, the three monumental central figures of saints are flanked by richly decorated wings and surmounted by an ornate superstructure. In front of the church walls on each side of the altarpiece are two life-size figures of Saint George and Saint Florian, the so-called Schreinwächter (Guarders of the Altar). Their iconography is borrowed from Michael Pachers representations of the same subjects in the church of St Wolfgang in Salzkammergut (Kahsnitz, op. cit., pl. 39), whose altar was completed in 1479. Stylistically the figures of the Kefermarkt Altar seem indebted to several southern German schools and masters, and the heterogeneous nature of the carvings has frequently been remarked upon. Some have argued that more than one master executed the works, while others are dismissive of this idea, highlighting the inevitability of different hands within a single masters workshop (see Schädler, op. cit., p. 11). What is evident is that the Altars most admired figure, that of Saint Christopher, exhibits a level of realism and psychological sensibility which is shared by only a few of the other figures, notably the Saint Florian. The Christophers lifelike, tormented physiognomy has been celebrated as an exemplar of late Gothic sculpture and contributed to the Altars fame. It is to these figures that the present Saint Florian most clearly relates. The statue is characterised by a similar tilted positioning of the head with a slight downward gaze and a hint of a frown. Like that of the Kefermarkt Florian, the present figures mouth forms a full-lipped pout, lending it a tense, melancholic expression. While his large curls of hair are reminiscent of the savage locks that frame the head of Saint Christopher, the Florians pose appears to be derived from that of his namesake in Kefermarkt. However the present Saint is represented in a more affirmed contrapposto, with a more dynamic arrangement of the arms. The general appearance of his armour, too, compares to the Kefermarkt Schreinwächter, with intricate chainmail details, though its appearance is on the whole more linear and subdued, and perhaps less fantastical. Note the absence of the large besagues sported by the Kefermarkt Saint, and the lack of headdress in the present figure. Another compelling comparison for the Saint Florians physiognomy is found in an under-life-size Deacon Saint at the Musée du Louvre (inv. no. R.F. 2810, see Guillot de Suduiraut, no. 42), which is generally accepted to be an isolated work by the Master of the Kefermarkt Altar. Note the exaggerated shock of hair, small eyes, and broad jawline exhibited by both figures. In its form and stylistic features the Paris Deacon compares closely to the Saints Stephen and Lawrence of the same size in the Kefermarkt Altar. The suggestion that the Louvre figure therefore represents a survival from a now-lost altarpiece by the Kefermarkt Master, which largely mirrored the form of that in Kefermarkt, is relevant to our Saint Florian: His formal dependence from the Kefermarkt Florian and their correspondence in height present the likelihood that the present figure functioned as a Schreinwächter in a very similar altarpiece by the same workshop, which was later disassembled or for the most part destroyed. That this hypothetical altarpiece postdates the one in Kefermarkt is suggested partly by the shoes of the present figure, which are broadly rounded at the toes rather than pointed, indicating a date around or after 1500. The armour, though similar to that of another Saint Florian of circa 1490 (Legner, op. cit., no. 243), may be dated to circa 1510 and in the ray-like grooves on the breastplate compares to that of later Schreinwächter (see Legner, op. cit., no. 329). If indeed the Master of the Kefermarkt Altar is identical with Martin Kriechbaum, the Florian would thus date to the final years of his activity. Perhaps by this time the master had adapted his style, or given some of the important figures to his most talented assistants, who would have been able to achieve the superb level of carving shown in the present statue. The Saint Florians expressiveness and abundant curly hair arguably anticipates later Altars by the so-called Danube School, such as that in Zwettl in Lower Austria, whose sculptors may have been influenced by the Kefermarkt Altar's style (see Kahsnitz, op. cit., pp. 364-385). Saint Florian is the patron saint of Linz in Upper Austria and has traditionally been venerated by firefighters and chimneysweeps. Born in the mid-third century AD in the Roman-occupied Austrian city of Aelium Cetium, Florian became a commander of the Imperial army, where he recruited a brigade of firefighters. When Florian was suspected of laxity in enforcing the proscriptions against Christians, he was ordered to sacrifice to the Roman gods but refused, leading to his execution. About to be burned at the stake, Florian claimed he would be raised to heaven on the flames, prompting the Romans to drown the martyr in the river Enns. Saint Florians appearance as a Schreinwächter in Austrian retables may have partly been intended to protect these wooden masterpieces from devastating fires. The documented history of Martin Kriechbaum, the proposed Master of the Kefermarkt Altar, poignantly demonstrates the harsh reality of this: Two of his elaborate altarpieces burned to extinction shortly after their execution one in 1598, and another as early as 1512 (see Paatz, op. cit., p. 56). RELATED LITERATURE W. Paatz, Süddeutsche Schnitzaltäre der Spätgotik: Die Meisterwerke während ihrer Entfaltung zur Hochblüte, 1465-1500, Heidelberg, 1963, pp. 56-61; A. Legner (ed.), Spätgotik in Salzburg: Skulptur und Kunstgewerbe, 1400-1530, exh. cat. Salzburger Museum Carolino Augusteum, Salzburg, 1976; M. Baxandall, The Limewood Sculptors of Renaissance Germany, New Haven and London, 1980, p. 276; S. Guillot de Suduiraut, Sculptures allemandes de la fin du Moyen Age dans les collections publiques françaises, 1400-1530, exh. cat. Musée du Louvre, Paris, 1991, pp. 170-172; A. Schädler, 'Der Kefermarkter Altar und sein Meister ein Überblick', Studien zur Kulturgeschichte von Oberösterreich, vol. 1, 1993, pp. 7-15;  R. Kahsnitz, Die grossen Schnitzaltäre: Spätgotik in Süddeutschland, Österreich, Südtirol, Munich, 2005, pp. 164-179; pp. 364-385 The present lot is offered with a Radiocarbon dating measurement report (ref. no. RCD-8603) prepared by J. Walker of RCD Lockinge, which states that the wood dates between 1286-1400 (95% confidence interval).

  • GBRGrande Bretagne
  • 2016-12-06
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ROMANEE CONTI 1996 DOMAINE DE LA ROMANEE-CONTI

Romanee Conti 1996 Domaine de la Romanee-Conti Cote de Nuits, Grand Cru Lot 6078: Bottle #s 814-819 and 784-789, cases banded prior to inspection, Lot 6079: u. 4.5cm, jeroboam # 3, banded prior to inspection, slightly scuffed label The total experience in this great vintage. The bouquet has everything. Violets, peat, raspberries. A mind-blasting total taste. A huge mouthful of wild cherries with plummy fruit, 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. SS. See illustration Lot 6078 12 bts (2 owc) Per lot: HKD 550000-800000 Per lot: USD 70000-100000 1.80 ha (4.32 acres), average production: 450 cases, average age of vines: 52 years In 1760, the Prince de Conti bought the lower part of La Romanee, and a myth was born. The de Villaine and Leroy families acquired Romanee-Conti in 1850 and they still own and run the Domaine jointly. It is interesting that in 1850 Romanee-Conti was estate bottled - then this ceased for a period and restarted in 1911. Thus, the essence of Romanee-Conti was captured but, in my view, never tamed! It is a wild, extrordinary wine, unpredictable and constantly mutating as it matures, but always true to its indubitably great self. The care lavished on Romanee-Conti is shown to all the wines of the Domaine, but the breed and refinement in the taste of Romanee-Conti would point to an indefinable "something extra" in this 1.80 ha plot. Tradition is respected (Romanee-Conti is always vinified in wooden vat number 17 which dates from 1862), but not blindly revered for its own sake. Short pruning, organic fertilizer, low yiields, high average age of vines, late picking, selection of grapes, long fermentation with natural yeasts, 70-100% vin de press added to give quality tannins and good acidity, new Troncais oak barrels from wood the Domaine dries itself, almost no racking (and then only by gravity), fining with 3-4 egg whites per cask only in some years according to the character of the vintage, no filtration - all this is taken for granted. But Romanee-Conti is more than the total of a mass of intricate manoeuvres - it is the pure silk and intoxicating aromas and flavours that appear, as if by magic, from mere marl and limestone. SS. 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. SS. Quantity: 1

  • HKGHong Kong
  • 2011-04-01
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Chateau lafite 1982

Chateau Lafite 1982 Pauillac, 1er Cru Classe Lot 8060: u. 5bn, 1vts, 6 levels into neck, 1 heavily damp stained label, 2 scuffed and 4 slightly scuffed labels, 1 corroded capsule, excellent color and clarity Lot 8061: u. 1bn, 2vts, 7ts, 2 levels into neck, wine comes from different importers, 2 slightly corroded capsules, 3 stained, 1 nicked and 2 slightly scuffed labels, excellent color and clarity 65% Cabernet Sauvignon in this vintage. In 2010, there was almost a smoky nose. It is just so youthful, even haunting in its flavours, with a finish that borders on the eternal. Two years later and, after two hours in the decanter, plump, aromatic and ultra elegant. Serena Sutcliffe, M.W. Lot 8060 12 bts (sc) Lot 8061 12 bts (sc) per lot: HKD 200000-280000 per lot: USD 25000-35000 Throughout the centuries, Lafite has proved that this is a wine that ages in the most ethereal way. Lafite combines elegance, breed and scent with sustained power, a miracle of balance and nobility. The extraordinary terroir and position in Pauillac have always been matched by the Rothschilds' sense of quality and vision, resulting in a wine that has mythical status. Continuity is vital in producing a great wine and the wine-making brilliance of Charles Chevallier from the 1990s to the present day has added extra lustre to this exceptional liquid, with the fame of the property spreading further throughout the world. When serving Lafite, decant it well in advance of drinking as its bouquet and taste amplify to multi-faceted dimensions on contact with the air. At the Chateau itself, they double decant, back into the original bottle with its unchanging, instantly recognisable label. Lafite matures slowly, developing gloriously with bottle age, as historic tastings have shown. Collect Lafite for yourself and watch it grow! Serena Sutcliffe, M.W.

  • HKGHong Kong
  • 2013-04-03
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Chateau lafite 1982

Chateau Lafite 1982 Pauillac, 1er Cru Classe Lot 8060: u. 5bn, 1vts, 6 levels into neck, 1 heavily damp stained label, 2 scuffed and 4 slightly scuffed labels, 1 corroded capsule, excellent color and clarity Lot 8061: u. 1bn, 2vts, 7ts, 2 levels into neck, wine comes from different importers, 2 slightly corroded capsules, 3 stained, 1 nicked and 2 slightly scuffed labels, excellent color and clarity 65% Cabernet Sauvignon in this vintage. In 2010, there was almost a smoky nose. It is just so youthful, even haunting in its flavours, with a finish that borders on the eternal. Two years later and, after two hours in the decanter, plump, aromatic and ultra elegant. Serena Sutcliffe, M.W. Lot 8060 12 bts (sc) Lot 8061 12 bts (sc) per lot: HKD 200000-280000 per lot: USD 25000-35000 Throughout the centuries, Lafite has proved that this is a wine that ages in the most ethereal way. Lafite combines elegance, breed and scent with sustained power, a miracle of balance and nobility. The extraordinary terroir and position in Pauillac have always been matched by the Rothschilds' sense of quality and vision, resulting in a wine that has mythical status. Continuity is vital in producing a great wine and the wine-making brilliance of Charles Chevallier from the 1990s to the present day has added extra lustre to this exceptional liquid, with the fame of the property spreading further throughout the world. When serving Lafite, decant it well in advance of drinking as its bouquet and taste amplify to multi-faceted dimensions on contact with the air. At the Chateau itself, they double decant, back into the original bottle with its unchanging, instantly recognisable label. Lafite matures slowly, developing gloriously with bottle age, as historic tastings have shown. Collect Lafite for yourself and watch it grow! Serena Sutcliffe, M.W.

  • HKGHong Kong
  • 2013-04-03
Prix ​​d'adjudication
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Chateau latour a pomerol 1961

Chateau Latour a Pomerol 1961 Pomerol Lot 103: u. t/hs Lot 104: u. 1bn, 1vts, 1ts, 3 just into neck, rest good levels, 1 cork slightly depressed Superlative when I saw it some time ago. Perfect provenance examples of this wine, unfortunately, do not grow on trees. The concentration and ripeness belong to the year, the depth and character to the property. The tannic 'scaffolding' was turning to sweetness and opulence at last sighting. Serena Sutcliffe, MW Lot 104 ♦ 12 bts (owc) per lot: GBP 40000-50000 per lot: USD 64000-80500 per lot: EUR 48000-60000 LYING IN OCTAVIAN, WILTSHIRE Offered In Bond, available duty paid These items are in bond. The buyer has a choice of taking the item in bond (with the sale being made in bond) or taking the item duty paid. If taken in bond, VAT will not be charged on the hammer price. VAT will be charged at 20% on the buyer's premium which may not be cancelled or refunded by Sotheby's. If taken duty paid, when Sotheby's releases the property to buyers in the UK, the buyer will become the importer and must pay Sotheby's duty at the current rate and import VAT at 20% on the hammer price + duty which may not be cancelled or refunded by Sotheby's. VAT will be charged at 20% on the buyer's premium which may not be cancelled or refunded by Sotheby's. (VAT - registered buyers from the UK should note that the invoice issued by Sotheby's showing import VAT payable, is not suitable evidence for recovering that VAT. In order to recover this as input tax, a VAT registered buyer must purchase the wine in bond and clear it under his own name and VAT number. HM Customs will then issue a Form C79 which is acceptable evidence for recovering the VAT as input tax subject to the normal rules.) (All business buyers from outside the UK should refer to 'VAT Refunds from HM Customs & Excise' for information on how to recover VAT incurred on the buyer's premium).

  • GBRGrande Bretagne
  • 2013-10-23
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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.