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F I N E W I N E M A G A Z I N E C O N T E N T S PAGE 26 Journey to The Centre of Wine PAGE 180 Notes on Mouton Wine & Art PAGE 34 Napa Valley's Wines Now Classified PAGE 210 Liquid History PAGE 158 Cellar Full of Nebuchadnezzars PAGE 74 One of The World's Greatest Restaurants 8 F I N E

F I N E W I N E M A G A Z I N E C O N T E N T S 11 FINEEDITORIAL 15 FINENUIKKI 18 FINEPERSONALITY Taste of FINE Next After God! A Wine Connoisseur of Great Charm: Jan-Erik Paulson Vinopolis ­ Centre of Wine Education Napa Classification 1st and 2nd Growths Napa by Limo L' Auberge de I'Ill ­ In a Class of It's Own Personal Wine Bar FINE Nine ­ Vintages for Celebrating Round Years Auction Report of TheYear So Far Krug or Chilean Red? The Best Non-Vintage Champagnes Old and New Luxury Meet in The East Happiness Has Its Price ­ The Best Romanée-Conti Wines to Drink Today Fine Wine Weekend in Frankfurt Recent Tastings Adi Werner and His Legendary Big Bottle Wine Cellar Château Haut-Brion Wine Tasting and Art I ­ Mouton-Rothschild 1924­1951 Bugatti Veyron ­ Mr Hyde's Car Glass Matters 177 Years of Perrier-Jouët Vintages Worldwide Wine Experiences 26 FINEVISIT 34 FINECLASSIFICATION 70 FINETRAVEL PAGE 110 Non-Vintages are Full of Surprises 74 FINEDINING 80 FINEGADGET 82 FINEVINTAGE 94 FINEINVESTING 108 FINELARSSON 110 FINECHAMPAGNE 126 FINESCULATTI 128 FINE1000FINEST 133 FINEEVENT 136 FINETASTINGS PAGE 194 Super Cars are Super Scary 158 FINECOLLECTION 172 FINEESTATE 180 FINEART&WINE 194 FINELIFESTYLE 208 FINEAVELLAN 210 FINECHAMPAGNE 222 FINERECOMMENDS PAGE 172 Estate of Wine Connoisseurs 9 C O N T E N T S Fi n e C o n t e n t s

F I N E M A G A Z I N E S W r i t e r s FINEMAGAZINES 100 Pall Mall St James, London SW1Y 5HP United Kingdom WWW.FINE-MAGAZINES.COM Tel: +44 (0) 20 76648800 fax: +44 (0) 20 73213738 Editor-in-Chief Pekka Nuikki pekka.nuikki@fine-magazines.com Managing Editor Pekka Nuikki Editor-in-Chief Pekka Nuikki, founder and editor-in-chief of FINE Magazines, is an author and one of the leading experts on fine wines. He has published more than twenty international wine and art books, among them In Vino Veritas, a book on investing in wines, Drinking History, profile of fine wines and their vintages between 1870­1970, a book about the Château Mouton-Rothschild ­ Wine and Art 1924­2003, and most recently a book about the best German white wines. His next book will be all about the hundred most important red wines. Mr Nuikki is also an award-winning photographer, who has exhibited his artwork all over the world and he has worked as creative director on advertising agency group. He is also the luckiest man in the world, having hit seven hole-in-ones. Juha Lihtonen Managing Editor Juha Lihtonen is the editor of Scandinavian, European and American FINE Wine Magazine and manyfold Finnish sommelier champion. He was selected as the best sommelier in the Nordic countries in 2003. Mr Lihtonen has worked as a wine educator, a wine host on a radio programme, as well as the wine buyer of a major cruising line. He has written books on combining wine and food. Besides his day job, Mr Lihtonen studies for the Master of Wine qualification. Essi Avellan MW Contributor Essi Avellan MW is the first Master of Wine from Finland and the second ever from the Nordic countries. She is the Editor of FINE Champagne Magazine. Ms Avellan was awarded the Tim Derouet Memorial Award and the Lily Bollinger Medal for excellence in the Master of Wine examination. Ms Avellan contributes to a number of newspapers and international wine and food magazines. Additionally Ms Avellan judges at several wine competitions. Her expertise area and passion is champagne. Jan-Erik Paulson Contributor Jan-Erik Paulson is one of Europe's leading authorities on mature wines, specialising in Bordeaux and Austria. Mr Paulson has been internationally renowned for his top tastings for over 30 years and for his Rare-Wine.com online shop. He is a passionate golfer and lives in Germany with his family. Andreas Larsson Contributor The best sommelier in the World in 2007, the best sommelier in Europe in 2004 and the best sommelier in the Nordic countries in 2002. Mr Larsson has worked as a sommelier in the best restaurants in Stockholm and won the Wine International Sommelier Challenge in 2005. He is a member of the Grand Jury Européen and has occupied many wine juror positions around the world. Mr Larsson is also a wine writer and educator. Meri Kukkavaara Contributor Meri is an interior designer by trade, who has a wide range of interests in the field of art, as well as education. Since completing her art studies in Florence, Italy she has worked extensively with art exhibitions and antiques, while occasionally contributing to art exhibitions as a free artist. She is also an art therapist, with more than ten years experience. Meri is a keen student of life and in her free time enjoys taking up courses such as drumming, Indian cooking and tango. Stuart George Contributor Stuart George is an awarded English freelance wine writer, who is known for his writing for The World of Fine Wine. Mr George studied English and European Literature at The University of Warwick. He has worked as a wine merchant, travelling widely in different wine regions, before turning to wine writing. In his free time Mr George listens to music, plays guitar and follows cricket. Mario Roam Sculatti Contributor Mario Roam Sculatti is the Director of Sales and Consigments for Spectrum Wine Auctions, the world's newest fine wine auction company with offices based in Napa Valley and Orange County, California and Hong Kong. Mr Sculatti grew up in Saint Helena, California, in the heart of the Napa Valley. His family has mostly farmed vineyards and worked with wine for over a hundred years. The original family vineyard is located in Madronna area of Saint Helena. Mr Sculatti's love and taste in wine has evolved by simply being around great winemaker friends, and making his own cabernet. He has traveled the wine world extensively and is now most intrigued by the growing interest in wine in Asia. Uwe Krauss Contributor Journalist Uwe Kauss feels at home in the wine cellars of the world. No matter if he explores the "world's largest floating wine cellar" on board of the Queen Mary 2 or if he takes a look into the magnum-heaven of Adi Werner in St. Christoph, Mr Kauss knows how to convey his delight to his readership. The freelance journalist also writes for the "Frankfurter Allgemeine Sonntagszeitung", for the biggest specialised online portal "Wein-Plus" and for children ­ clever non-fiction books that are secretly read by the parents as well. Juha Lihtonen juha.lihtonen@fine-magazines.com Deputy Editor Anne Lepola anne.lepola@fine-magazines.com Publishing Editor Meri Kukkavaara meri@fine-magazines.com Editorial & Digital Coordinator Craig Houston craig.houston@fine-magazines.com Editorial Assistant Pipsa Salolammi pipsa.salolammi@fine-magazines.com Creative Director Anni Rekonen anni.rekonen@fine-magazines.com Art Directors Teemu Timperi teemu.timperi@fine-magazines.com Samuli Ollikainen samuli.ollikainen@fine-magazines.com Senior Advisers Martti Viitamäki, Tuomas Hirvonen, Sami Martinkauppi Contributors Juha Jormanainen, Pascal Kuzniewski, Philip Tuck MW, Jerome Bouix, Fred W.Wright Jr. Photographers Pekka Nuikki, Guido Bittner, Thomas Schauer Publishing Director Jarmo Hietaranta jarmo.hietaranta@fine-magazines.com CCO Markku Vartiainen markku.vartiainen@fine-magazines.com Media Sales Executives Jérôme Jouanno jerome@fine-magazines.com Alex Kanbar alex.kanbar@fine-magazines.com CBDO Pauliina Savolainen pauliina.savolainen@fine-magazines.com Subscriptions Cover photograph: Pekka Nuikki subs@fine-magazines.com +358 (0)10 289 1000 Price Subscription 4 issues Europe 59 / rest of the world 89 www.fine-magazines.com Publisher FINE Publishing Helsinki Ltd. Vattuniemenkuja 4 E 00210 Helsinki, FINLAND Fine Magazines does not keep nor return illustrations or other materials that have been sent to us without request. The opinions of contributors or interviewees presented in this magazine do not necessarily correspond to the opinions of the publisher or editorial staff. We withhold the right to make any modifications in texts and pictures published in the European Fine Wine Magazine. We reserve the right to refuse or suspend advertisements. © Copyright: European Fine Wine Magazine Ltd European Fine Wine Magazine ISSN 1797-4348 · American Fine Wine Magazine ISSN 1797-4348 International Distribution - Pineapple Media Limited · shcirculation@ntlworld.com · www.pineapplemediauk.com 10 F I N E

F I N E M A G A Z I N E S September 22, 2009 I recently dined with European wine collectors and sommeliers, all of us enjoying a twenty vintage vertical of Château Haut-Brion wines from 1934 to 2003. The atmosphere was wonderful. After all, the estate in question was one of Bordeaux's most respected and legendary chateaux. Indeed, all of the best vintages were worth their reputation and the highest points went to the top years 2003, 1990, 1989 and 1961. At the end of the occasion, a few more wines were brought to the table, blind. The last of them charmed the party with its intensity and sophistication; some even considered it to be the best of the evening. When the wine was revealed to be the 2002 Bryant Family Vineyard Cabernet Sauvignon, the party at the table was silent with astonishment. How could a young wine produced in Napa Valley be so excellent, especially in the company of the renowned Bordeaux First Growth? This occasion was not the only one of its kind. Many Napa wines have charmed us with their enjoyability time after time, despite their young age. Our interest toward the Napa wine region grew so big that during the past two years, we have spent more days there than in any other wine region. We have met scores of top producers, and, led by them, we have explored the region's different growth conditions. Wine production itself is rarely the main topic of conversation anymore. Today, instead of the celebrity winemakers, the producers speak of terroir just as passionately as the growers in Bourgogne. Indeed, vineyards in the region receive a huge amount of investment, and compromises are unheard of. Only the best possible quality is good enough. Unfortunately, that quality is mostly enjoyed by a small group of winelovers who are lucky enough to be on the wineries' mailing lists. Do Napa's top quality wines not deserve to be noticed more widely around the world ­ we think so, but what to do? Classification. We believe that Napa Valley needs a classification, so that its best wines can achieve the recognition and respect they deserve, alongside the best wines in the world. Therefore, we decided to create one for the pleasure and benefit of our readers. The Napa Valley classification that we have created is based on our experiences of Napa Valley wines gathered throughout the past 15 years. Along with their quality, we have noted the production philosophies of the producers, the terroir qualities of the wines, the market values and the estate's history. The classification, published in September, is in conjunction with Pekka Nuikki's Napa Terroir photography exhibition, which will the travel the world. The exhibition is part of FINE's year-long Save The Day charity campaign and the proceeds received from the works at the exhibition, organised in Napa, will directly benefit the St Helena Hospital. In addition, FINE will unveil and present the first FINELife-Award. This award is in recognition of a unique life's work and the first recipient will be introduced in the next issue of FINE. You are now holding a special issue of over two hundred pages. To compliment this historic Napa classification, we would like to offer you an insight into our exclusive FINE Champagne Magazine. Therefore included in this issue is a presentation of the best non-vintage champagnes available today. As a counterbalance to the Napa Valley Classification story, we visit Bordeaux to explore the fascinating history of Château HautBrion and enjoy the wines of Mouton-Rothschild with art. We dine in Alsace at L'Auberge de l'Ill, which has kept its three Michelin stars for over 40 years, and travel to London's unique wine experience, Vinopolis. In the lifestyle section, we fly to France in order to conquer our fears behind the wheel of the world's fastest sports car, the Bugatti Veyron. Hold on tight, TASTE OF FINE Juha Lihtonen Managing Editor 11 E D I T O R I A L Fi n e E d i t o r i a l

F I N E Next after God! onkton ­ a town without a centre or a bank ­ is a quietly inconspicuous place in a remote corner of America's Midwest. No one here is in any hurry to go anywhere, and there are hardly hordes of drivers exiting the motorway all keen to get here. The days go by like they always have, and people seem to want to keep it that way. On the outskirts of the town stands a solid but normal-looking two-storey white house in a quiet avenue. Its owner's dogs have their own demarcated area in the well-tended garden. Every morning before eight, at least six days a week, a large, serenelooking gentleman walks down the stairs from the bedroom to the kitchen for breakfast. After breakfast, this 62-year-old man, who occasionally grumbles about his back, though on the whole is happy with his state of health, goes up to his work room, where his two dogs spend most of their time on snoozing and playing. On the table is the day's work, all set out the previous evening: 32 bottles of wine and as many wine glasses. Next to the bottles is a large silver spittoon, in which, as the day goes on, the contents of the various bottles will end up. M a final synopsis. Having swilled the wine round inside his mouth for a moment, the man spits it out and once again scribbles a few sentences down on a piece of paper. Then he repeats the entire tasting ritual over again to confirm his opinions and makes a few final notes. The notes normally consist of fewer than ten sentences and of only one number. This number, generally made up of two numerals, is one of the world's most potent combination of figures. It has the power to decide the lives of countless numbers of people, and can make them rich or poor. This two-digit number is able to persuade thousands of people to pay top prices for wines around the world. This image of the start of the working day for Mr Robert Parker in his hometown is purely a figment of my imagination. But the fact that he is the world's most highly regarded wine critic is not. The two-digit, at best three-digit, rating he gives wines acts as a sort of Eleventh Commandment for wine producers, traders and consumers. But why should the opinion of this normal, middleaged American be so important that it frequently influences my drinking and spending habits, along with those of millions of other the unbearable lightness of sharing The man calmly begins work and pours a few centilitres of liquid from the first bottle, which is in a cloth bag to conceal its name. He glances at the colour of the wine and grunts approvingly at its dark, almost black, colour. He vigorously swirls the wine in the glass, unhurriedly raises it to his mouth and sticks his very valuable nose (it is insured for a million dollars!) deep inside. He sniffs earnestly at the wine for quite some time. The aromas the wine releases immediately attack his experienced olfactory receptors, as if their very existence were under threat. At the same time, thousands of memory traces awaken in his brain and a split second later his senses are at work, analysing the new fragrance and comparing it to all those he has encountered before. Conclusions are reached. They are transmitted along the neural pathways leading to the fingers that hold the pencil he uses to record his experience in written form. Next, he moves the glass away from his nose and down to his lips, which he opens slightly, and then pours a tiny quantity of the wine into his mouth, while simultaneously taking a short breath of air. The taste buds in his mouth and on his tongue slowly register the tastes of the wine's different elements. Gone are the days when they awaited this moment anxiously and excitedly, when their owner made them work hard and insisted on complete success. Now they proudly, almost routinely, though always professionally, conduct an analysis of the wine, sorting out its various elements and Pekka Nuikki sending the information up to the brain for Editor-in-chief wine lovers? Why do we not simply trust in our own sense of taste and the size of our wallets? Perhaps it is because Mr Parker is nearly always right. Many of his colleagues over the years have tried to challenge Robert Parker's absolute rule and question his abilities. The attacks on him in recent years, particularly from British wine critics, are understandable but ultimately in vain. To the ordinary wine consumer it is no more than meaningless bickering between a small and very complacent group of people, and which seems to totally ignore the fact that no one sitting in their ivory tower can tell you or me why their opinions should be any more reliable than Mr Parker's. Whoever is right is up to the consumers and their taste buds to decide, and they have chosen Mr Parker. I realise that the opinions of critics also often guide my choices in areas like the cinema and art exhibitions. Almost as often, I realise I am later amazed at the words of praise by the critics who persuaded me to go. But when I let Mr Parker inform my choices, I almost always realise afterwards that I am delighted ­ the wine is excellent. This too is the case too for most of my friends. Of course there are a lot of wine lovers who care little for what Robert Parker has to say. They evidently trust in their own sense of taste and nobody else's. That is fine, because the fact is that, although the judgements that critics make about wine are helpful when it comes to its quality and present condition, they do not say what the wine tastes and feels like in your mouth. Only you can say that, no one else. I urge all my readers to bravely trust in their own sense of taste and buy wines that the world's best critic, you yourself, has awarded the complete 100 points to. If, however, sometimes you are not so sure, there is always Mr Parker to ask. After God, that is. 15 N U I K K I Fi n e Nu i k k i

a connoisseur ine of great charm 18 F I N E

Text: Juha Lihton en Photos: Pek k a Nuik k i T here are only a few internationally acclaimed connoisseurs of fine and rare vintage wines in the world and Jan-Erik Paulson is one of them. With over twenty years wine experience the pioneer of Germany's first online wine shop is also credited with placing the Austrian Grüner Veltliner wines on the map alongside the world's greatest white wines. He has become a soughtafter organiser of exclusive wine tasting events hasted by wine collectors, châteaux and wine organisations and frequently speaks at these events. It is a fascinating story of how this Swedish dentist from Bavaria entered into the world of the finest wines. Wine Connois seur· Jan-Erik Paulson · 19 P A U L S O N Fi n e P e r s o n a l i t y

20 F I N E

j a n - e r i k here was a tangible sense of joy and warmth about JanErik Paulson when I met him in summery Finland. He had arrived from Germany, which he now calls home. This man is known in the world of wine as one of the most genial of characters. Having spent this sunny day playing his favourite sport, golf, and bathing in the sea, he simply radiated good humour. His mood was actually given a boost, however, with the promise of dinner on a glorious summer evening, with some very special wines to go with it. Opening a 1959 Dom Pérignon, he waxes enthusiastically: "I love mature wines Paulson challenged Robinson to choose what she that are decades old ­ considered to be the best 18 Chardonnays from Bordeauxs, Burgundies, Rhône wines, German different years and from around the world, while Rieslings, and Vintage he would choose the same number from among Ports. What makes them especially attractive the best Austrian Grüner Veltliners. is the complexity of aromas and taste that has built up while they were maturing in the bottle over the years. Wines are like people: they become more interesting with age. My passion for very old wines has resulted in some calling me a wine necrophiliac, and I really don't think that is such a bad thing," he laughs. As the golden-coloured wine forms bubbles in our glasses, Paulson stops, sniffs the wine for a second and tastes it. "A good wine ­ and you sense a powerful hint of toffee. Actually, the wine lacks a bit of freshness, something that can be the result of a hot year, like 1959. Also, the wine does not possess that burnt, brioche-like T flavour so typical of Dom Pérignon. Very enjoyable all the same, though not the best 1959 Dom Pérignon I've tasted." He describes the other experiences he has had tasting this same vintage and passionately compares them to various other Dom Pérignon vintages. From Paulson's comments, you immediately notice that he really knows the vintages. What has it taken for him to come by this experience and become an expert in vintage wines? TURNING POINT IN THE 1960s Paulson, who was born in Malmö, Sweden, in 1949, recalls his youth with a smile on his face: "My wild life as a teenager coincided with the most exciting decade the world had ever seen ­ the 1960s. I was more interested in pop music and girls than homework, which caused my father concern, so he sent me off to Sweden's oldest boarding school, out of the reach of bad influences. A week after commencing my studies I sat in a castle, my hair cut short and in formal attire, at a hunting dinner laid on by my classmates' parents. Surprisingly, my new lifestyle was rather enjoyable. "At the same time, my father inspired me to take up golf, which years later proved a decisive factor on my way to becoming a wine expert." Postgraduate studies and his desire to specialise in dentistry took him to London three years later. "Apart from studies, London offered me theatre and culture. My interest in golf, which had begun at the end of the 1960s, was reawoken and soon I was receiving the occasional invitation to golf and also to gentlemen's club dinners. The food was usually not very good but with it they often served unique, mature Bordeaux wines that had a profound and lasting effect on me." Paulson pours the first wine to accompany our meal, a 1962 Mouton, and quickly tastes it. "A rich, round, ripe and fruity wine. Although it offers little in the way of multidimensionality, it woos you and is still perfectly enjoyable, although it is no longer at its best. It is typical of an overripe vintage: good, but not excellent," says Paulson. FROM DENTIST TO WINE MERCHANT In 1979, Jan-Erik Paulson moved to Bavaria and set up his own dental practice. He soon discovered that Germany did not have the wines to which he had grown to love when in London. Mature Bordeauxs in particular were conspicuous by their absence. The better-than-average wines were only available via auctions or from British wine merchants. Paulson acquired them this way but also travelled a good deal, visiting vineyards and attending auctions. "I have always loved travelling and good restaurants. But it was difficult for me as a dentist to justify my travels, meals with wine and MOVING INTO WINE After college Paulson gave up his law studies in Sweden and in 1971 moved to Malta to study medicine. 21 P A U L S O N Fi n e P e r s o n a l i t y

"I remember being very insecure about my tasting abilities back then. This changed when Jean-Michel Cazes, the owner of Château Lynch-Bages, who was seated next to me, was unsure about recognising his own vintages and turned to me for advice." purchases of, wine when I did my tax return. The only acceptable way I could write these off against my taxes was to act as a wine merchant." Therefore, in 1986, Paulson established the wine mail order service, Rare Wine. This gave him the chance to buy the mature wines he wanted and not only for his own private use. Soon after, friends were buying wine from him, and then friends of friends; the news spread by word of mouth and the business expanded. Every year Paulson toured the world buying wine. A meeting with the UK's Farr Vintners wine merchants in 1988, however, was to be a turning point in his career. "At the end of a business lunch, the Farr Vintners representative asked whether I would be interested in joining a big Lynch-Bages vertical tasting event in London. Well, I could hardly say no. The event turned out to be more valuable to me than I had imagined. I was able to try dozens of excellent vintage Lynch-Bages wines and got to know some of the big names in the wine business, such as Jean-Michel Cazes, Clive Coates, Jancis Robinson, and Michael Broadbent," Paulson recalls. "I remember being very insecure about my tasting abilities back then. This changed when Jean-Michel Cazes, the owner of Château Lynch- Bages, who was seated next to me, was unsure about recognising his own vintages and turned to me for advice. I realised that I was just as capable ­ or incapable ­ of recognising wines as the exalted company I found myself in. My attendance at that event and the new contacts I made there with the elite in the world of wine opened many doors. I was then invited to attend interesting tasting events regularly. This is how my experience grew. A BREAKTHROUGH FOR AUSTRIAN WINE Paulson made the headlines of the world's wine press in the autumn of 2002 when in London he organised one of the most talked about tasting events in years. "In the early 1990s, I had noticed the potential of Austrian dry whites when I tried them at dinners held by my Austrian friends. Later on, my collaboration with the Austrian Wine Marketing Board gave me the opportunity to arrange tasting events in Vienna, Singapore and Tokyo, where the quality of the Austrian wines was consistently praised by the participants. My friend Jancis Robinson was amazed at the fuss and couldn't believe it was true. I decided to convince her." Paulson challenged Robinson to choose what she considered to be the best 18 Chardonnays from different years and from around the world, while he would choose the same number from among the best Austrian Grüner Veltliners. The most highly acclaimed wine journalists and the world's top sommeliers then attended the blind tasting event. The outcome was a surprise, even for Paulson. In first and second place came Austrian Grüner Veltliner wines and there were seven Austrian wines in the top ten. Paulson had not UNPARALLELED TASTING EVENTS Paulson had held prestige wine tasting events in Austria and Germany in the 1980s, but thanks to his new contacts and experience, the demand grew worldwide. Producers queued up to ask Paulson to organise tastings for professionals in the industry and press. "Alexis Lichine was the first producer that I organised a tasting event with. After him, I organised events for several houses around the world, such as Châteaux PichonLalande, Pichon-Baron, DucruBeaucaillou, Latour, Canon, HautBrion, Guiraud, Montrose, Palmer, and Domaine de Chevalier. These events were major vertical tastings, presenting 40-50 vintages from an estate." 22 F I N E

just shown the world the potential that Austrian white wines possessed, but he had also helped to make the Grüner Veltliner one of the world's most fashionable white wine varieties. "I am definitely of the opinion that Austria produces some of the world's best white wines. For example, the long, dry and warm autumns in Wachau and Kamptal guarantee that the white wine grapes enjoy a long growing season and ideal ripening conditions, without all the common problems of rot. In addition, the diversity of the soil ensures the wine's complexity." Paulson has also done much to promote the success of Austrian sweet wines. "At Bordeaux's Vinexpo in 1993, Alois Kracher managed to persuade me that they were able to produce amazingly good sweet wines in Burgenland." His collaboration with Kracher proved fruitful, and Paulson not only marketed the wines but also gave Kracher the idea to create the Kracher Collection, in which rare wines are packed into an up-market case. It first saw the light of day in 1995. WINE FUNDS When I ask Paulson about his future projects, he excitedly mentions his new wine funds: "I have set up two wine funds. For these funds, I acquired very rare wines from around the world. The first wines came onto the market in 2008 and included Madeiras from 1795, the legendary Mouton 1945 and Latour 1961, as well as some Pétrus 1947." I enquire about his work as a dentist. He says: "I still have a clinic to run and I have to put in some time there a couple of days a week. I would like to spend all my time dealing in rare wines and at celebratory functions that focus on them, but the financial security of my dental surgery gives me the luxury of dealing in wines I truly believe are good, without having to think too much about the commercial side of things. "My life is all about mature wines and I just love dining occasions with good wine. But what I value most of all are the friends I've made through wine and the special moments I've shared with them." Dusk falls, and before our dinner there is just enough time to taste the second bottle of Mouton ­ from 1955. The supple movement of the wine in the glass seems to thrill him: "What a beautiful colour and a wonderful aroma of eucalyptus. It is this aroma that is so characteristic of the wines of Pauillac, and especially Mouton. A clean, elegant and wellbalanced flavour, that unfolds with time. Altogether a very refined and expressive wine, like the Mouton vintages of 1952 and 1953." Opinions were exchanged on Mouton and the differences in its vintages until late in the evening, and Paulson's experience and expertise were much in evidence. Besides that, his gentlemanly manner, which was learnt at home and at school, combined with his youthful enthusiasm, have made the exuberant Paulson one of the most charming and interesting personalities in the wine industry. j a n - e r i k J AN -E RIK P AULSON (born 1949) Achievements: Established the first online wine store in Germany, Rare-wine.com. Rare-wine.com specialises in the supply of unique and rare wines and mature vintages. One of the world's most highly acclaimed organisers of wine tasting events. Writes about his wine experiences for FINE. Paulson's scores for the wines tasted during the interview: Dom Pérignon Mouton-Rothschild Mouton-Rothschild 1959 ­ 90 p 1962 ­ 91 p 1955 ­ 95 p 23 P A U L S O N Fi n e P e r s o n a l i t y

hackett.com

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TEXT: MERI KUKKAVAARA PHOTOS: VINOPOLIS AND PEKKA NUIKKI It is commonly known that London, and Britain as a whole, make for an excellent travel destination for anyone who loves beer. In fact, beer drinkers are spoilt for choice in this country, and it is cows and sheep that dominate the fields, leaving the tending of vineyards to their closest neighbours across the Channel. While wandering the streets of London, it is nearly impossible to make it further than a couple of blocks without passing a pub, which offers the thirsty traveller a nice, frothy beer. Whether dark or blonde, you can enjoy your tipple in cosy surroundings, whilst also enjoying the friendly advice that is always available from newfound friends. However, in the midst of this sea of beer, there is a small islet for wine aficionados, in fact there is nowhere else like it on earth. Under the old arches of a railway bridge dating back to 1866 and located in Southwark lies Vinopolis. Vinopolis is a wine education centre, the likes of which wine aficionados dream and wine novices come to, only to leave as wine lovers. This entertaining wine centre holds fascinating exhibitions, short wine workshops, lectures and ­ obviously ­ tastings. With entrance ticket in hand, an unforgettable tour is just ahead. 27 V i n o p o l i s Fi n e Vi s i t

Journey To The Centre Of Wine Out of all the great cities of the world, I have always had a special affection for London because of its local flavour. The many suburbs of the city are like small villages, with their own centres and often with their own marketplaces too. Southwark is home to Borough Market, which is a fascinating, busy and noisy food market that has existed on the site since 1756. I amble through the crowds from one stall to another, snacking on all the different fresh food that I can buy wrapped in paper. Hot pasties, fresh cheese, bowls of pea soup, wonderful country-style bread ­ and still I want to try the tempting cakes and pastries! Located next to this dazzling market is Vinopolis, which offers a taste of something extra ­ both for the palate and the mind. Vinopolis presents the world's wines ­ along with whiskys, absinthes, gins and beers ­ in a variety of entertaining ways. There is nowhere else like it in the world, a place dedicated to wine and its enjoyment, for beginners as well as connoisseurs. Of the wine tours on offer, I went for the most comprehensive one on the list, the Vinopolis Celebration Tasting Tour. Clutching my wad of wine tasting coupons, I was completely prepared. Coupon To Heaven The wine tour kicks off with a short presentation on wine tasting. Our guide, Susie, goes through a wine's appearance, aroma and taste, while we all swirl and sniff our wine. We learn to observe the wine's legs and how to divide the aromas into four categories: fruity, floral, spicy and vegetal. Then it is time for a trial tasting and we are given a lesson in technique ­ the noble art of slurping. Finally, we are briefed on the price of wine, with a little tip: the number of seconds the wine's aftertaste lingers is how many pounds you should be paying. This you should try. Having attended this optional wine class, I go off with an empty glass and numerous coupons to learn about the world's different wines and wine regions. 2 28 F I N E

I pass through the showrooms and read about various wine cultures. Visually, it is fascinating, with old, bare brick walls serving as the backdrop to a modern display. The wines are displayed by region or according to their type or quality and there are wine bars in the different sections where you can use your coupons to sample the themed wines. My personal favourite champagne has its own room, which is only right of course. At the bar, I decide to taste all three of the champagne varieties from De Saint Gall on offer. These are a Premier cru Tradition Brut, a Premier cru Blanc de Blanc and a Rosé Brut. I sink into an armchair with the drink that I love best, the rosé. Afterwards, I head off for a study session in the Premium Wines area, and I taste a 20-year-old matured port. The staff members at Vinopolis are friendly and helpful, with one attendant recommending that I try dark chocolate with port for a delicious delight. Beyond Wine I continue through the exhibition and come to a room set aside especially for Bombay Sapphire gin, which acquired its name from a competition where people were asked to suggest a name for it. Each year, design students from various countries enter a contest to design a Bombay Sapphire drinking glass and the imaginative results of previous competitions are displayed in a glass cabinet. The bar, which is an incredible ice blue in colour, just like the gin bottle 29 9 V i n o p o l i s Fi n e Vi s i t

itself, is like the setting from a film. Here you can try the gin mixed the just way you like it. In addition to the whole tasting experience, you also have the chance to test your sense of smell in a room dedicated to aromas. I move round a table trying to see if I can identify the seeds, roots, berries, peels and bark in the bowls in front of me, before I read the cards. It is surprisingly difficult. Vinopolis offers an entire range of services for the wine lover and its restaurants and wine stores make it a great place to visit when on a trip to London. Apart from the exhibitions, there are conferences, various events dedicated to different themes and talks by famous writers. It also organises very distinctive kinds of tasting events ­ on chocolate and wine themes, for example. The premises can also be hired for stag and hen nights, as well as special occasions. The combined visit to Borough Market followed by cookery and wine tasting at Vinopolis also sounds very tempting. I will definitely have to come back for that one. > Vinopolis 1 Bank End London SE1 9BU United Kingdom www.vinopolis.co.uk 30 F I N E

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Watch video The Napa Valley royalty ­ Bob Levy, Bill Harlan and Don Weaver. 34 F I N E

The world of wine is vast. The number of producers alone is almost 200 000, wine brands number many times that, and there are dozens of wine-producing countries. For the wine consumer the situation is double-edged. On the one hand, the seemingly limitless choice and huge price range means there is something for everyone, but how does the customer find a genuinely quality wine that is worth its price among all the bottles laid out along the shelves of the wine store? Text: Pekka Nuikki & Juha Lihtonen PHOTOS: Pekka Nuikki F or normal, everyday products, consumers can mainly rely on advertising and marketing to help them choose, but selecting which wine to buy is not much more than guesswork. Wine advertising in many countries is either completely banned or, at least, restricted. Because most wine producers' budgets if they have one at all are still modest, wine-growing countries have evolved ways to make it easier to identify the quality of their wines and make them stand out. The way they do this most often is through classification. Many countries have classified their wines, wine producers or vineyards to sort the wheat from the chaff and make it easier for customers to decide what to buy. Nevertheless, one of the world's major wine regions, Napa Valley, has never classified its wines. Anyone purchasing Napa Valley wines faces a hard task, because often their high price relies on the subjective estimation of just one critic. Do the best wines of Napa Valley not deserve the same sort of recognition as, say, the classified French wines, which would make things clearer for consumers all over the world? We believe they do. Complete consumer awareness is still a long way off, as is a clear system of classification, but the process has to start now. On what basis then should the wines be classified? There are a number of options, but the most crucial is impartiality so we bravely elected to perform the task ourselves. Up here in the Nordic region, with no wine culture of our own to sway us, we were completely neutral in our approach to the classification. As it is still our mission to help our readers and make it easier for them to make choices when buying wine generally, we thought it was an excellent idea ­ although one of the wine producers we interviewed at Napa valley simply smiled and said, "Right then. Get ready to travel around the area in a bullet-proof car." 35 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

Winemaker Erin Green, Pahlmeyer T he two most familiar ways of classifying wines come from France. The first to classify itself was France's most celebrated wine region, Bordeaux. In 1855 an international exhibition was held in Paris and the French Emperor of the time, Napoleon III, was keen to show the world the best of French wines. A syndicate made up of brokers and traders from the wine industry was given the task of choosing the wines for the exhibition and developing a clear and viable system for classifying them. After much debate and many arguments, it was decided that the main criterion for choosing wines would be the price they fetched on the market. The statistics and documentation used in the classification contained data going back as far as a hundred years and the more expensive the wine had been, the higher it would rank. The final system was a division into five categories (cru) based on quality, for which a total of 61 vineyards were selected. The wines in each category were considered on a par with one another. The classification of vineyards in 1855 was not actually based on the quality of the wine or the soil, but merely the name of the estate. This, of course, means that when a second cru estate acquires land from, for example, an unclassified vineyard, the latter immediately becomes a second cru estate as well, even though the quality of the land has not altered, obviously, with the purchase. Many have regarded this as the greatest injustice associated with the 1855 classifications. Although the quality classification system arrived at in 1855 was not meant to be a permanent one, it is still very much alive and well today. Many of the estates are still in their right category according to today's criteria, but on the other hand many should also be demoted or promoted, as the system is now almost 150-years-old. Wine making methods have changed and the vineyards on a lot of classified estates have trebled in size. These days the boundaries between categories have become blurred, from a consumer point of view, when it comes to a lot of wines. This is mainly due to pricing, which is no longer tied to category. For the consumer, it is indeed better if the wine is priced according to its present quality and not just because of its historical reputation. In 1855, the same year the famous Bordeaux Official Classification was launched, Dr Jules Lavalle published an influential book which included an unofficial classification of the Burgundy vineyards. Lavalle separated the wines 36 F I N E

Winemaker Michael Silacci, Opus One into five categories: "tête de cuvée," 1st class, 2nd class, 3rd class, and regional. This classification remained in force until 1935, when the Institut National des Appellations d'Origine (INAO) developed the system of Grand Crus, Premier Crus and so on, which is what we use today. However, whereas the Bordeaux 1855 classification is purely pricerelated, the Burgundy one is based firmly on site. This classification takes account of both the traditional local hierarchy and other natural factors, such as geology and soil type. But there are drawbacks with the Burgundy classification system too. Most Grand Cru and Premier Cru parcelles today are divided between dozens of wine producers. Each one of them, regardless of their level of winemaking skills or financial potential, can use the cru classification when they display the names of their wines. This has resulted in a huge imbalance in quality within the same category and it is impossible for consumers to be sure that the wine they have bought is a quality product, if they use the classification alone. The Bordeaux classification also set a trend for the Sauternes classification in 1855, the Graves in 1959, and the St-Emilion of 1955. Actually, the St-Emilion classification differs from the others because it is mainly based on wine quality, which a committee appointed for the task assesses at tastings every 10 years. lassifications that have been undertaken outside France have seen varying degrees of success. In 1991, the Australian auction house, Langton, published its own classification of Australian wines. It was entirely based on the price the wine had fetched on the domestic secondary market and not its quality or place of origin. Langton's classification works moderately well within the borders of the country, but it is an impossible task for the consumer to draw a parallel between it and, say, the Bordeaux classifications of 1855. On the other hand, we might ask whether any classification is better than none at all. Many of the estates included in the Bordeaux classification of 1855, such as C Château d´Yquem, Château Lafite and Château Latour, have taken their rightful place in our culture, and are familiar names to everyone, not just lovers of wine. The same is true of the most famous Burgundy Grand Cru parcelles, Romanée-Conti and Montrachet. These names are well known to most consumers and no one is unaware of their value in terms of quality. This is one indication of the power of a successful classification. So what about the Napa Valley wines? Should a system of classification not be employed to grant the best wines of this splendid region the same sort of recognition that the wines from the major wine regions in France have received? Genuine wine connoisseurs obviously know names like Harlan, Araujo or Colgin. However, less knowledgeable consumers, some 99 per cent I would say, would have real difficulty trying to find a place for them in the hierarchy of wines or trying to compare Eisele, say, with the La Tâche vineyard. But what sort of classification system would suit the Napa Valley wines best? This is the question the Editors of FINE Magazines mulled over in the winter of 2008. They eventually came up with a solution in spring 2009. 37 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

Kathleen Heitz Myers Colgin winemaking team ­ Allison Tauziet, Christopher Tynan and Ann Colgin "The importance of any classification lies in its authoritative independence" and adequate financial support, it would be impossible to conduct the classification with the winemaker as the sole point of reference. Besides, the celebrity winemakers, be they of the flying variety or local, change employers far too often. The best suggestion we heard was to classify the parcelles according to the Burgundy model, that is, by vineyard. It was a good idea and a pertinent one, as many estates in recent years have begun to understand the importance of terroir. Vineyard management counts for at least as much as the status of the celebrity winemaker. There has been far more investment in the land, and those responsible for the plots might well be the stars of the future. To make our classification as plausible as possible, we decided to make our lives a little harder and take all these elements into account. Hence, it is based on the wine's quality, its reputation and the price that reflects this, history, the estate's winemaking philosophy and finally, terroir. These factors are accorded What makes a classification credible? For a classification to be credible and viable in our view, it cannot just be based on the trading price of the wine. Since the market for top Californian wines excludes ordinary consumers in the main, it is virtually impossible to prove the real value of its wine, even on the open market. Most estates sell almost all they produce via mailing lists and can price their wines how they like. The waiting list for the list itself normally has thousands of names on it. We also do not feel it is viable in California to classify wine according to the prices paid for them on the secondary market, as with Langton. The main reason for this is that the output of many of the top wine producers is minimal and almost imperceptible on the international markets; plus the fact the prices asked for Californian wine in particular are much influenced by the views of Robert Parker. Also, the classification of any wine region cannot rely on the opinions of just one person, however respected he or she is, as they are always going to be subjective. The quality of the wine alone is not an adequate criterion, as opinions also continually lack objectivity. Furthermore, the development of wine quality in California has been so rapid that classification would not do justice to all the estates if the focus was merely on that: Quality. Moreover, reliance on history would not give the right picture of the current situation regarding wines in the valley, though it is true that Napa Valley's 150-yearold existence counts for something. During our visit to Napa Valley it was suggested several times that we base our classification on the winemakers ­ not a bad proposal in itself, as in California the winemaker is the star of the show. However, even as the best winemaker cannot produce top wines without a first class terroir 38 F I N E

Heitz Rubicon Estate 39 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

Napa Valley's ultra premium wines have a bright future. As worldwide recognition increases for top tier wines from the area, terroir continues to be an important factor that sets brands apart. ­ Ann Colgin, Colgin Cellars Ann Colgin 40 F I N E

Winemaker Cory Empting, Bond Estate Director Paul Roberts, Bond Estate the following importance when determining the final rankings: the wine's quality 45 per cent, its price 20 per cent, the terroir 20 per cent, the winemaking philosophy 10 percent, and history 5 per cent. The consumer wants quality in an easily recognisable form The quality of a wine depends on the combined effect of many different factors and events. We believe that the main factor regarding quality is terroir. A good wine, especially a good vintage wine, is essentially the result of the wine region's geographical location and the local weather conditions. Even on individual estates, the weather changes from year to year. Thus, not even the best winemaker can create a fantastic vintage unless the weather conditions and soil are favourable for vine and grape growth. When we undertook this classification it was the quality of the wine that was by far the most important criterion to take into account. It is also, in our view, the only thing that is of real importance to the average consumer. After all, not even the best marketing campaign or a long, prize-winning history can turn a poor wine into a good one. Unlike at St-Emilion, we did not want to base our newly established classification on a single tasting event. Instead, we took account of all our Napa Valley wine tastings that have taken place this decade. At best, the single vintages of the wines we classified were tasted more than twenty times and in the worstcase scenario at least twice. This way we have gained a very comprehensive overview of the quality and trends evident in each estate's wines and thus eliminated the impact of `bad' bottles in our assessments. We mainly concentrated on tasting vintages from the 1990s. We also opened hundreds of bottles from the 1960s and 1970s and dozens of older vintages. Most of the vintages from the present decade we have tasted over the last two years, and most of them with the producer. Before taking our final decision we held three tasting events this summer, where we tasted one hundred different wines that we had selected for the classification. Most of the wines ­ including all their vintages ­ chosen for the classification were tasted over the last five years, from the very first vintage up until 2005. We furthermore decided that in order to qualify for inclusion in our classification, a wine must have a minimum of 15 vintages on the market. Only with history can you strive towards perfection They say that without the knowledge of yesterday there is no prospect of a better tomorrow. Long-term success is also often based on a knowledge and understanding of history and in drawing the right conclusions accordingly. In France, many of the top wineries (Lafite, Latour, Krug etc.) have spent centuries polishing and refining their wines and production methods to produce what are undeniably excellent wines that most consumers are 41 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

Heitz Cellars 42 F I N E

43 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

familiar with. The system where a new generation proudly continues employing the skills learnt from the previous one and passes them on to the next is classically traditional and one that is worthy of respect. But what if a wine estate has no long history of polished skills and practices behind it, and what if the winemaker represents the first generation? One possibility is to try and create a really impressive wine that thrills the taste buds of the critics and then let the world read about how excellent it is in the columns of wine magazines and prize lists. After that, restrict its production to a minimum and let the demand, which by now has increased tenfold, worry about setting the price. They also say that in America achieving cult status means, in practice, a licence to print money for the vineyard concerned. Actually, what you hear more often is: But does a winery deserve "first growth" status simply because the owner of the brand has the nerve to charge an outrageously high price? That was perhaps what happened in Napa Valley in the 1990s, but now `millennium history' is also beginning to carry weight. Unlike the Bordeaux estates that only date back a short while, the Napa Valley vineyards that have sprung up over the past 25 years have not lost their status or desirability ­ on the contrary. Nowhere else have we encountered such great passion for making wine or a more steadfast belief in a better future than in Napa Valley. There, they examine and study previous vintages humbly and critically, and they are quite prepared to accept their own short history and the drawbacks that entails. The willingness to learn and create internationally prominent wines is huge, as is the realisation that it all takes time. Their readiness to make significant investments to improve the quality of the wine has been very apparent and today the results speak for themselves. We asked top winemakers in the area if Napa Valley should create a classification to improve public awareness of how good the quality of the region's wines are nowadays. Most of them thought that now was the right time to do this, as Napa Valley wines can and should be classified and openly compared with the world's best already-classified wines. Hopefully, this totally unofficial attempt to classify the wines of the region will prompt others to carry out a proper and official classification. It is impossible to ignore the importance of terroir when it comes to the quality and character of a wine, but all the same most winemakers who have a direct effect on wine quality rely on the estate's winemaking philosophy. Having found an ideal vineyard, an estate has to make a number of decisions, each of which will affect the quality of the wine and its character. For example, who to hire as winemaker; what vines are to be grown; the extent of pruning and green harvesting; when to pick the grapes and how; whether to sort the grapes by hand; whether the wine should be fermented in oak, cement 44 F I N E

Terroir by Tod Mostero, technical director of Dominus Estate or stainless steel vats; the mixing proportions of the grapes; volumes and maturing times; the type of new or old oak barrels to use; the type of filtering, and so on. In the classification we are now conducting, great importance has been attached to the effect of the past 20 years on the five criteria we chose for it. In that short time the quality of the wines and their price position have, in our opinion, developed steadily in Napa Valley. Furthermore, the region has seen a stable trend in the status of ownership. The greatest variable has been the wine-making philosophy, which has frequently altered when the winemaker has changed or a flying winemaker has landed. Only rarely have estates kept the same winemaker(s) for a long time. That is why, in this classification, we rate the philosophy, and the extent to which it continues, higher than the reputation of the individual winemakers. A survey conducted by Landon and Smith in 1998 on the effect of reputation on a wine's desirability and image in terms of quality, found that the consumer pays attention not only to a long-standing reputation (history and classification of the estate) but also its short-term reputation (mainly due to the views of an influential critic). However, the longer-term reputation carries more weight and the consumer is happy to pay more when the reputation goes back over a longer period of time. Bart Araujo 45 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

I think the best Napa Valley wines are being recognised in terms of vineyard site. Cabernet Sauvignon has become the vehicle ­ like Pinot Noir in Burgundy ­ to express the terroir of Napa Valley. So with everyone working hard to produce better and better wines in the winery, the defining characteristic of each wine becomes the soil. In the future I see more small producers growing grapes and making wines from small, unique sites. It is a great trend. ­ Andrew Erickson, the winemaker of Screaming Eagle, Dalla Valle and Ovid. 46 F I N E Andrew Erickson and Janet Pagano at Ovid

Price We believe that any classification system utilising a pricing model should be derived from secondary market data and not retail pricing. By ignoring the initial retail pricing of a wine, we gain a true reflection of perceived value on the part of consumers. A wine's reputation and familiarity, the prizes it has won, the recognition it has received and the impartial opinions that critics have expressed about it, have an enormous impact on how well it will sell and the price it will fetch, particularly in the sub-premium and premium wine markets. All pricing information has been derived from the FINE Auctions price database, which stores historical data from all major European and American auctions over the last two decades. The average price that has now been estimated is based on that realised for vintages that have come onto the market in the biggest auctions in Europe, Asia and the USA. Because the average price we estimate is based on data we have collected ourselves, the average price given is only meant as a guide and is not precise. Our original idea ­ and it was an ambitious one ­ was to classify the 100 best Napa Valley wines, but we soon had to acknowledge our own limitations and shortcomings concerning the information we needed and our general experience. Therefore, we decided to restrict the classification to just those wines we have had wide experience of over a long period of time, or in other words, the regions' best and most prestigious wines. After all, these are the wines we know about and which all the FINE publications focus on. We divided the wines into two groups. First and Second Growth was one category, while the second we deemed potential First or Second Growth, with respect to the vineyards that are so new to the region that they have not as yet released 15 vintages. As our classification is founded on the views and assessments of the Editors of the international FINE Magazines, it is, of course, completely subjective. But we also interviewed more than sixty of the main wine professionals in Napa Valley and asked them their opinion on what wines ought to be included in the first or second category. When we had finished our assessment of the vineyards included in the classification, it was interesting to note the percentage of those Napa Valley wine professionals that thought the wine in question belonged in the category chosen for it. Half of the respondents were winemakers and the rest vineyard owners. Altogether, we proposed 32 wines for classification into the first or second category. Just 11 of the wines were spoken of when the First Growth group was mentioned, and 85 per cent of the votes went to three wines. At least the opinion of Napa Valley professionals on the best wines of their region was pleasingly generic. It also led us to believe that it might be possible to find consensus on the official classification of Napa Valley wines, which we hope will take place in the near future. First, classifications confer identities on social actors (or objects), and inherently imply social control. Second, classifications create social boundaries and signify the social standing of actors (or objects). Third, classification-making often involves political struggles between different interest groups, and classification systems embody political power. (Understanding classifications: Empirical evidence from the American and French wine industries /Wei Zhao 2005) Doug Shafer 47 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

48 F I N E Bond St. Eden Vineyard

HOW TO READ THE CLASSIFICATION Criteria Emphasis 1. The quality of the wine 45% To evaluate the quality of the wines, we counted the average scores of the last fifteen vintages of each wine tasted by FINE Magazines' Editors. These scores reflect the quality of the wine and set the most important emphasis in each wine. 2. Market Price 20% Expresses the demand of the wine on the market, therefore it has to have a great impact on the classification. Average secondary market price during the last 15 years is taken into account. 3. Terroir 20% The terroir factor has a critical influence on the quality aspect of the wine. 4. Philosophy in Winemaking 10% The winemaking philosophy reflects the producer's relationship with the terroir and its wines. 5. Historical Background 5% The well-established track record of the particular site and its wine should not be neglected, as it reflects the continuity of winemaking on the estate. Wine professionals' opinion We asked over sixty Napa Valley winemakers and producers for their insight into which Napa Valley wines deserve to be listed as First Growth. On the following pages, each profiled wine has a wine professional percentage, which represents how big a percentage of the respondents considered the wine First Growth. 49 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

HARLAN ESTATE SCREAMING EAGLE CABERNET SAUVIGNON COLGIN CABERNET SAUVIGNON HERB LAMB VINEYARD BRYANT FAMILY CABERNET SAUVIGNON ARAUJO CABERNET SAUVIGNON EISELE VINEYARD HEITZ CABERNET SAUVIGNON MARTHA'S VINEYARD 50 F I N E

DALLA VALLE MAYA Watch video ABREU CABERNET SAUVIGNON MADRONA RANCH PAHLMEYER RED GRACE FAMILY CABERNET SAUVIGNON NAPA VALLEY SHAFER CABERNET SAUVIGNON HILLSIDE SELECT JOSEPH PHELPS INSIGNIA DOMINUS OPUS ONE DUNN VINEYARDS HOWELL MOUNTAIN CABERNET SAUVIGNON CAYMUS CABERNET SAUVIGNON SPECIAL SELECTION CHATEAU MONTELENA CABERNET SAUVIGNON ESTATE STAG'S LEAP WINE CELLARS CASK 23 PROPRIETARY RED RUBICON ESTATE RUBICON PROPRIETARY BLEND As the classification is based on wines that have a minimum track record of 15 years, there are many great wines that do not quite meet the criteria. Due to their superb performance thus far, these wines deserve to be noted as possible future candidates for classification. Among this list, there are also some wines that have the track record required, but we would need to experience more from them in order to consider listing them in the 1st or 2nd growth. However, we are looking forward to including these in future classifications. BOND ST. EDEN JOSEPH PHELPS BACKUS VINEYARD CABERNET SAUVIGNON COLGIN CABERNET SAUVIGNON TYCHSON HILL VINEYARD BOND MELBURY ABREU THOREVILOS COLGIN IX ESTATE NAPA VALLEY RED WINE BOND PLURIBUS SCARECROW BLANKIET ESTATE SLOAN PAUL HOBBS BECKSTOFFER CABERNET SAUVIGNON TO KALON VINEYARD SCHRADER CABERNET SAUVIGNON OVID NAPA VALLEY HUNDRED ACRE KAYLI MORGAN VINEYARD CABERNET SAUVIGNON VINEYARD 29 ESTATE CABERNET SAUVIGNON PHILIP TOGNI VINEYARD CABERNET SAUVIGNON GARGIULO 575 OVX CABERNET SAUVIGNON DARIOUSH SIGNATURE CABERNET SAUVIGNON HILLSIDE BLOCK 51 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

1st Growth The quality of the wine While Bill Harlan is the turbine of Napa Valley wines, the Harlan Estate is its vessel. Along with top mechanics Bob Levy and Don Weaver, the team build the Bugattis of the wine world. The wines have an immense power, while showing elegance par excellence. Style-wise, the wine is refined with velvety texture, polished but big tannins, moderate acidity and rich, intense black fruitiness. The mouthfeel is complimented by seductive toasty and perfumy flavours. While its structure is always silky, it has monstrous weight and power that stands out on the palate. Thanks to this balance, the Harlan Estate wines are drinking perfectly well when young but will bloom after 15 years of ageing. It never ceases to amaze us how well the wines handle the big, powerful structure whilst remaining elegant and smooth. One must take into consideration that the wines are the result of skillful winemaking. That does indeed play its part but the essence of Harlan Estate lies in the quality of vineyard site and in the philosophy of the winemaking, where the ultimate goal is always to deliver a sense of place. After various tastings of Harlan wines and with all the scores given, we have to conclude that this wine can be set apart from the rest as the first of the first growths. deeper than the mid-slope. The marine influence and summer fog pattern still remain a dominant climatic force. We have a significant cooling and refreshing of the vines after the warm days, as they adsorb the cool moisture from the fog that rolls in each day up to about the 500 to 700 foot level in elevation, before burning off by midday." Bob Levy explains. Another factor is the soil composition. The subsoil on the estate; volcanic and oceanic sedimentary. "The volcanic soils tend to give us more depth and concentration along with power. In these soils we derive the `Harlanesque' forest floor notes we have all admired over the years. The sedimentary soils, where we mostly have Merlot planted, tend to be softer and more elegant, with broad mid-palate and great refinement of tannins." Levy says. always processed separately and is vinified in small batches in stainless steel and wooden fermentors. The ageing is completed in French barriques for 26­27 months. No fining or filtration is done. The vinification process is interfered with as little as possible in order to obtain the terroir character. The key to intense fruit relies is in the low yields. Historical background The land that is now Harlan Estate had never been cultivated prior to Bill Harlan purchasing the property. As Bill says "it was the high-risk strategy that was to show in 10 to 15 years if was worth it. To buy land from hillside forest was obviously risky, but I love gambling, as it is the excitement of life. Luckily, we did not fail". Before buying the estate Harlan, and his team of Bob Levy and Don Weaver, had gathered experience in several vineyard sites in Napa Valley. Apart from the wineries, Harlan's passion for wines has forced him to create the St Helena-based, luxurious Meadowood Resort, complete with two Michelin star restaurant, as well as exclusive wine club, The Napa Valley Reserve. Philosophy in winemaking Bill Harlan always had one goal in winemaking and that was to create a `first growth of California' that would be recognised worldwide. To achieve this Harlan understood decades ago that he needed land with the potential to deliver the complex and unique characters to the wine. After his team's ten years of research of Bordeaux and Burgundy versus valuable land and history of Napa Valley, Harlan believed he had found his piece of land. Since grafting the first vines in 1985, the Harlan Estate team has been devoted to transferring the sense of place into the wine from their site. The best clones of Cabernet Sauvignon, Merlot, Cabernet Franc and Petit Verdot are grafted in the most suitable rootstocks. The vineyard is nurtured with a huge amount of care throughout the growing season in order to gain the purest fruit The harvesting is carried out by an experienced vineyard crew who run the harvest in several pickings, cluster by cluster. This is often repeated 3 or 4 times, after which the fruit is still selected grape by grape, once in the winery. This is done to avoid unripe grapes, overripe grapes or anything other than grape material, such as pieces of leaves or stems, getting into the fermentation tank. Every picking lot is WINE PROFESSIONALS' OPINION 89 %/FIRST GROWTH Market price Average secondary market price during the last 15 years: USD 602 Terroir The 240-acre Harlan Estate is located in the western foothills of Oakville, between 225 and 1225 feet. As it is located on the hillside, it has northern, southern, western and eastern orientation. The land cultivated with vines makes up just 40 acres of the entire estate and is located from 325 to 525 feet. "At this mid-slope elevation the soils tend to be more moderate in vigour than either the valley floor or the mountain tops, where the soils are 52 F I N E Owner: H. William Harlan Founded: 1984 First vintage: 1990 Location: Oakville Vineyard size: 40 acres Average age of vines: 20 years Production: 1650­2000 cases 65 % sold through mailing lists, the rest through restaurants and wine shops. Vineyard manager: Mary Hall Winemaker: Bob Levy (Michel Rolland as consulting winemaker) AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 95.8 p

1st Growth The quality of the wine The Screaming Eagle is the world's most spoken about cult wine. In 15 short years, the wine, produced in miniscule quantities in a shed in Oakville, has become a wine lover's ultimate dream to taste. It is not just its rarity that makes this wine taste different to others. It is the charmingly refined style that makes Screaming Eagle so appealing, with its satiny tannins, vivid acidity and very sophisticated fruitiness. It is not a big blockbuster wine with overextraction. Instead, it is an opulent and refined wine that not only drinks well when young but also has great ageing potential. winery we try to let the wines evolve naturally while taking great care to retain the fruit character in the wine. In the end, the vineyard should be what shows, and not the hand of the winemaker." WINE PROFESSIONALS' OPINION 78 %/FIRST GROWTH Historical background One of the most respected real estate brokers in Napa Valley, vineyard founder Jean Phillips ha brokered deals for people such as Bill Harlan, the Araujos, and the Dalla Valles, among others. When stepped on to the Screaming Eagle property in the 1980s, she knew instantly this was a magical place and that she had to have it. The wines made by celebrity winemaker Heidi Peterson Barrett from 1992, have become the ultimate cult wines of California. In 2006 Jean Phillips sold the Screaming Eagle estate to Charles Banks and Stanley Kroenke. They proceeded to invest a great deal of money in site reconstruction, as well as in plantings and the winemaking team. Charles Banks appointed Andrew Erickson the new winemaker while also bringing in a winemaker consultant, Michel Rolland and vineyard managers, David Abreu and Annie Favia. The vineyards are now partly planted and the winery is still undergoing construction work. Since the spring of this year, Stanley Kroenke has become the sole owner and is continuing Charles Banks' prestigeous work. Market price Average secondary market price during the last 15 years: USD 1914 Terroir Located at the foot of the Vaca Mountains in Oakville, the vineyard has a multilayered soil composition that is rich in iron. The well-drained volcanic rock mixes well with clay, ensuring the right balance of stress for the vines. The daily cooling fog influence helps the grapes to keep their freshness. "I believe these red, volcanic soils produce some of the most compelling Cabernet Sauvignon and Cabernet Franc-based wines in the world." winemaker Andrew Erickson adds. Philosophy in winemaking "The goal is to bring out the terroir, and the natural qualities of the fruit. The natural freshness and elegance in wine are two defining features that I want to highlight, along with the richness and minerality." Andrew Erickson states and adds: "Most of the work that takes place is done in the vineyard; getting the appropriate crop load, the right amount of sun on the fruit, and picking when the fruit is properly ripe, and not too ripe. In the Owner: Stanley Kroenke Founded: 1986 First Vintage: 1992 Location: Oakville Vineyard size: 16 acres, with a total area of 52 acres Average age of vines: 20­22 years Production: 700-750 cases All wine is sold through the mailing list. This applies also to restaurants and wine shops. Vineyard manager: David Abreu Winemaker: Andrew Erickson AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 94.9 p 53 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

1st Growth The quality of the wine It is the purity of the jammy black fruits, refinement of the tannins, and elegant flavours that define the Colgin wines. All four wines made under the Colgin name ­ Herb Lamb, Tychson Hill, Cariad and IX ­ have these distinctive profiles, although each carries its own unique style. The 100 per cent Cabernet Sauvignon from the Herb Lamb Vineyard has been the hallmark wine of Colgin, as it was the first they ever produced. The Herb Lamb stands out as the most masculine wine of the Colgin's wines. The wine has a rich texture, as well as complex aromas of as black fruits, flowers, toast, herbs and cedar. lack However, Colgin has unfortunate news for all lovers of Herb Lamb: "While we have enjoyed working with the Herb Lamb Vineyard since 1992, the 2007 was our final vintage from this vineyard. The declining health of the twenty-year-old vineyard made it difficult for us to continue to maintain the high quality level displayed in all of the Colgin wines. Now that our own estate-grown vineyards have come into full maturity, our focus has moved to the exceptional sites that produce our IX Estate, Tychson Hill and Cariad wines", Ann Colgin outlines. characteristics of each Colgin wine. Colgin Cellars blends talent with terroir, tradition with technology and passion with precision to create wines with distinctive personalities and a profound sense of place." Ann Colgin sums up. Historical background It was the Herb Lamb Vineyard where Ann Colgin's success story as a wine producer started with the 1992 vintage. After hiring legendary Napa Valley winemaker Helen Turley, they created a wine that caught the eye of the powerful critics. David Abreu, who is the vineyard manager for Colgin, took over the management of Herb Lamb Vineyard between 2004 and 2007. Market price Average secondary market price during the last 15 years: USD 334 Terroir The small 7.4-acre Herb Lamb Vineyard is located close to Howell Mountain on the eastern side of St Helena. The eastern facing vineyard is situated at an elevation of 600 to 800 feet on well-drained soils, with high a content of rocks. This terroir allows for low yields with a high concentration. WINE PROFESSIONALS' OPINION 62 %/FIRST GROWTH Philosophy in winemaking "Our winemaking philosophy has always been to express the true character of each unique vineyard site", Ann Colgin explains. The grapes are harvested during the night and go through three sortings, starting on the vineyards. The final one takes place in the winery, where 15 people will do the final sorting before crushing the grapes. Moving the grapes, juice or wine is done by gravity. The barrels, tanks and vinification equipment, along with the basket presses, are of the highest quality. "Only the finest neo-classical winemaking methods are used in concert with small yields, gentle handling, attentive sorting and meticulous blending to capture the distinctive terroir 54 F I N E Owner: Ann Colgin First vines planted: 1988 by Herb & Jennifer Lamb Location: St Helena Vineyard size: 7.4 acres Average age of vines: 20 years Production: 300 cases The majority of Colgin wines are offered by allocation to mailing list of private collectors. A small portion of the production is distributed to select restaurants in the United States, Europe and Asia. Vineyard manager: David Abreu Winemaker: Allison Tauziet AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 94.4 p

1st Growth The quality of the wine One of the most concentrated yet opulent Cabernet Sauvignons in the world. A blockbuster wine with great elegance. The wine has an immense balance, with jammy cassis fruit, lovely acidity and super, smooth tannins. The flavour profile is completed by distinctive earthy and smoky aromas. Due to its high concentration and density, it prefers ten to fifteen years of cellaring before delivering its best. Historical background It was in 1987 when Don Bryant Jr. , a successful St Louis businessman and devoted wine and art lover, decided to purchase a run-down 10-acre hillside vineyard on Pritchard Hill. After the acquisition his viticultural team run numerous experiments involving different varieties and clones. Finally, Cabernet Sauvignon was considered the most successful variety for growing on this particular site. Market price Average secondary market price during the last 15 years: USD 349 WINE PROFESSIONALS' OPINION 41%/FIRST GROWTH Terroir The steep hillside vineyard is located 1000 feet up on Pritchard Hill, allowing Bryant Family's 12-acre vineyard a unique terroir. The western winds bring the cooling air to the site allowing 5 to 10 degrees cooler growing conditions, which in turn keeps the acidity levels high. The volcanic rock soil provides very little nutrients and water to the vines that yield grapes with a higher concentration. Yet the hillside orientation treats the vines equally when it comes to distribution of sunlight. Philosophy in winemaking Bryant Family's philosophy is based on super low yields in order to obtain maximum concentration and ripeness in the grapes. The naturally boosted grapes are then vinified using modern technology in gravity-oriented winery facilities. Part of the success story of the Bryant Family wines has been the winemaking team, which has always been led by highly appreciated wine consultants. The famous Helen Turley was the first of these, followed by Philippe Melka and now Mark Aubert together with Michel Rolland. Owner: Don Jr. Bryant Founded: 1987 Location: St Helena (Pritchard Hill) Vineyard size: 12 acres Average age of vines: 20 years Production: 1000 cases. Access to wines through mailing list only. Vineyard manager: David Abreu Winemaker: Mark Aubert (Michel Rolland as consulting winemaker) AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 94.1 p 55 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

1st Growth The quality of the wine The Araujo Eisele Vineyard Cabernet Sauvignon has a unique allure to it. It is the finesse, purity of fruit, vivid acidity and profound mineral character that set this wine apart from the other Napa wines. Its style is almost reminiscent of Pomerol. It is a sophisticated wine with great potential. Thanks to the Araujos vineyard management, the wines are showing an increasing amount of the terroir character. Philosophy in winemaking The Araujo's commitment to producing estategrown wines of highest calibre and distinction has driven them to employ cutting-edge practices in farming and winemaking. The organic and biodynamic practices are an important part of the vineyard management. The organic farming principles were adapted in 1998 and were followed two years later by the biodynamic practices. The property is free of chemical fertilisers, pesticides and herbicides. With these practices the Araujos are reinforcing the unique terroir and ensuring the health of the soil and vines so that they are able to handle the most common threat to their vines ­ the heat stress ­ better than ever before. Eisele Vineyard Cabernet Sauvignon vintages, until the Araujos bought the vineyard. However, the last vintage of 1991 was actually produced by both the Joe Phelps and Araujos brands. Since the Araujo's acquisition, the focus towards winemaking has changed. For the first time in the history of Eisele Vineyards, there is a proprietor committed exclusively to producing the wine on estate, all the way from the vineyards to the bottling and cellaring. It is done with prime focus, devotion and absolutely no compromise. Market price Average secondary market price during the last 15 years: USD 212 WINE PROFESSIONALS' OPINION 82 %/FIRST GROWTH Terroir There are three terroir factors that give the Eisele Vineyard Cabernet Sauvignon its unique character. Firstly, the vineyard is located in a cove protected by the Palisades Mountains, which draw cool air from the Sonoma coastline to the site from the western Chalk Hill Gap. This helps the grapes keep their freshness and acidity, which is often a challenge given the warm Calistoga district. The second factor is the subsoil composition, which is being shaped by the two tributaries crossing the vineyard. The subsoil is made up of volcanic cobbles derived from the Palisades Mountains. This deep, rocky subsoil is welldrained causing the vine roots to penetrate deep into the ground in search of water. As the roots penetrate the soil levels, more mineral compounds are absorbed, adding minerals and complexity to the grapes. As the vineyard lies on a gently sloping hill, there are parts of the vineyard with richer soil containing volcanic ash, small stones and red clay. These parts provide more weight and complexity to the flavour profile of the grapes. Historical background Eisele Vineyard has been known for decades as one of the most appreciated sites in Napa Valley. It was originally planted with Zinfandel and Riesling as far back as the early 1880s, while the Cabernet Sauvignon was first planted in 1964. The vineyard reached its flair after Milt and Barbara Eisele bought the vineyard in 1969. The Eiseles soon realised that their unique site produced a crop that deserved to be sold to respected producers other than the local co-operative. They therefore decided to contact winemaker Paul Draper of Ridge Vineyards. The first wines carrying the Eisele Vineyard label were produced by Ridge Vineyards in 1971. The harvests of 1972 and 1973 were sold to Robert Mondavi, who used them in the prestige blend of Reserve Cabernet. In 1974, the crop was sold to Conn Creek Winery who produced the second vineyard-designated Eisele Cabernet. The following year the Eiseles found a partner in Joe Phelps, who had exclusivity for the whole vineyard until 1991. Phelps produced sixteen Owner: Bart & Daphne Araujo Founded: 1990 First vintage: 1991 Location: Calistoga Vineyard size: 30 acres for Eisele Vineyard Cabernet Sauvignon, total size 38 acres Average age of vines: 19 years Production: 1600-2000 cases Over 50% sold through mailing lists, the rest through restaurants and wine shops. Vineyard manager & Winemaker: Matt Taylor (Michel Rolland as consulting winemaker) AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 93.8 p 56 F I N E

1st Growth The quality of the wine Martha's Vineyard Cabernet Sauvignon is one of the most distinctive wines in Napa Valley. The distinctiveness lies in its unique style, with profound aromas of mint and eucalyptus derived from the large eucalyptus trees shading the vineyard. On the palate the wine charms, as it is less jammy than most Napa Cabernets. It is reminiscent of the classic Bordeaux style often associated with Mouton-Rothschild and has even been called the Mouton of Napa. The Martha's Vineyard Cabernet Sauvignon has the most esteemed history of any single vineyard wine in Napa. It is an iconic wine. While many other successful wineries that were started in the 1960s have lost their flair and status on the market, Heitz Martha's Vineyard is still capable of rivaling the modern cult wines. The best evidence of its greatness was shown in a full vertical Heitz Martha's Vineyard Cabernet Sauvignon tasting in June, where all of its 35 vintages ever produced were evaluated. The results were simply amazing, with the wines reaching an average score of 92.1 points. It is fair to say that there are not many other wineries in the world that can provide as stable a vertical. The wines have great balance, elegance and continuity. This is not only the result of a great site but also great winemaking. The vineyard has always been in the hands of the Heitz family ­ first Joe's and then son David's. clone. "It is gravelly loam on an alluvial soil that contributes an essence of minerals in the terroir." Kathleen Heitz Myers stresses. The site, with eastern orientation on the foothills of the Mayacamas, enjoys the first rays of sunshine in morning while the direct, hot afternoon sun is avoided and the cooling microclimate can occur. The vineyard is cultivated using certified organic practices. acquired the first batch of fruit from the vineyard he immediately understood that he had something precious in his hands and that it deserved to be vinified and bottled exclusively. The first vineyarddesignated wine in the history of the United States was born from the harvest of 1966. WINE PROFESSIONALS' OPINION 47 %/FIRST GROWTH Philosophy in winemaking "An important part of the legacy of Martha's Vineyard is showcasing the authentic, varietal character of this incomparable Cabernet clone, with its layers of complexity and remarkable overall balance. Through the extended fiveyear ageing process, the wine consistently and elegantly portrays the pure flavours and unique characteristics of Martha's Vineyard. We continually strive to maintain a balance between innovation and a commitment to our winemaking heritage. While we have made subtle refinements through the years, Martha's Vineyard Cabernet remains known as a true classic for its consistency in quality and style." Heitz Myers sums. Historical background `The wine unites' goes the old saying and two bottles of Heitz Cabernet Sauvignon certainly united two families in a way that the wine lovers around the globe will appreciate. It was all thanks to the generosity of the people who sold their site and house to Tom and Martha May in 1963. The Heitz bottles left as a welcome gift appealed to the May's palates and they visited the Heitz Cellars. There they met Joe and Alice Heitz and the lifetime bond was created. Later, a handshake sealed the lifetime contract between the families, which ensured the Heitz's had exclusive rights to the fruit from the May's vineyard. When Joe had Owner: David Heitz and Kathleen Heitz Myers Location: Oakville Vineyard size: 34 acres Average age of vines: 13 years. The vineyard was replanted after phylloxera attack in 1992. Production: 1000 to 4500 cases Vineyard managers: Tom & Martha May with the son Richard and daughter Laura Winemaker: David Heitz AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 92.1 p Market price Average secondary market price during the last 15 years: USD 109 Terroir Martha's Vineyard is located in Oakville, just below Harlan Estate, on a gently sloping, 34acre vineyard cultivated with a unique Cabernet 57 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

2nd Growth The quality of the wine Maya is all about power and volume. This intensely colored wine, rich in tannins and ripe jammy black fruits, has the power to last for decades. It is a mouthfilling wine with a masculine structure and is definitely suited to long-term ageing. Cabernet Sauvignon and Cabernet Franc. "We work hard to subdivide the vineyard, and produce small lots from uniform parts of the vineyard." winemaker Andrew Erickson enlightens. of vineyard and enology experts which has only furthered their commitment to producing the highest quality wine. Philosophy in winemaking "The wines tend to be quite powerful from the Dalla Valle vineyard, so rounding the tannins is one of the focuses of the winemaking. We have been doing longer macerations to smooth out the tannins and increase the mid-palate of the wines there. The defining characteristics of the wines from Dalla Valle are power and intensity, so we try to focus on this in the winemaking. But in the end, there should not be a winemaking "style" reflected in the wine, but a reflection of the terroir." Erickson says. WINE PROFESSIONALS' OPINION 18 %/FIRST GROWTH Market price Average secondary market price during the last 15 years: USD 284 Terroir Dalla Valle estate is situated on a plateau 400 feet above the valley floor, on the hillside of the Vaca Mountains in Oakville district. The Maya vineyard is the most southern facing site of the Dalla Valle estate. A sunny exposure guarantees the Cabernet grapes ripen perfectly, while the cooling Pacific Ocean breeze helps the grapes keep their acidity level high. The well-drained, rocky soils with clay and loam are rich in iron content, therefore providing Maya wine its intense, powerful and rich character. The terroir is perfectly suited to Historical background Dalla Valle was set up and named after the late Gustav Dalla Valle. Born in Italy, Gustav, along with Japanese wife Naoko, bought their Oakland vineyard in 1982. After Gustav's untimely death in 1995, Naoko put together a masterful team Owner: Naoko Dalla Valle Founded: 1982 First Vintage: 1988 Location: Oakville Vineyard size: 7 acres Average age of vines: 20­22 years Production: 200­500 cases All wine is sold through the mailing list. This applies also to restaurants and wine shops. Vineyard manager: Fausto Sanchez Winemaker: Andrew Erickson AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 92.7 p 2nd Growth The quality of the wine The wines are beautifully balanced with acidity, tannins, and ripe fruitiness. The high-level of alcohol is well-integrated and enhances the lovely spicy and mineral characters present in the long finish. Terroir The Madrona Ranch is located on the western side of St Helena. The gently sloping hills possess a great deal of alluvium, derived from sedimentary rock, and partly iron-rich volcanic rock. This site produces, in David Abreu's hands, some of the highest quality fruit in the Napa Valley. that express the unique terroir of the Madrona ranch. His wines are aged in 100 per cent new French oak for two years, and after this for another two years in the bottle before release. Historical background David Abreu is a third generation native of Napa Valley. He grew up in Rutherford, where his parents were ranchers. At an early age he began working in the vineyard and winery business and worked alongside Napa Valley legends such as Charlie Wagner and Andre Tchelistcheff. After Market price Average secondary market price during the last 15 years: USD 245 Philosophy in winemaking The philosophy is based on the vineyard practices rather than vinification. His aim is to make wines 58 F I N E

2nd Growth The quality of the wine Pahlmeyer wines are mostly big wines with great complexity and character. The distinctive, intense jammy black fruit character is always in harmony with balancing acidity, ripe, refined tannic structure and rounding high alcohol. Although the wines are big they are never clumsy, but vivid and energetic instead. Philosophy in winemaking The whole philosophy of Pahlmeyer wines is based upon selection. The grapes are sourced from their own Waters Ranch vineyard and othet Napa Valley vineyards, which are selected every year, in order to find the best quality grapes for the blend. The entire process, from the vineyards to vinification, involves selecting only the best fruit, cluster by cluster, berry by berry. Before fermentation, the selected grapes are cold macerated for 4 to 5 days to extract flavour and colour. The wild yeast fermentation takes place in open-top fermentors. The ageing takes place, mostly in new oak, for 18 months. No fining or filtration takes place. in the vineyard site at Altas Peak, which stood over 1500 feet high. Erin Greene has continued the Turley's work since arriving in 1999. WINE PROFESSIONALS' OPINION 2 %/FIRST GROWTH Market price Average secondary market price during the last 15 years: USD 87 Terroir Volcanic, rocky, deep well-drained soils that are cultivated using sustainable viticulture. The irrigation is minimised to encourage the root system to penetrate deep into the ground. No fertiliser, pesticides or chemicals are used. With these methods, the yields are kept low and the fruit concentrated. Historical background Jason Pahlmeyer grafted the first wines in Napa from Bordeaux cuttings with his friend John Caldwell, in 1980. Randy Dunn vinified the first commercial vintage in 1986 and continued with the winery until 1992. He was then succeeded by Helen Turley who convinced Pahlmeyer to invest Owner: Jason Pahlmeyer Founded: 1980 First Vintage: 1986 Location: Napa Valley Vineyard size: 72 acres Production: 3000 cases Vineyard manager: Amy Warnock (developer David Abreu) Winemaker: Erin Green (Michel Rolland as consulting winemaker) AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 91.6 p spending some time in Bordeaux, he returned with the new vineyard concepts, before founding David Abreu Vineyard Management in 1980. He soon became the most popular vineyard consultant in Napa, consulting the top properties including Colgin, Harlan, Araujo, Bryant Family and Screaming Eagle to name but a few. In 1980 he also planted Madrona Ranch. David's first wine was made 1986 at Madrona Ranch but his first commercial release was the 1987 Abreu Cabernet Sauvignon Madrona Ranch. WINE PROFESSIONALS' OPINION 26 %/FIRST GROWTH Owner: David Abreu Founded: 1980 First Vintage: 1987 Location: St Helena Vineyard size: 23 acres Production: 350 cases Vineyard manager: David Abreu Winemaker: Brad Grimes AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 92.3 p 59 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

2nd Growth The quality of the wine When making wines in such minor quantities, as Grace Family does on a good site in St Helena, it is relatively simple to obtain extreme quality. This is a true boutique winery par excellence. The wines are focused, full-bodied, pure and complex. They show immense finesse and elegance despite being rich with fruit and tannins. The wines are tight and closed when young and benefit from 15 to 20 years ageing. Philosophy in winemaking In 1978, it was the superb quality of the fruit that was first recognised by Caymus' Charlie Wagner who made Grace Family Vineyard wine under the Caymus brand. The philosophy towards winemaking has always been based on the grape material that the Grace vineyard produces. Since the beginning, they have nurtured their parcel with organic care, in order to maximise the quality of the grapes. Richard and Anne's son Kirk took the winegrowing a step further by introducing biodynamic methods eight years ago. The vineyard now produces an average yield of 6-8 tonnes per acre, and according to Dick Grace "Success is not growing, but maintaining your gain." WINE PROFESSIONALS' OPINION 14 %/FIRST GROWTH Market price Average secondary market price during the last 15 years: USD 238 Terroir The rocky hillside, with eastern orientation and good exposure, perfectly suits this unique Cabernet Sauvignon, the cuttings of which originate from the Bosche Vineyard in Rutherford. Historical background The grapes were sold to Caymus Winery, who made vineyard-designated wine that was named after the Grace family. In 1983 the Grace Family began to produce the wine under their own label. Originally a 5-acre vineyard, it was diminished to 2 acres after phylloxera struck the vineyard in 1994. Owner: Richard & Ann Grace Founded: 1975, planted 1976 First Vintage: 1978 Location: St Helena Vineyard size: 2 acres Production: 350 cases Vineyard manager: Kirk Grace & Daniel Mendoza Winemaker: Gary Brookman AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 90.8 p 2nd Growth The quality of the wine Insignia represents the classic big Napa wine, with an abundance of jammy black fruits, profound toastiness with vanilla, and a mouth-filling, opulent texture with tender tannins. Terroir The secret of complexity in the Insignia relies on the blend of Cabernets from various sites. The high awareness of the soil compositions and their interaction with vines and rootstocks are well understood and supported by biodynamic cultivation. The grapes used for Insignia originate from four different vineyards with deep soils and various compositions ­ silty clay, gravel, volcanic rock, and pebbles. It is the combination of all these that gives Insignia its complex flavour. Philosophy in winemaking In the beginning Insignia was made from the best grapes available during any given year, but the concept changed slightly in 1977. "We wanted to make the best blend of Bordeaux varieties ­ Cabernet Sauvignon, Merlot and Cabernet Franc ­ from our vineyards and that continued until 1989. At that time our focus changed from sourcing fruit from the winegrowers, to using our own estate vineyards." Kathie Fowler, Director of Communications points out. Market price Average secondary market price during the last 15 years: USD 109 60 F I N E

2nd Growth The quality of the wine The Hillside Select Cabernet Sauvignon has that warm, classic Californian flair to it ­ loads of ripe and jammy black fruits, smooth tannins and mellow acidity. The wines are always big and as Doug Shafer points out "Napa wines are big wines, no point hiding it." Still baring the Stag's Leap District's smooth style, with tannins that are always very gentle and fine-grained, the Hillside Select is voluminous, but in a discreet manner, making it a very enjoyable and flirtatious wine when young. blocks enjoy various microclimates, which generate grape material with complex flavours. Every afternoon the breeze from San Francisco Bay cools the vineyards, allowing the fruit to retain acidity. The vines suffer and have not 1978 the Shafers became vintners after crushing their first wine, Shafer Cabernet, themselves. It was released in 1981. This wine was ranked, ten years later during an international blind tasting in Germany, better than legendary Bordeaux wines like Latour, Margaux and Palmer. Philosophy in winemaking The Shafers are the pioneers of sustainable vine farming, with over 20 years experience. The production is operated using 100% solar power, recycled water and no chemicals. "In the early 1980s we followed the advice of our textbooks from the U.C. Davis winemaking programme and picked early, added acid, etc. Over time we learnt that wine needs to taste good. And we threw out our textbooks and learned to taste the fruit and let the fruit tell us when to pick and also what style of wine it wanted to become. Obviously I hope the future will be about wines that are produced with authenticity, wines that remain true to their site of origin. However, the fact is the future remains, as always, in the hands of consumers." Doug Shafer comments. WINE PROFESSIONALS' OPINION 37 %/FIRST GROWTH Market price Average secondary market price during the last 15 years: USD 245 Terroir The legendary Hillside Estate Vineyard is comprised of 14 vineyard blocks, varying from one to nine acres in size, on the slopes of an amphitheatre-like hillside. The thin, volcanic rocky topsoil stands on top of bedrock that forms a very low amount of nutrients for vines, thus yielding small grapes with intense flavours. Due to a series of knolls and outcroppings, the vineyard Historical background The winery was established by John Shafer, a former book publisher from Chigago, in 1972. In Owners: John & Doug Shafer Founded: 1972 First vintage: 1982 by the name Reserve (In 1983 the wine was renamed Hillside Select) Location: Stag's Leap Vineyard size: 50 acres Average age of vines: max 25 years Production: 2400 cases Vineyard manager: David Isley Winemakers: Doug Shafer & Elias Fernandez AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 91.6 p The 2004 was the first 100% "Estate" Insignia. The most significant change in production and style came about because of phylloxera. "When we replanted better rootstocks and clones, and employed better vineyard architecture (soil preparation, drainage, spacing, trellising) and better farming techniques, the quality and the expression of the wines improved." Fowler adds. of various Napa wineries in 1972. He bought a farm and turned it into a winery in 1972. The Phelps became famous for exclusively producing the Eisele Vineyard, from 1976 to 1991. WINE PROFESSIONALS' OPINION 6 %/FIRST GROWTH Historical background Joseph Phelps fell in love with the tranquil Spring Valley in Napa while working on the construction Owner: Phelps Family Founded: 1972 First vintage: 1974 Location: St Helena Vineyard size: 72 acres Average age of vines: 10.5 years Production: 14 000 cases Vineyard manager: Philippe Pesserau Winemaker: Ashley Hepworth AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 91.5 p 61 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

2nd Growth The quality of the wine The Dominus Estate has a different tone to any other Californian wine and it is more French and Old World than anything else. The wines are restrained and savoury, with complex nuances of black fruits, spices and toastiness. They are less appealing compared to other great Napa wines when young but have an aristocratic nature and good ageing potential. Thanks to devoted practices on the vineyard site the wines deliver the pure expression of the terroir. "Dominus style is precise, polished, refined but austere. It is like an iron fist in a velvet glove." says technical director Tod Mostero of the Dominus style. Market price Average secondary market price during the last 15 years: USD 127 acidity levels high. The estate is farmed without any irrigation, which is highly risky and a very uncommon practice in Napa. With this practice Christian Mouiex is looking to have the rootstock dig deep into the ground, thus increasing the stress on the vines and generating more concentrated and mineral-rich grapes. There is a great focus on caring for the vines individually. The vineyard has 27 individual blocks that are operated separately. Two weeks before harvest the grapes on the vines are washed, in order to remove all dirt and dust. During the harvest the row of vines are picked in two phases ­ firstly the side where the grapes are exposed to sunlight, while the shaded area follows soon after. The first sorting of grapes is carried out in the vineyard. It is the practices of the vineyard, with its 27 blocks of various varietals, that creates the complexity that is evident in the final wine. Historical background The site has had a long history since the first vines were cultivated here in 1838. In 1946, the legendary Niebaum family descendant John Daniel purchased the Napanook property as part of the Inglenook Estate. When Daniels sold Inglenook in 1964 he kept this site. In 1982, the world famous Château Pétrus owner Christian Mouiex fell in love with Napa Valley during his studies at UC Davis. In 1983 he became the joint venture partner of the Napanook estate, along with John Daniels' daughters Robin Lail and Marcia Smith. In 1995, Christian Mouiex became the sole proprietor of the estate. WINE PROFESSIONALS' OPINION 6 %/FIRST GROWTH Philosophy in winemaking Terroir Located in a narrow area, separating the upper and lower valley of Napa, the vineyard in the foothills of Mayacamas Mountains receives the cool evening air that rises through the valley, while also benefitting from the equally cool breeze that escapes from the upper valley in the early morning. This helps the grapes to keep their freshness and The winemaking is considered to be a tool that helps the land to express its purest qualities. Fermentation takes place using inoculated yeasts, after the cold-maceration. After the fermentation the grape must is pressed with extra care to avoid any austere compounds. The ageing barrels are steamed and soaked before they are filled with wine. This eliminates the excess smoky and toasty aromas caused by barrel toasting. Owner: Christian Moueix Founded: 1983 Location: Yountville Vineyard size: 108 acres Average age of vines: 25 years Production: 7000 cases Technical director: Tod Mostero AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 91.2 p 2nd Growth The quality of the wine Randy Dunn's wines are known as some of the most powerful and concentrated wines in Napa Valley. The wines commonly have massive black fruit character, firm tannins, cedary and earthy tones, and a mineral bite. However, the alcohol levels are lower than in many other big Napa wines. To soften the wines, a good amount of ageing is required, usually from 15 to 20 years. Market price Average secondary market price during the last 15 years: USD 87 receive an extended amount of sunshine per day compared to elsewhere, yielding high sugar levels into the wines. The grapes evolve much thicker skins, which in turn generates more tannins into the wine. Terroir The isolated Howell Mountain has a unique climate for winegrowing. Due to its high elevation it has higher night and cooler day temperatures than the valley floor. At the same time, the vineyards Philosophy in winemaking Randy Dunn's winemaking philosophy is based upon immense concentration of fruit, rich tannins and good amount of acidity. From these elements he creates monstrous wines with great balance that last for decades. 62 F I N E

2nd Growth The quality of the wine Opus One has been charming throughout thirty vintages, with its round, supple and classic Bordeaux style. It has shown balance and longevity that can age well for up to 20 years. After Michael Silacci took the position as winemaker in 2001 Opus One has gained some extra substance. The wines have become more dense and concentrated, promising even longer ageing potential for the current vintages than the older ones. Philosophy in winemaking Baron Philippe de Rothschild and Robert Mondavi shared both a vision and a mutual goal that involved making a wine of balance, complexity, and international appeal. Three principles formed the cornerstone of Opus One's winemaking in 1979, and remain its foundation to this day, Asleson stresses. "The first is to make a classic Bordeaux-styled wine that can stand in the company of the finest in the world. Secondly, the wine must be a reflection of its two parents, so that some of Pauillac and some of Oakville are perceived in every vintage. And thirdly, the wine must also be unique from either of its two parents." Asleson comments. the respect Mouton-Rothschild owner, Baron Philippe de Rothschild, had for the area. WINE PROFESSIONALS' OPINION 6 %/FIRST GROWTH Market price Average secondary market price during the last 15 years: USD 168 Terroir Sitting on the valley floor in Oakville, the soil is alluvial with gravelly loam. "Michael's advances in vineyard management ­ improving shading by providing more space for the canopy to grow while minimising irrigation has yielded deeper rooting of the vines. This has resulted in physiologically riper grapes with high acids that reach ideal sugar levels." PR Manager Roger Asleson explains. Historical background This is a special wine that once united the Old and New Worlds in a manner that had never been seen before. This joint venture between the two famous wine producers was first of its kind and certainly raised public interest around the world, with Napa becoming the most appreciated wine region outside the Old World. The noticeable fact was that the project was initiated because of Owner: Constellation Brands & Baron Philippe de Rothschild S.A. Founded: 1979 First Vintage: 1979 Location: Oakville Vineyard size: 139 acres (170 acres in total) Average age of vines: 18 years Production: 21 000 cases No mailing lists. Vineyard manager: Michael Silacci Winemaker: Michael Silacci AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 90.9 p Historical background After building a respected career as the winemaker for Caymus Winery, Randy Dunn purchased a small, 5-acre piece of land from the Howell Mountain area he had fallen in love with. He worked for Caymus until 1984, but also made his own wine in the meantime. In 1979 he produced his first vintage from the Howell Mountain, which was not at that time considered a winegrowing region. However, Dunn made the Howell Mountain famous and many then followed. He is still loyal to its wine style, which no one else dares to make, and he does not make wines in order for them to be consumed young. Owner: Randy & Lori Dunn Founded: 1979 First Vintage: 1979 Location: Howell Mountain Vineyard size: 30 acres Average age of vines: 10-35 years WINE PROFESSIONALS' OPINION 4 %/FIRST GROWTH Production: 2500 cases Vineyard manager: Randy Dunn Winemaker: Randy Dunn AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 90.7 p 63 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

2nd Growth The quality of the wine The Caymus Special Selection was an iconic wine in Napa during the 1980s, as it reflected the classic expression of the Napa Valley Cabernets. Thanks to the Wagner's great contacts with the growers of the region, they have been able to get the best fruit in their highly respected wines. Over the last decade the hype surrounding the Caymus wines has subsided. However, the quality is still high and their Special Selection is a great wine that definitely benefits from at least 15 years of ageing. Philosophy in winemaking The Wagner's winemaking philosophy is based on getting the best fruit from selected vineyards in Napa and by blending them they have been able to make wines with great character and complexity Besides their own holdings, the Wagners also control the vineyards from which they purchase grapes. WINE PROFESSIONALS' OPINION 2 %/FIRST GROWTH Historical background The Wagner family has a rich winegrowing history in Napa, after starting out in 1906. The Special Selection has been made every year since 1975 except in 1977, 1993 and 1996. The wine was made until 1984 by Randy Dunn, who has always credited the Caymus vineyards for their great fruit. Since then, the Wagners have been in sole charge of winemaking. Market price Average secondary market price during the last 15 years: USD 122 Owner: Chuck Wagner Founded: 1972 by Charlie Wagner First Vintage: 1975 Location: Napa Valley/Rutherford Vineyard size: 60 acres Vineyard manager: Chuck Wagner Winemaker: Chuck Wagner AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 90.7 p Terroir The Wagners have farmed the vines in various places in Napa, from the valley floor to hillsides of mountains reaching 1600 feet. Therefore, the wines have gained complexity from the various terroirs of the Napa Valley. 2nd Growth Stag's Leap Wine Cellars Cask 23 Proprietary Red The quality of the wine The Cask 23 is a very special wine, yielding from the best and most distinctive fruit of Stag's Leap Wine Cellar's two vineyards, S.L.V and Fay. It is only made in outstandingly good vintages and nowadays is a blend of the best fruit from both sites. The Cask 23 wines are concentrated, crisp and mineral-rich, while the fruit is restrained in style. These wines should not be drunk young, instead they benefit from at least 15 years ageing before opening. Market price Average secondary market price during the last 15 years: USD 108 Terroir The grapes derive from the Block 4 parcel of Stag's Leap Wine Cellar vineyard. The volcanic soils add spiciness and firmness to the wine, while the alluvial terrain enhances the perfumy and rich fruitiness. Climatically, the southern, cool breezes help the fruit to keep its acidity crisp and fresh. Philosophy in winemaking The winemaking concentrates on operating from small lots. The harvested grapes are selected 64 F I N E

2nd Growth The quality of the wine Chateau Montelena Estate Cabernet Sauvignon has a unique style that reflects the rugged terrain of Calistoga. It shows earthy characters, combined with lean cassis flavours, vivid acidity and firm tannic structure. It reminiscent of the St-Estèphe classics. The wines are still refined when young but are often closed. After ten to fifteen years of ageing the wines start blossoming and showing the longevity needed for further ageing. the ideal ripeness of the fruit while the low night temperatures, caused by the cold air from the Mount Saint Helena, helps the grapes to maintain their high acidity levels. WINE PROFESSIONALS' OPINION 0 %/FIRST GROWTH Philosophy in winemaking The winemaking techniques remain very simple, with gentle handling of paramount importance. Stainless steel is commonly used with slow fermentation to perfectly deliver the terroir characteristics. The oak ageing is completed using only a small amount (approximately 25%) of new barrels, so as not to mask any terroir aromas. Owner: Bo Barrett Founded: 1882, from 1972 under the Barrett Family The first vintage: 1978 Location: Calistoga Vineyard size: 84,4 acres of Cabernet Sauvignon Production: 9000 cases Winemaker: Bo Barrett AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 90.7 p Market price Average secondary market price during the last 15 years: USD 79 Historical background Terroir The vineyard lies on alluvial, sedimentary and volcanic soils, in a partly flat and partly steep, hillside-oriented vineyard at an elevation of 300 to 500 feet. The well-drained gravel subsoil makes the root penetrate deep into the ground yielding profound mineral characters into the wine. The high daytime temperatures guarantee Chateau Montelena became a world-famous winery overnight. It was Jim Barrett and his team that turned the site into the benchmark Californian winery. In 1976 Chateau Montelena Chardonnay 1973 was chosen as the best Chardonnay in the legendary Paris Tasting, leaving behind even the great Burgundies. Since then, Chateau Montelena has been listed among the best wineries in California. carefully, grape by grape, and transformed into wine. The 22-month barrel ageing finalises the complexity of the wine. vinify this one barrel and keep it separate from the rest ­ and The Cask 23 was born. The vines in Block 4 are still the original ones and date back to 1972. Owner: Chateau Ste Michelle & Antinori Founded: 1972 First Vintage: 1974 Location: Stag's Leap District Vineyard size: 69 acres Historical background When Warren Winiarski and his famous winemaker André Tchelistcheff tasted the different lots of vines harvested in 1974, they found a distinctive wine in one lot. This wine was from Block 4 on the S.L.V. vineyard. It had a flavourful. strong character of crushed violets. However, Winiarski and Tchelistcheff decided to WINE PROFESSIONALS' OPINION 0 %/FIRST GROWTH Average age of vines: Production: 2000-3000 cases Vineyard manager: Kirk Grace Winemaker: Nicki Pruss AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 90.5 p 65 N a p a Va l l e y C l a s s i f i c a t i o n Fi n e Classification

2nd Growth The quality of the wine Since the first vintage the Rubicon Estate has charmed with its supple style. It has always had a Bordeaux flair, given it lacks the jammy fruit associated with Napa wines. It has the restrained style, with black fruit, spicy, cedary and tobacco notes. On the palate the wine rarely shows powerful tones but rather a complex floral and black fruit character and firm tannins within its medium-bodied structure. grafted into the vineyard in 1882 by Gustave Niebaum. It is this specific clone, combined with the unique site, that gives Rubicon its unique style. world' by some critics. It was this history that convinced Francis Ford Coppola to buy the property in 1975 and continue the legacy of the Niebaum family. Philosophy in winemaking Great emphasis is placed on the vineyard and the grapes from the Niebaum clones, which are nurtured using sustainable winegrowing practices. The winemaking itself follows the classic Bordeaux style and the winery now uses cuttingedge equipment and the latest techniques. WINE PROFESSIONALS' OPINION 0 %/FIRST GROWTH Market price Average secondary market price during the last 15 years: USD 71 Historical background The estate has an extremely fascinating history, dating back to 1879 when Finnish sea captain Gustave Niebaum bought the property known as Inglenook. Within ten years, his wines were renowned and the worldwide press hailed his achievements. The success of the winery continued in the hands of Niebaum's wife's great-nephew John Daniel Jr., who made wines that became referred to as `the greatest in the Owner: Francis Ford Coppola (since 1975) Founded: 1880 by Gustave Niebaum First Vintage: 1978 (Niebaum's first vintage 1882) Location: Rutherford Production: 4300­5300 cases Winemaker: Scott McLeod AVERAGE FINE TASTING POINTS AFTER THE YEAR 2000: 90.1 p Terroir The Rubicon wines are made from an exclusive clonal selection of Cabernet on the Rubicon property. It is the historical Clone #29, also known as the Niebaum clone, which has been generated from the old Bordeaux Cabernet clone. It was 66 F I N E View over Oakville

THE AMAN BEIJING WINE CLASSIC 13 -15 November, 2009 AMAN AT SUMMER PALACE, BEIJING invites you to experience a weekend of food, wine and culture at the inaugural 2009 Aman Beijing Wine Classic. This year, the showcase features California's most notable producers in a three-day event marked by extensive panel discussions, wine tastings and dining events. Choose from a menu of ticket offerings ranging from a two-night stay at the resort and full festival participation, to day passes for attendance at specific events. This is an extraordinary opportunity to meet and mingle with renowned winemakers, while enjoying the luxurious setting of Aman's property located on the fringes of Beijing's iconic Summer Palace. A number of California's top producers will be leading panel discussions and conducting tastings during this Wine Classic. Participating wineries include: Chateau Montelena, La Sirena, Schramsberg, Peter Michael Winery, Patz & Hall, Harlan Estate, BOND Estates, Calera Wine Company, Claudia Springs Winery, Lail Vineyards, Peay Vineyards, Fisher Vineyards, Gargiulo Vineyards and Howell Mountain Vineyards along with Charbay Winery & Distillery. CHATEAU MONTELENA HARLAN ESTATE & BOND ESTATES Bo Barrett, Winemaker Chateau Montelena wowed the wine world in 1976 by winning the "Judgement of Paris," a tasting that pitted the best white Burgundy producers with California Chardonnays. Today, the Barrett family continues to produce highly acclaimed wines with the sought-after Estate Cabernet garnering numerous awards since its development in 1978. LA SIRENA Don Weaver, Director For nearly two decades, Harlan Estate has been committed to creating California "First Growth" wines from its expansive setting on over 240 acres in Oakville. BOND Estates originates from vineyards believed to be Grand Cru in quality and diverse in geographic representation, showcasing the range of Napa Valley's finest terroirs. CALERA WINE COMPANY Zinfandel, Pinot Noir, Syrah and Viognier. Located in the beautiful winemaking region of Anderson Valley in California's Mendocino County, Claudia Springs has won medals for every release since 1989. SCHRAMSBERG Heidi Peterson Barrett, Winemaker Dubbed "The First Lady of Wine" by critic Robert Parker, Jr., Heidi has held the position of winemaker for legendary and award-winning cult wines Screaming Eagle and Dalle Valle, to name just two. Since 1994, Heidi has been producing her own wines at La Sirena. PATZ & HALL Josh Jensen, Proprietor/Winemaker Josh has grown Calera Wine Company to include five single vineyard Pinot Noir sites and Viognier and Chardonnay plantings in the Mt. Harlan AVA, a total of 83.6 planted acres, a 30,000 square foot winery, and distribution in 45 American states and 20 foreign countries. CLAUDIA SPRINGS WINERY Hugh Davies, President Napa Valley's first winery was established in 1862 by Jacob Schram, a German immigrant. Schramsberg was re-established in 1965 by Jack and Jamie Davies as a producer of premium méthode Champenoise sparkling wines. Their son, Hugh Davies, is now president and director of winemaking. Seven vintage-dated and two multi-vintage sparklers are produced each year. PEAY VINEYARDS & WINERY Donald Patz, Winemaker Patz & Hall's commitment to crafting both Chardonnays and Pinot Noirs using fruit from elite single vineyards has helped to earn a place for the winery on many of the world's great wine lists. Bob Klindt, Winemaker Claudia Springs Winery is a family-owned microwinery producing limited quantities of premium Andy Peay, Owner Peay Vineyards produces Pinot Noir, Syrah, Chardonnay, Viognier, and a Roussanne/Marsanne blend. Since inception in 2001, Peay Vineyards has received enthusiastic praise for creating world-class single vineyard wines which express the minerality and fruit complexity of their cold-climate terroir.

FISHER VINEYARDS Cameron Fisher, Owner Founded in 1973 by Fred and Juelle Fisher, Fisher Vineyards grows and produces wines from both its Napa Valley Estate and Spring Mountain Estate (Sonoma County). Today, Fred and Juelle's three children, Whitney, Robert and Cameron, have joined Fisher Vineyards and are leading the way to a second generation of fine wines. GARGIULO VINEYARDS her ancestors' storied history in Napa Valley; their first vintage was released in 1995. HOWELL MOUNTAIN VINEYARDS Zealock Chow Howell Mountain Vineyards was acquired in 2005 by Rutherford Bench LLC, which is owned by the Chow Family. From their elevation of over 1,800 feet, Howell Mountain grapes are known to produce exceptional Zinfandel and Cabernet Sauvignon. CHARBAY WINERY & DISTILLERY true today: classic grape varieties grown in small mountain vineyards made into great wines using classical winemaking techniques. Given this commitment to the product, only a limited quantity will ever be available. · Aman at Summer Palace, Beijing 1 Gongmenqian Street, Summer Palace Beijing, PRC 100091 Tel: (86) 10 5987 9999 Fax: (86) 10 5987 9900 E-mail: amanatsummerpalace@amanresorts.com www.amanresorts.com April Gargiulo, Owner Gargiulo Vineyards is a 3,500 case family winery committed to hand-crafting exceptional wines from two Oakville estate vineyards, Money Road Ranch and 575 OVX. Gargiulo wines represent the culmination of years of research, responsible farming, rigorous selection and a winemaking philosophy dedicated to a vivid and true expression of two extraordinary vineyards. LAIL VINEYARDS Miles and Susan Karakasevic, Founders, Owners & Distillers Celebrating its 26th anniversary, Charbay remains a small family business and one of the early pioneers in the modern American artisan distillery movement. PETER MICHAEL WINERY Lail Vineyards was founded by veteran Napa Valley vintner Robin Lail and her family. In the early 1990's, Robin sought to create an outstanding wine to honor In 1982, Sir Peter Michael established the Peter Michael Winery on a square mile of rocky volcanic ridge that forms the western face of Mount St. Helena in Sonoma County. From the beginning, the winery's philosophy was modeled on French tradition infused with a few modern influences. This ethos remains

NAPA BY LIMO Text: Juha Lihtonen Photos: Pekka Nuikki 70 F I N E

It is late evening when the plane lands at San Francisco airport. It has been a fifteen hour flight and we have a few more hours until we arrive at our final destination: California's second most popular travel destination, Napa Valley. But this will be the most tiresome part of our trip ­ immigration formalities, waiting around for luggage to arrive, and driving to Napa. We are less anxious about it than we might have been, however: none of the hassle of hiring a car or navigating to Napa in the dark of night for us. For we have a luxury limousine and driver waiting. 71 N a p a b y L i m o Fi n e Tr av e l

NAPA BY I n the stretch limo Michael Bublé plays softly in the background, and in the ice bucket sits a bottle of rare Armand de Brignac champagne. On the way the chauffeur tells us that everything is organised as agreed: accommodation at Napa's top holiday destination, Meadowood, visits to the vineyards in the areas we had requested, and dinner arrangements in the region's best restaurants. Impressive, especially as the arrangements are the responsibility of a company that specialises in limousine services. Napa Valley is the world's most diverse wine tourism resort. Its hospitable atmosphere, magnificent wines, firstrate restaurants and wide range of services make it an unforgettable destination. You can get to know the area by travelling on the splendid wine train, by bicycle, motorbike, hot air balloon or even by flying around on a doubledeck aeroplane. But one of the most convenient ways of getting about is by limousine and chauffeur. There are a number of companies that provide limousine arrangements in the region, but only the best offer their customers a more comprehensive service in the shape of hotel, restaurant and spa reservations. Napa Valley Tours & Transportation (NVT) is one such company. The company's founder, Mike Graham, says that the business originally specialised in transport services but is now a destination management company. The aim is to offer customers an unforgettable experience when they visit Napa Valley. Graham thinks the company's greatest asset is its team of highly trained drivers, all of whom are well versed in the subject of wine. Their main role is to act as guides for the customers and organise their itineraries. Essentially, nothing is too much trouble and they are happy to arrange anything the customer wishes. It has now been two days since we arrived at Napa Valley's Meadowood Resort in NVT's stylish limousine. Today, the longawaited vineyard visits are on the programme. The limo is waiting for us in front of the hotel, as agreed. A smartly dressed driver introduces himself, saying he will be at our service for the whole day. We sit in the nine-seater Lincoln Towncar ­ equipped with mini-bar ­ and our journey begins. As the vehicle glides silently along the winding Silverado Trail, the driver goes over our day's itinerary. He checks our knowledge of the area and recommends a few places he thinks are worth a visit. We can get him to make any restaurant bookings we want. As we pass an idyllic vineyard, he says he has just organised an `adventure' picnic for some clients there in the style of the movie Bottle Shock, which was filmed in Napa Valley. This immediately pricks our interest and we vow to find a copy of the film. Our first stop is the winery of the region's legendary producer, Joseph Phelps. The driver makes sure we are in the correct hands, before wishing us a successful visit. An hour and a half later, having tasted several young and robust red wines, we are back at the car where cold mineral water is waiting for us inside ­ how considerate. At Joseph 72 F I N E

Y LIMO Phelps' we became interested in buying some of the region's rarer wines and so we ask the driver for advice on good wine stores. He promises to show us one we can pop into before lunch. The small Calistogan wine store that specialises in prestige wines, Enoteca Wine Shop, is charming, not least because of its owner, Margaux Singleton. Among the small shop's everchanging selection you can find wines that you can usually only get your hands on via mailing lists. Alongside some of California's cult wines ­ Screaming Eagle, Araujo, Colgin, Dalla Valle, Bryant Family and Hundred Acre ­ there are some of the best wines from around the world: Sassicaia, Pétrus, Henri Jayer and Pingus to name but a few. The shop also has a good selection of wine accessories. Margaux says she is very proud of the business, especially now that the shop is featured in a scene in the upcoming Japanese version of the famous Sideways film, in which Margaux herself has a small part. Although a DVD of the Bottle Shock movie that has awakened our interest cannot be found here, we buy a few wine rarities and accessories before setting off on our journey once more. The next stop is lunch at the brasseriestyle restaurant owned by the number one master chef in the USA, Thomas Keller: Bouchon, in Yountville. The classic French bistro food charms with its simple but very tasty dishes. Besides the Steak Frites and Moules au Pistou, we fall in love with the crispy bread. The waiter reveals that the bread is from the restaurant's bakery next door. The Bouchon Bakery is not the most highly regarded bakery in the region for nothing. Its crusty loaves and tasty pastries are becoming a common sight in shops, restaurants and hotels in the valley. After lunch we have to go in and grab a few samples for the journey towards our next stop. During the afternoon our animated discussions about movies end appropriately with a visit to an estate with stronger associations to the world of film than any other winery in the world. Soon, before us and in all its glory stands film director Francis Ford Coppola's famous Rubicon Estate. As we approach the building ahead we notice something you will not see on any other vineyard in the world ­ valet parking. Staff wearing dark suits open our door and bid us welcome. We get out and step onto a red carpet that leads to a gigantic, historic stone building. Inside, there are splendid wine tasting facilities, a winery, a stylish gift and wine shop, and a museum housing old and familiar objects from Coppola's films. We buy wine, of course, but also a face lotion made from the skins of grapes and a box of Carmine Premium cigars, Francis Ford Coppola's own brand, the same kind his father always used to smoke. Unfortunately, the Bottle Shock movie our driver has The driver makes sure we are in the correct hands, before wishing us a successful visit. been enthusing about cannot be had here either. After our fascinating tour of Rubicon, there is once again a surprise waiting for us in the limo, just to refresh us a little ­ a bottle of ice-cold champagne. The atmosphere is pleasant on our journey back to Meadowood as we enjoy our champagne and replay the day's experiences. Moving around from place to place in the limo has certainly given us a taste of luxury but the most valuable thing about the day has been the opportunity to enjoy the attractions and the region under the guidance of a knowledgeable and courteous driver. This would, of course, have not been possible had we hired a car ourselves. We have not had to concern ourselves with trying to find the right roads and addresses and this has made the day completely stress-free. Over the following days spent visiting vineyards we are impressed by the uniformly high standard of NVT's services, with several chauffeurs and luxury cars at our disposal during that time. On the morning of the day we are due to depart, a package is waiting for us on our doorstep. Accompanying it is a warm-hearted, handwritten letter: our driver wishes us bon voyage, and there is a movie enclosed. It is the Bottle Shock film we had been looking for so eagerly. We are both amazed and moved. You do not find such thoughtfulness often, if ever. We will always remember the limousine service as a real luxury experience, with all the arrangements, stretch limos and drivers provided, but, above all, it is the attention to detail and considerate behaviour of the staff at NVT that will remain in our minds as virtues that are seldom encountered. Given the good treatment we received, it is difficult to imagine why we would ever travel in Napa again under our own steam. > NAPA VALLEY TOURS & TRANSPORTATION www.nvtt.net · tel. +707 251 9463 73 N a p a b y L i m o Fi n e Tr av e l

Text: Juha Lihtonen Photos: Pekka Nuikki L 'Auberge de l'Ill is one of the world's all-time best restaurants. Its claim to fame is very much due to the recognition it has received in the Michelin Guide. It scored three Michelin stars back in 1967 and has managed to keep the same rating ever since. The only other master chef that has achieved anything comparable is Paul Bocuse at the restaurant that bears his name. Is the restaurant equal to its reputation? And how has an establishment located in the village of Illhaeusern in Alsace managed, generally, to succeed on this scale? 74 F I N E

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"W e would hardly have managed without the staff 's firm commitment to what we do," says Marc Haeberlin, who represents the fourth generation of proprietors. "We are fortunate because most of our staff members are local. Being local, they are proud of L'Auberge de l'Ill and this is an important place for them. So for us all, L'Auberge de l'Ill is more a way of life than a job." "L'Auberge de l'Ill has given me more than I could ever have hoped for. I have established a role for myself here that I enjoy, in which serving wine to the customers is a wonderful way to complement our fine cuisine," is how Dubs explains his exceptional career. For him, there is also something a little extra special about the L'Auberge de l'Ill, as it is there that he met his wife. Dubs stresses the importance of the Haeberlin family for both staff and customer satisfaction at the restaurant. He also thinks the restaurant's success is very much rooted in its current expertise, though he still sings the praises of its founders, Paul and Jean-Pierre, who were responsible for its initial success. There are several people working at L'Auberge de l'Ill who already have years of experience in the restaurant and also of its clientele. One of them is the world's most illustrious sommelier, Serge Dubs, who has worked there for 36 years. 76 F I N E

The best thing about the list is that it has a large selection of wines of different ages in half bottles. For example, Château Calon-Ségur 1989 (180 euros), Château Ducru-Beaucaillou 1978 (100 euros), and Armand Rousseau Gevrey-Chambertin Les Cazetiers 1996 (90 euros). there are half bottles of Château Haut-Brion 1988 (320 euros), A success story going back more than a hundred years L'Auberge de l'Ill's success story started back in 1878, when the Haeberlins, a couple from Illhaeusern, opened a restaurant on the banks of the River Ill. The riverbank was in a prominent position, as the river was a busy route in the Alsace region for exports to Strasbourg and Holland. The Haeberlins' restaurant, called L'Arbre Vert, quickly became popular. Its fresh, self-produced raw materials, along with the culinary skills of the women in the family, were highly appreciated locally. Its popularity continued right up until it was destroyed in 1940 during World War II. The brothers Paul and Jean-Pierre, who had grown up at L'Arbre Vert, returned from the front at the end of the war and spent the next five years building a new restaurant on the site of the previous one. Paul, staurant who had spent his childhood ad in the kitchen learning e from his mother, aunt, and grandmother ­ at 14, andmother he had gone on to ad become an apprentice me for top chefs in op Ribeauville and Paris ­ made the restaurant's kitchen his responsibility. Jean-Pierre, who had studied decorative art and architecture and had acquired experience in Paris as a mâitre d'hôtel, was responsible for the visual aspects of the restaurant as well as the dining room functions. Finally, in 1950 the brothers opened the new restaurant where the destroyed one had stood. Its name became L'Auberge de l'Ill. The kitchen, run by Paul Haeberlin, was based very much on L'Arbre Vert's popular country food, and he skilfully applied to it all that he had learnt from the le acclaimed masters of his time. There were some Ther innovative dishes, his creativity ensuring he, along with Paul Bocuse, became one of the most on legendary chefs of the 20th century. Indeed, the centur restaurant still serves two of his legendary h dishes, Mousseline de Grenouilles and Saumon Soufflé. L'Auberge de l'Ill soon gained s widespread recognition and earned its first ea Michelin star in 1952. Five years later, it y attained a second, and the third came along thir in 1967. Its reputation drew royalty, d heads of state, and celebrities to c Illhaeusern. Paul's son, Marc, Paul' with a smile on his face, told us how the news of the third star was reported in the international media: "The news made the international press, including the New York Times, but there wasn't a word about it in the local papers." Paul Haeberlin managed the kitchen at L'Auberge de l'Ill for nearly 50 years, until Marc took over at the end of the 1990s. However, Paul Haeberlin was a prisoner of his kitchen. The master chef, who had shunned the limelight, felt his place was nowhere else but there. Following his mantra, he continued to work in the kitchen until he was 84, when poor health forced him to give it up. He took it calmly, though, because his 54-year-old son, Marc, had grown up and served his apprenticeship under him since he was a boy. Furthermore, Marc had learnt from other great master chefs, such as Jean and Pierre Troisgros, Paul Bocuse, and René Lasserre and had been responsible for the kitchen for a long time anyway. The importance of Paul Haeberlin's kitchen to the success of L'Auberge de l'Ill is indisputable, but without the dining area to complement it, it would never have received all three of its Michelin stars. Jean-Pierre Haeberlin succeeded in creating a setting for his brother's creations that is without equal. And now, with the new generation in charge, it has been revived once more. Behind the scenes Marc eagerly shows me his revamped dining room, which the young and famous architect Patrick Marc Haeberlin 77 L'A u b e r g e d e l' I l l Fine Dining

Jouin designed in 2007. Its retro furnishings feature some interesting details. The carpet, for example, is a copy of a satellite image of Illhaeusern. The River Ill it depicts meanders and sometimes even wanders off the carpet to the terrace on the other side of the restaurant's French windows and then winds back inside to the carpet again. The glass tubes that hang down from the ceiling and act as partitions, Jouin thinks, mimic the umbelliferous plants (plants with flower heads shaped like opened umbrellas) that grow on the banks of the Ill. The new look is a success and the restaurant is in keeping with the spirit of the times. We take a tour through the restaurant's wine cellars, led by Serge Dubs. He opens a door and we step inside a labyrinth of low-ceilinged passageways. "Of the three wine cellars, this one is what we call the 'working' cellar. It is here that all the thousands of wines on the wine list are stored at the correct temperature," he explains. He also happens to mention that it was here that he found his wife. His partner aside, I ask him what he likes most about the cellar. He disappears into the depths of the cellar and soon returns holding a bottle of 1989 Château Haut-Brion. We move on to the next room. A thick steel door, like those you find on a submarine, separates the cellar from the other section of the basement. "We unload all the wine crates that we order here in order to fill the other cellar. As you can see from the door, this place is watertight ­ just in case the River Ill decides to flood," says Dubs. The cellars, which hold 60 000 bottles in all, do not contain wines from the Alsace region, as these come straight from the producers. On our way back upstairs, Marc Haeberlin points out the cellar where they keep only cheeses. As we pass, a huge disk of Brie catches my eye. The name Eric de Rothschild, owner of Lafite-Rothschild, is proudly displayed on the lid. "This cheese comes direct from the Rothschilds. They normally make it for their own use, but they have agreed to supply us exclusively," remarks Marc Haeberlin. Besides cheese, a lot of other raw materials that the restaurant uses are produced exclusively for L'Auberge de l'Ill. Upstairs in the kitchen, dozens of employees are getting ready to prepare lunch. The cooks are working under Dirck Gieselmann, Marc Haeberlin's son-in-law. The dining room staff members are busy polishing glasses while Pascal Leonetti, voted France's best sommelier, checks the wine that will be served with lunch. Dubs stops to show us the Grand Cru Serge Dubs wine glasses that he designed himself. Glasses designed for various wines, liqueurs, and even water, have their own individual look. Dubs maintains that the half centimetre high rim that they all have helps enhance the taste experience. "I originally developed the glasses to preserve the wine's aromas and taste, and not, I should stress, the special properties that the wines have," Serge explains. Ending our tour of the restaurant, it has to be said that the chemistry between Serge Dubs and Marc Haeberlin seems to work nicely. The men attended catering school together in Strasbourg in the early 1970s, and worked with one another in Paris before returning to Alsace. Both have had distinguished careers and their skills have won them wide acclaim. The kitchen that Marc runs, Dubs thinks is sensitive, though not revolutionary. Dubs describes Marc as a chef with a sensitive palate, always respective of the pure flavours he cooks with. He respects the wine as a crucial component of the dining experience, constantly adapting the food he creates to complement the wine. This allows virtually unlimited possibilities for combining wine and food and one can always expect a great gastronomic experience as a result. We waited, with great interest, for our dinner that evening at L'Auberge de l'Ill. L'Auberge de l'Ill www.auberge-de-l-ill.com tel. +33 (0) 3 89 71 89 00 Serge Dubs and Château Margaux 1943 78 F I N E

Dinner at L'Auberge de l'Ill 6 November 2008 hen we enter the restaurant, it feels a little as though we were checking into a hotel. We are led away from the large, round reception desk to the lobby where Danielle Baumann Haeberlin, Marc's sister, welcomes us warmly. She is the restaurant receptionist and she takes us to the headwaiter, Michel Scheer, voted France's best, who in turn shows us to our table. The unpretentious dining area is full of couples and from the buzz of conversation, the customers appear to be mostly foreigners. As we take our seats, Serge Dubs recommends that we start the evening with a glass of the house champagne. Champagne Lallier Blanc de Blancs NV from Aÿ (89p) proves an excellent choice ­ a masculine-style Chardonnay champagne. We are served amuse-bouches ­ parmesan shavings, en crôute de cepes (cep mushrooms in pastry) and mousse au Roquefort. Interestingly intense, but not too overwhelming. As we are studying Jean-Pierre Haeberlin's beautifully designed menus, an older gentleman approaches our table. He is Jean-Pierre Haeberlin. He gives us a warm welcome, we exchange a few words, and he moves on to the next table. There is plenty of choice on the menu. Seven starters, starting from 32 euros, (32-80 euros), four seafood and fish dishes, between 42 and 95 euros and nine other courses ranging from 49 to 61 euros. The most tempting dishes are listed under the heading 'Paul Haeberlin Classics'. A terrine of foie gras (46 euros), la truffe sous la cendre (truffles warmed in ash, 120 euros), and le homard Prince Vladimir (lobster with shallots, 78 euros) are all dishes that have made L'Auberge de l'Ill famous. Although the classics are interesting, we decide to have the seven-course set menu at 150 euros. Next, we investigate the restaurant's extensive wine list. It is often the case with top restaurants that the wine list is a thick tome that just takes too much time to go through. That is not the case at L'Auberge de l'Ill. The long list is clearly broken down into categories, and does not overwhelm you. It has an enormous number of wines from the classic French regions. Alsace is obviously there, in all its glory, complemented by a great selection of Bordeauxs and Burgundys. The best thing about the list is that it has a large selection of wines of different vintages in half bottles. For example, there are half bottles of Château HautBrion 1988 (320 euros), Château Calon-Ségur 1989 (180 euros), Château Ducru-Beaucaillou 1978 (100 euros), and Armand Rousseau GevreyChambertin Les Cazetiers 1996 (90 euros). However, any aficionado of older wines would also like the mature vintages on offer. Among the exciting discoveries are Preiss-Henny Riesling 1976 (115 euros), Josmeyer Riesling Grand Cru Hengst 1997 (95 euros), Château Margaux 1943 (500 euros) and Château Talbot 1961 (600 euros). On Dubs' recommendation, we choose a Josmeyer Riesling Grand Cru Hengst 1997 (93p) to accompany the first two courses. This very youthful wine, with crunchy acidity and fairly abundant fruitiness, brilliantly complements the scallops served as the first course, which, together with the foie gras-cep emulsion and braised pumpkin, make a wonderful start to the meal. The wine also goes well with the delicate tasting brill steamed in seaweed, which is served with a tasty mussel ragout flavoured with sea urchin. An even spicier filled lobster tail done the Creole way with red beans and spices is served with a wine that Dubs says we have to taste blindfolded. The mature and delicious PulignyMontachet-like wine turns out to be a rare Alsace white wine. The PreissHenny Pinot Gris Reserve Hennij Grand Cru 1958 (97p) is a perfect partner to the spicy lobster, thanks to its fruitiness and intensity. To accompany the next course we savour a rare wartime Château Margaux 1943 (94p). Dubs decants it about an hour before serving and the wine, having been released into the glass, enchants us with its balance. It is incredibly lively for its vintage and is a real find for the restaurant considering its price. The lamb fillet glazed with herbs and served with an artichoke doughnut and truffle polenta W works splendidly with the wine. After the main course, the cheese trolley is brought to us on which is a laden with a huge selection of cheeses. Each is seemingly more aromatic than its neighbour, which makes it difficult to choose, though it must be a pleasing experience for everyone. The delicious desserts that come after the cheeses are accompanied by a perfect dessert wine ­ Domaine Weinbach's Gewurztraminer Séléction des Grains Nobles Grand Cru Altenbourg 1998. This intensively sweet, florid, honey-flavoured, concentrated wine leaves a long aftertaste that is still there even after some coffee. On the whole, the dinner was unforgettable. Marc Haeberlin's exquisite yet intensive, rich flavours bask in the limelight. The wines made the dining experience one to remember, as did the pleasant and polished service. An added extra to the evening was the attention that Jean-Pierre Haeberlin, now 83, paid to his customers the entire evening. So what is the secret of L'Auberge de l'Ill's success? It comes from a combination of its delicious food, comprehensive wine list, professional and friendly service, which, together with the cosy, genuine atmosphere, make it something of an adventure. It is as if you were the honoured guest at a friend's celebratory dinner. Is the restaurant one of the world's best then? Taking everything into account, it is difficult to find one single argument against that claim. L'Hôtel des Berges Opened in 1992, the comfortable Hôtel des Berges is a homely inn built in 18th century style. Its eight spacious rooms and four suites make for atmospheric and tranquil surroundings to relax in after your gastronomic adventure on the bank of the River Ill. Serge Dubs Profile Born in 1953 in Strasbourg, Serge Dubs is one of the world's most highly esteemed sommeliers. When at 19 he came from catering college to work at L'Auberge de l'Ill as a trainee, Dubs had no appreciation of wine or spirits, let alone any knowledge of the sommelier profession. Dubs, who had distinguished himself as a keen athlete, had never drunk alcohol in his life, but an interest in wine soon grew after starting at L'Auberge de l'Ill. "There was something fascinating about wines. They were associated with stories, people, and culture. Moreover, I had always dreamed of having the opportunity to travel. All these came together in the world of wine. Although I was able to understand wines a lot better, I never imagined that I would become a wine expert. My busy working life and study of wines caused me to drift away from sports, which had been an important part of my life. I realised what I was missing most of all about sports, which was its competitive element. When I heard about the sommelier contests for the first time in the 1980s, I thought my chance had come. I started swotting up and gained much support from L'Auberge de l'Ill. I did well and the doors to the big wide world of the sommelier opened." Dubs won the title of France's best sommelier in 1983. In 1988, he was named Europe's best sommelier, and in 1989, the world's best. He also wrote a book about the wines of Alsace (Les Vins d'Alsace, published by Robert Laffont/Serpenoise). These days he is known not only for his achievements but also for his active role on the juries of sommelier championships, as well as his involvement with the International Association of Sommeliers. He is also one of the few fifty or so top sommeliers you will find working hard in a restaurant. 79 L'A u b e r g e d e l' I l l Fine Dining

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FINE GADGET This section is dedicated to innovations which will further enhance your wine experience. Sowine a personal wine bar A glass of wine, please. A glass of wine in the evening is encouraged by many health experts, although I have to admit that I usually like to partake of a glass of wine for completely different reasons. Most of the time one glass of good wine suffices, but one glass is seldom a good enough reason to open a whole new bottle, particularly a good one. What is one then supposed to do with the rest of the wine? It often does not stay drinkable in an open bottle overnight, meaning that glass of good wine frequently stays in its bottle. However, there is now a way to prevent such an occurrence. Eurocave has developed a "personal" mini-bar, from which you can serve yourself a glass of wine every night, so that the pleasure of one bottle lasts for every night of the week. TEXT AND PHOTO: PEKKA NUIKKI French Eurocave developed the first wine cabinet for home use over thirty years ago, which made wine storage in "cellar conditions" possible, even in apartments. Now Eurocave has introduced Sowine wine bar to the market, which stores wines at the perfect serving temperature and preserves opened wine bottles, rendering them suitable for serving up to a week later. Sowine keeps red and white wine at the ideal temperature and operating the device is painless. Simply place a bottle in one of the two compartments, choose a serving temperature and press a button. For an unopened bottle this is enough. If a bottle has been opened, one should also depress the upper part of the cabinet's pump and let oxygen extraction system seal the bottle and secure it, thus protecting the wine from oxidation. In my experience the system functions well and is easy to use. I bought Sowine some time ago. Ever since it has been in frequent use and has functioned without fault. Sowine needs about three hours to adjust the temperature of the wine in order to make it ready for serving. In my opinion it keeps an opened bottle in good form for three to four days, depending on wine quality and how often the wine is removed from the cabinet. I open several bottles of wine a day for work, often just for half a glass and even then it is routinely spat out. The rest of the wine goes down the drain if friends are not around to enjoy it. This is a very frustrating operation, especially if the wine is excellent. Sowine has helped preserve the best bottles from a tasting, making it possible to enjoy said wines with friends during the following days. After all, the best thing about wine is sharing it with others. 81 S o w i n e Fi n e G a d g e t

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vintages for celebrating the round years TEXT: JUHA JORMANAINEN PHOTOS: PEKKA NUIKKI Nine is a fascinating number. Nine is the number of wisdom, indifference, reason and insanity, and both virtue and immorality. In numerology, nine is the number of friendship. Many wonderful wine years end in the number nine, and if the wine receives 99 points, its drinker has had the opportunity to experience something unforgettable. Nine has magic in it, especially in 2009. The year two thousand and nine is underway. Those whose birth year ends in the number nine will celebrate evennumbered years. Indeed, there is no better way to celebrate the occasion than with a wine from one's own birth year. When the wine in the glass is as old as its drinker, the atmosphere of the occasion is always memorable. Then you can truly say that you are drinking a glass of history. Those whose birth year ends in a nine are lucky ­ at least when it comes to wines. The years 1949, 1959 and 1989 were magnificent wine years, and 1979 was not bad at all. The year 1939 was difficult in many ways, but one can still find drinkable wines from that year. On the other hand, one has to pity the friends of Bordeaux wines who were born in 1969, as very few of that year's wines offer staggering sensations. Luckily, that wine year was very good in Burgundy, even though the harvest was small. Strong feelings are always associated with the wine of one's own birth year and, contrary to any other vintage, perfection may not be such a pivotal factor when making a purchase. The most important thing is to enjoy the wine at the right time, and with friends. On the other hand, one should be a realist when acquiring mature wines and forget the inexpensive special offers. The truth is that one cannot buy a mature wine in good condition cheaply. Caveat emptor ­ buyer beware. The price range is confusingly wide, and the 1949 Mouton-Rothschild, for example, costs some 1300 euros at its least expensive and over six thousand euros at most. How is that possible? It has to do with the condition of the wine bottle, in which the standard of the wine is often noticeably low in the more inexpensive bottles. The lower the standard of wine, the higher the risk the wine will not be in good condition anymore. One must pay a high price for a top-class bottle, indeed an old saying has it that there are no good or bad vintages, only well or poorly preserved bottles. When acquiring old wines, it is a good idea to trust well-known stores and one should take care of the matter a few years in advance. It is certain that for a 1949 bottle one must pay considerably more today than just a few years ago. One should also acquire the wines early on because old wines, especially red wines, do not travel well. They should be kept in a cellar to settle for a month before they are enjoyed. Then, when the big moment is approaching, the wine bottles are to be kept in an upright position for a few days, even in a refrigerator. At that time, the fine-grained dregs will have time to descend to the bottom of the bottle. Then, the cork should be carefully removed, before the wine is decanted into the carafe and allowed to breathe for between half an hour and a few hours, depending on the wine. Finally, the proper glasses are brought out, and the festivities can begin. Old wines have to be hunted down somewhat, but there are certainly good online shops around with nice selections. 83 N i n e Fi n e Vi n ta g e

1939 84 F I N E 1939 was the year of big upheavals. February 10 saw the death of Pope Pius XI in Rome, while on September 1, German troops marched into Poland,. In France, the summer was miserable, cold and rainy ­ somewhat akin to the overall mood in Europe. Partially due to the rains, the harvest was also carried out very late. This resulted in light wines with a modest structure, whose ageing potential was weak. It is, therefore, not worth acquiring red wines from this year for a 70th birthday party; the risk is too high. Both Latour and Haut-Brion are to be found around the world, but the price of approximately one thousand euros is quite harsh. Instead, it is better to direct one's gaze towards Madeira and Barbieto Malvasia, whose prices vary between 150 and 300 euros worldwide. The alternative is Real Compania Velha Royal Oporto Vintage, which lightens the wallet by slightly over five hundred euros. These wines will certainly bring pleasure towards the end of your dinner.

1949 Republic of China. The year 1949 was a time of reorganising the post-war world. On March 18, NATO was established, from October 4 to 12, the DDR was founded, and on October 1, Mao announced the birth of the People's 1949 was the third top vintage of the famous post-war trio (the previous ones were 1945 and 1947). The summer of the brilliant harvest year was the driest and hottest in living memory. The heat continued through August, but the beginning of September saw some stormy conditions. Farmers heaved a sigh of relief when the weather was favourable at the end of September, in time for the harvest. The result was fine wines, which do not quite contain the lushness of the 1947 wines or the tannin content of the 1945s, but do have more elegance and style than both the above combined. The wines have aged beautifully, and most of them are still more than enjoyable today. There is a reasonable amount of 1949s on offer, although the prices vary greatly. Italian Barolos, Fontanafredda, for example, are sold for 200­300 euros, but experience has taught us that the risk faced is fairly high. We have come across too many old Barolo that have already seen their best days. Bordeaux is a sure choice if you want red wine for a 60th birthday celebration. Lafite-Rothschild, Gruaud-Larose and Cos d'Estournel render you poorer by some five hundred euros, but if one nevertheless wants to acquire top wines, money will, afterall, inevitably need to be spent. For example, Ausone and Margaux cost some 1500 euros, and those after Pétrus can anticipate a bill of three thousand euros. For Latour and Mouton-Rothschild, one must be prepared to pay roughly three thousand euros when the bottle is in good condition. On the other hand, both are the vintage's top wines. For the fans of sweet dessert wines, Banyuls Grand can be bought for under one hundred euros and the odds are very high that the wine is in good condition and enjoyable. 85 N i n e Fi n e Vi n ta g e

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On January 1, Fidel Castro rose to power in Cuba, on January 2 the conquest of space began when the Lunik satellite was flown to the moon and on December 1, Antarctica was declared neutral. 1959 In France, the wine farmers forecasted that the year would produce the vintage of the century, and for once the weather gods seemed to be on their side. The February-March weather was virtually summery, the spring was reasonably good, June was brilliant and July was almost too hot. September began well, but the rains pestered until the thirteenth of the month. At harvest time, which began on September 23, the weather was ideal, and the result showed a medium-sized yet top-class harvest. The forecast of `vintage of the century' did not, however, quite materialise. Nevertheless, the 1959 vintage can be considered the best of the decade, both in Bordeaux and Burgundy. Many wines can even be called classics, the best ones are still incredibly strong, full-bodied and aggressively seductive. Château Mouton-Rothschild, Château Haut-Brion and Château Lafite are considered to be the best wines of Bordeaux, but Château Palmer, Château Pétrus and Château Margaux also offer fine wine pleasures. I myself would also rate Château Latour and Château Lafleur among the top wines of the vintage. The fact that this is a top-class wine year is also reflected in the prices, and many 1959 wines are rather expensive. The price of Château Giscours is roughly 250 euros, with the Gruaud-Larose costing some 400 euros. The heavyweight wines, such as Margaux, Latour, Haut-Brion and Mouton-Rothschild cost 1000­1500 euros in good condition, the exception being Pétrus, which cannot be obtained for under 3000 euros. In any case, in Bordeaux the 1959 selection is abundant and the price range wide. 1959 was also a top year in Burgundy. The hot harvest year produced rather extracted, highly tannic, lush and long-lived wines. Indeed, the vintage is the last that produced traditional and full-bodied Pinot Noir-based wines. This year is absolutely one of Burgundy's best throughout the years. For example, Domaine de la Romanée-Conti (DRC) La Tâche is one of the best Burgundys ever made. The price reflects the quality, for which one has to pay at least 3000 euros for a bottle. It is worth searching for DRC's, Louis Jadot's and Faiveley's wines on the market, if one is a dedicated Burgundy fan, even though finding these wines is exceptionally difficult. Champagne is an integral part of a birthday celebration, and 1959 was an excellent champagne year. For instance, Taittinger's Comtes de Champagne fetches roughly 500 euros and Roederer's Cristal Brut about double that. Finally, there needs to be a mention of Hermitage's La Chapelle, which is Rhône's response to the top year. The wine is excellent, and I would even place it above the famous 1961 vintage. The price totals roughly 2500 euros, provided the bottle can be found. 87 N i n e Fi n e Vi n ta g e

On December 24, the Apollo VIII travelled around the moon for the first time, on February 3, Yasser Arafat rose to the top of the PLO and on 21 July at 2:56 UTC, Neil Armstrong became the first man to step onto the surface of the moon. In Bordeaux, the year began on a weak note, because the weather did not favour blossoming. July and August were promising, but it rained for twenty-three days in September, and that was that. The harvest was carried out in early October, and the farmers experienced their third bad year in a row. The harvest was the smallest in twenty years, therefore the prices were high to begin with. Today, 1969s can be obtained cheaply, but the price/quality ratio is bad, and I would not recommend them. If one absolutely wants a Bordeaux wine for one's party, Château Latour and Château Haut-Brion are the surest purchases. Their price is roughly 200 euros per bottle. Bordeaux's miserable year cast its heavy shadow over the whole of France, and the wines of Burgundy were especially underappreciated for a long time. On the other hand, 1969 was the best vintage in Burgundy between 1965 and 1977. The early summer rains and chilly weather slowed the blossoming of the vines. July and August were sunny, which helped the grapes to mature before the September rains. The harvest remained very small in Burgundy, but the quality was very high. Due to the small number, the availability of these very fruity and acidic wines is low and the price level ­ naturally ­ high. Romanée-Conti La Tâche and Richebourg are fine examples of this year, because they both are nearly perfect. They are priced accordingly, with a La Tâche fetching some 2000 euros and a Richebourg half that price. A Comte de Vogüe Bonnes Mares costs about 1200 euros, Leroy's Charmes-Chambertin about 600 and DRC's Echézeaux some 800 euros. Expensive, but fine wines. In Rhône, the year was as brilliant as can be imagined. The Côte-Rôtie wines are the region's best, but because of the small harvest, they are nearly impossible to find. The best wines of the northern Rhône Valley are even considered equal to the legendary 1961 ones. Marcel Guigal's Côte-Rotie La Mouline's third vintage borders on perfection, but the price is a wild 4000 euros per bottle. People on a small budget should examine port wines, because one can find fine wines amongst them at reasonable prices. For example, Dows Colheita costs one hundred, and one can buy Quinta Do Noval's vintage port for 250 euros a bottle. 1969 88 F I N E

On February 1, Ayatollah Khomeini returned to Iran, on March 28, a serious nuclear accident took place in Harrisburg, USA and, on December 26 Soviet troops began their occupation of Afghanistan. In Bordeaux, the winter was rainy and the spring damp, but the blossoming season proved a success in St-Emilion. However, storms did cause some damage in Médoc. July was dry but not too hot, and August was dry and unusually cold. Luckily, September was better, and the result was the largest harvest since 1934. Graves and Pomerol were the most successful, and their best wines are still enjoyable today. Château Margaux, Château Latour, Château La Mission Haut-Brion and Château Haut-Brion are all worth trying. Their prices range from 100-300 euros, but they do not offer larger-than-life wine experiences. The absolute best wine of the vintage is the first-ever produced Château Le Pin. This rarity is priced at 2500 euros. Since Bordeaux does not offer immensely attractive wines from this year, one's gaze wanders towards Champagne. There, the vintage was good. Acquiring Roederer's Cuvée Cristal for roughly 400 euros is easy, as is the same producer's Blanc de Blancs for 300 euros. Krug Collection is one of the best champagnes that I have enjoyed. The price is high, about 900 euros, but if the bottle is in good condition, one will get the full value for money. Spain's best red wine, Vega Sicilia Unico, is as rare as it is fine. Unico's price hovers around 250 euros worldwide, and the younger Valbuena is available for just under half that amount. Both wines are worth their price. Australia's most famous wine, Penfolds Grange Hermitage, costs about 300 euros a bottle. These are just a few examples if one is looking to celebrate a 30th birthday. 1979 89 N i n e Fi n e Vi n ta g e

On May 15, protests in China began in Tiananmen Square, on November 9 the Berlin Wall fell and on December 22, the "Danube of Thought," Nicolae Ceausescu, was relieved of his position as President of Romania. 1989 During this year, people were not cold in France, as the year was the hottest since 1949. The growing season began three weeks early, because May was extremely warm. Blossoming took place in near-ideal conditions, and this promised a large harvest. June was exceptionally hot, and the good weather continued all the way to August. The harvest was the earliest since 1893. Médoc produced the most successful wines, stronger even than the 1990 ones. Graves, for their part, are elegant and lighter in style compared to the 1990. For Merlot, 1989 was a top year, which is why very concentrated wines were produced in St-Emilion and Pomerol. Good examples include Château Pétrus, which is priced at around 2000 euros per bottle, and Château Haut-Brion and Château la Mission Haut-Brion, priced at around 700 euros. The availability is good, and the prices have remained at a reasonable level. 1989 saw a very long and warm growing season in Burgundy, resulting in mature, fruity and alcoholic wines. It could be considered worthwhile to favour the wines of the ChambolleMusigny, Pommard and Vosne-Romané regions, the best of which include de Vogüé Musigny, Comte Armand Pommard Clos-desEpeneaux and Bouchard La Romanée. Prices vary from 250 to 400 euros. Altogether charming wines were produced in Champagne. The vintage has been compared to the legendary hot vintages of 1947, 1959 and 1976. The wines are marked by a full-bodied composition, a rich mouthfeel, tropical fruitiness and gentle acids. Roederer's Cristal Brut Champagne, Philipponnat's Clos des Goisses and Krug's Vintage Brut Champagne are real festive drinks. The wines are priced at around 300 euros per bottle. All in all, the year 1989 was an excellent year, and it has plenty to offer. Therefore, start looking for that perfect bottle in online stores! The search will pay off, because when celebrating landmark birthdays, the peak of the celebration is the opening and decanting of the wine bottle; particularly a bottle, which shares a birth year with the guest of honour. 90 F I N E

N i n e 91 Fi n e Vi n ta g e

93 A n d e r s o n & Sh e p pa r d

Green shoots of recovery? Wine Auction Review of The First Seven Months of 2009 Text: Stuart George 94 F I N E

A chill wind blew through salesrooms this winter, as cold as rejection, as cold as loneliness. News of banks and other businesses collapsing fell like snow across the economic landscape. Like skaters on a lake's frozen surface, we have been reminded of how thin is the ice on which a bear market rests. After gorging itself for the previous two years, the fine wine trade woke up with a filthy hangover in October 2008. But the cold weather and a more ascetic lifestyle appear to have done it some good. The New Year began gloomily. On January 8, the Bank of England cut interest rates to 1.5 per cent, the lowest level in its 315-year history. But once the dust or, in London's case, snow had settled, clearance rates were surprisingly good, averaging 91 per cent from four auctions held. Lower prices brought many people back into the market. For a while it seemed, in Yeats' words, "as though ice burned." UNLESS STATED OTHERWISE, PRICES QUOTED ARE HAMMER PRICES, EXCLUSIVE OF PREMIUMS AND TAXES. Acker Merrall & Condit Hong Kong, New York: 21 %, Bonhams London: 15 %, Christie's London: 15 %, Christie's Hong Kong, New York: 20 %, Hart Davis Hart Chicago: 19.5 %, Sotheby's London: 15 %, Sotheby's, Hong Kong, New York: 21 %, Winefield's Amsterdam: 20 %, Zachys Hong Kong, Las Vegas, New York: 20 % 95 I n v e s t i n g Fi n e In v e s t i n g

THE WINTER'S TALE There were no wine auctions until late-January, with neither Christie's nor Sotheby's holding its usual mid-January sale in London. As always, Lafite 1982 was the lodestar and most iconic wine of the market. It is an historic estate, arguably the most distinguished fine wine brand of them all; it comes from the most vaunted vintage of recent times; it has (or did have) a 100-point score; it is mature, with no end in sight. It has everything. More than any other wine, it has symbolised the boom in fine wine prices. The 2008 fine wine auction year began at Zachys in New York on January 22-23, when Lafite 1982 went up to $21 000 a case ($18 00030 000), a slight increase on the $19 000 seen at Zachys on December 4. The low estimate was $2000 below December's, suggesting that auctioneers were cautious in the New Year. The '82's price was almost identical at Hart Davis Hart in Chicago on January 31, when 10 bottles sold at $16 000 ($12 000-18 000), or $19 200 per dozen pro rata. In total, 4380 lots were sold at four sales this January. In the equivalent period of 2008, 4964 lots were sold from five sales, just over 100 less per auction than in 2009. Turnover on the London-based fine wine exchange Livex, which has 250 members across 22 countries and 4 continents, was 27 per cent up on 2008, with the Liv-ex 100 Fine Wine Index closing at 1.2 per cent up Э the first monthly rise in the index since August 2008. Year on year, though, the index had fallen 13.7 per cent. THE PERFECT STORM February was also difficult. Like the witty and honourable Benedick in Shakespeare's Much Ado About Nothing, it was "so full of frost, of storm and cloudiness." Despite the arctic weather in London, Bonhams managed to sell a case of Lafite 1982 at £15 000 (£12 000-14 000) on February 3, well above 2008's London low of £10 500, not too far from its £17 000 peak, and certainly less of a decline than seen in the US. Richard Harvey MW of Bonhams noted, "The market for fine wine is still strong if estimates and reserves are realistic. Prices have eased back at the very top end from those achieved last summer, but there has not been a corresponding drop in the sub£1000 a case wines. We saw increased bidding from Europe and the Far East, no doubt helped by the current weakness of sterling." Not having held its usual January sale, Sotheby's opted for a larger February sale. It was highly successful, with many absentee bids and a full room of live bidders. The last time a Sotheby's sale had such a strong attendance was the Lloyd Webber sale in 1997, reckoned Stephen Mould, Senior Director of the London Wine Department. The sale had a 98 per cent sellthrough rate, the best in London since the March 2007 Adrian Bowden Cellar auction, though that sale's average lot price was £4209 (including premium); in February 2009, it was £1058 ­ all too indicative of the much lower prices seen since October. "December was very patchy, with perhaps too much stock for the market at that time. Prices have come down since September," commented Mould. The large attendance resulted in very active saleroom bidding ­ 63 per cent of lots were bought in the room, a much higher percentage than usual. There were plenty of UK bidders, said Mould, but they put in lower bids than they might have done in 2008. The strong euro ­ or rather, the weak pound, which has made London a strong vendor's market ­ was also a factor. Livex claimed that there was a 22 per cent fall in fine wine prices overall between June and December 2008. With the fall in sterling, this meant a 40 per cent fall for dollar and euro buyers and a 60 per cent fall for yen buyers. The first quarter of 2009 was a great buying opportunity for overseas collectors, then. On the other hand, it became hugely more expensive for UK-based merchants to source stock from Europe and the USA. There was no 1982 here but some Carruades de Lafite was offered, the 2000 making £1250 (£1000-1400) and the 2005 £980 (£9001200) ­ the latter less than a single bottle of grand vin 1982 at current prices. QUANTITATIVE EASING While the UK government embraced a fiscal stimulus policy of "quantitative easing" ­ in plain English, printing money ­ the fine wine market carried on regardless. Three full cases of Lafite 1982 were on the block at Zachys on February 27, one case selling for $21 000 ($18 00030 000 again) and the other two for $20 000 each (same estimate), which was also the winning bid for a case of Latour 1961 ($18 000-26 000). The latter is of course a legendary wine; it is extraordinary how a relative youngster has caught up with the '61 in economic terms. At the same time, a London wine merchant was offering a case of Lafite 1982 for £19 995 (excluding 15 per cent VAT). Perhaps he might like to share a bottle with the estate agent that was offering a house in Belgravia ­ one of London's most fashionable residential districts ­ for £100 million. February concluded with the publication of Parker's final scores for Bordeaux 2006. The major beneficiary was Lafite, which received an upgrade from 91-94+ to 97 ­ a point higher than it acquired for the 2005 vintage, curiously, which was averaging nearly £8000 in February. Liv-ex reported that the market reacted immediately, with the 2006 trading at £3650 after the scores were released, up from £2950 the day before. Clearly, Parker's influence on the Bordeaux 96 F I N E

market remained significant. Overall on Livex, trading was up 31 per cent on last year. The Liv-ex Fine Wine Index was up for the second month in a row, with an increase of 1.3 per cent on January and 2.5 per cent for the year, though year on year the index had fallen 14.9 per cent. MARCH HARES On March 2, due to more bad news from AIG and the promise of another bailout for the insurance company, the Dow Jones Industrial Average dropped below 7000 for the first time since 1997. Stock markets had their worst day of the year so far on March 3, with the Dow Jones losing 4.3 per cent and the FTSE 5.3 per cent. By March 5, the Dow index had closed at 12-year lows near 6600 and had lost 20 per cent in only six weeks. It was like the collapse of fine wine prices in October 2008 ­ sudden and largely unexpected. In the midst of this turmoil, Lafite '82 made $18 000 ($18 000-24 000) at Acker Merrall & Condit on March 6, a slight fall from Zachys' January price. China's economy raged like an infected boil in 2008 but on March 17 the World Bank cut its prediction for China's economic growth in 2009 from 7.5 to 6.5 per cent, saying it could not "escape the impact of global weakness." Even Wen Jiabao, the Chinese Premier, said that 2009 would be the most difficult year his country has experienced for a century. The 1982 continued to rally in London during this first quarter of 2009, making £17 000 (£10 000-14 000) at Christie's on March 26. Two days later at Christie's New York, it made $22 000 ($17 000-24 000). At Hart Davis Hart on the same date, it went to $24 000 ($14 000-20 000), with two further cases fetching $22 000, the same amount as Pétrus 1990. In London on March 26, a dozen made £17 000. So although Lafite was clearly rising in price in March, the days when it sold for even more than Pétrus 1982 (which, incidentally, made $30 000 here) were now just a memory. It remained as closely correlated to the price of oil as lips are to teeth ­ which is not to suggest that only oil brokers buy Lafite 1982! From a high of nearly $150 in July 2008, oil fell to below $50 a barrel. Royal Dutch Shell reported first quarter profits of $3.3 billion, down 58 per cent from the same period a year ago and 31 per cent lower than the previous quarter. But oil, like Lafite, bottomed out and took off again in March, albeit less frenetically than before. In the secondary market, Liv-ex reported that trade was slow throughout March, with exchange turnover down 5 per cent on last year, though the first quarter as a whole was up 17 per cent. The Liv-ex 100 Fine Wine Index showed a decrease of 1.2 per cent on February, wiping out that month's 1.3 per cent gain. The most traded vintages were again 2006 and 2005. The year to date gain was 1.3 per cent and the year on year fall was by now 18.2 per cent. Geraint Carter, head of Wine Investment at London merchant Bordeaux Index, felt that in the first quarter of 2009 "there was very limited activity. It was only the brave that stepped in. There were distressed sales ­ I know of Lehmann employees that disposed of £1 million cellars ­ so some bargains could be had." But he believes the market strengthened in late March and April. APRIL SHOWERS At Zachys on April 3-4, eight bottles of Lafite 1982 (with variable ullages and corroded capsules) made $11 500 ($11 000-16 000), or $1437 per bottle. By way of comparison, six bottles of Screaming Eagle 1992 (the first vintage) sold for $32 000, or $5333 per bottle. Clearly, there is still plenty of money and hubris in our benighted world. In early April, Harrods began to sell Spanish cherries for £195/kg, or £3 per cherry. The stock was cleared each day, 97 I n v e s t i n g Fi n e In v e s t i n g

98 F I N E

apparently. Perhaps these cherry pickers were the people that continued to buy Lafite 1982 at $40 000-plus in 2008 because of the blind belief that the market had still not peaked. During the boom, prices were a folie à plusieurs but people piled in with an abounding recklessness, confident that the wine would hold its value. One is reminded of Benjamin Franklin's 1779 letter to Madame Brillon in which he explained how an extravagant purchase in his childhood taught him a lesson for life: "Alas! say I, he has paid dear, very dear, for his whistle." On April 13, the price of oil fell again after the International Energy Agency predicted that the global recession would cut demand for crude this year. But, incredibly, Lafite 1982 hit a new London peak on April 22. Sotheby's sold a case at Bond Street to ­ no surprise here ­ an "Asian Private" client for £22 000 (£14 000-20 000), equivalent at the then exchange rate to $32 240. This put the London price ahead of the US market for the first time and was a remarkable recovery. At Acker Merrall & Condit on April 22-23, Lafite 1982 remained quite flat in the US market, making $22 000 ($18 000-24 000), which was just above the $21 000 average for the first quarter of 2009. In London, however, two cases went to £20 000/$29 700 (£12 00015 000) at Christie's on April 30, with a further three cases sold for £19 130. All these went to an "Asian Private" bidder. It was of course an Asian client that paid $46 000 at Hart Davis Hart in September 2008. If this wine is to regain that previous high, then it will be the Asian market that pushes it there. EMPTY PROMISES At Hart Davis Hart's May 16 sale, the Lafite 1982 lots followed each other like the cars on a rollercoaster. Two cases each made $26 000, three more sold at $24 000, and another at $22 000. All were estimated at a cautious $14 000­ 20 000. Only Pétrus 2000 achieved a higher price, making $30 000 ($26 00038 000). At Christie's May 19 auction in New York, an 11-bottle lot of Lafite 1982 made $17 000, equivalent to $18 545 per dozen ($13 000-$18 000), showing how bidders place a large premium on OWC cases. The build-up to the auction was not auspicious. On May 18, it was reported that, for the first time in recent history, the Food & Wine Classic in Aspen was not sold out. Shareholders of Royal Dutch Shell voted against the company's executive pay plan. But a few days before, oil rose to $60 a barrel, its highest price for six months. The Antique Wine Company in London revealed on May 20 that it had sold an empty Impériale of 1984 Château d'Yquem for £6000 ­ three times its full-bottle value ­ at a charity dinner held at Zest Restaurant in Monaco on May 9. Although Prince Albert II signed the bottle and very few large formats are released by d'Yquem, its price is still inexplicable. The speech given by Günter Schamel at the Third Annual Meeting of the American Association of Wine Economists at Reims in June suggested a possible use for empty bottles of fine wine, though he did not mention this d'Yquem. He asked, "Why otherwise would someone want to pay more than Ð100 for an empty bottle of 1982 Château Lafite-Rothschild rated with 100 Parker points? Presumably because it is worth a lot more once it is filledup again." According to Schamel, "there is a relatively active market for empty premium wine bottles on the German eBay site, with about 40­50 offered during an average month." Liv-ex reported that in May prices remained stable outside of the en primeur campaign, although a slight increase in the level of bids was evident. Carruades continued to be very sought-after on the secondary market. The 2006 was being traded at £900 a case in London at the end of May, more than double its release price. Every vintage of Carruades from 1998 to 2005 was trading at above £1000. The Liv-ex 100 Fine Wine Index was 4.5 per cent up in the year to date but down 17.2 per cent year on year. FLAMING JUNE Sterling tumbled again at the beginning of June, falling back below $1.60. Ireland's unemployment rate hit a 13-year high of 11.8 per cent. But stock markets continued to rally, moving further away from March lows. Christie's final New York sale of the season on June 6, held in the Hamptons rather than NYC, saw Lafite 1982 go to $17 000 for eight bottles, or $25 500 per dozen pro rata ($11 000-16 000). This lot had excellent provenance but a full dozen that showed signs of seepage made only £14 000 ($17 000-22 000). The Atwater Estate where the auction was held was up for sale for $29 million. Three days later, oil hit $70 a barrel. On June 11 in London, Christie's sold an OWC of Lafite 1982 for £19 500 (£12 00015 000). In dollars this equated to $32 000, way above current US prices but below the £22 000 achieved at Sotheby's in April. This sale also saw a five-dozen bottle lot of Haut-Brion 1989 make £33 000 (£30 000-40,000), nearly £5000 less pro rata than a three-dozen bottle lot at Christie's Hong Kong on May 24. The average lot price for the June sale was £3017. Sotheby's May sale averaged £785. There was no Lafite at Sotheby's on June 17 but there was plenty of Cheval Blanc, all offered ex-château. The highest price achieved was £30 000 for a 30-bottle vertical 1905­1964 (£15 000-20 000). The most lucrative individual wine was a 99 I n v e s t i n g Fi n e In v e s t i n g

magnum of the 1947, which made £16 000 (£8000-12 000). A bottle of the same sold for £8200 (£4000-5000). Only Le Pin 1990 broke the white horse monopoly. Ten bottles of this made £18 000 (£14 000-20 000). Most of the highest bids were from Asian clients. Trade on the Liv-ex exchange remained brisk in June. It was the second busiest month of the year so far, although with the First Growths released en primeur in May this year (rather than in June as usual) trading overall was down on last year. There were a record number of traders using the exchange but prices remained flat. The Liv-ex 100 Fine Wine Index finished the month with a rise of 4.6 per cent in the year to date but down 18.9 per cent year on year. Besides the newly released 2008s, there was strong activity in the 2005s and 2006s in the secondary market, making it a month dominated by the youngest wines and very different to what was going on in auction rooms. AND YOUR POINT IS? Lafite 1982 finished the summer season at $28 000 on June 27 at Hart Davis Hart. The estimate was still a cautious $14 000-20 000 but since October 2008 the hammer price has continued to rise like smoke from burning tyres. This bonfire of the vanities might just have been extinguished, though. At the end of June, Robert Parker reassessed the 1982 and 1990 vintages (using bottles from his own cellar, perhaps?). Lafite 1982 lost its 100-point rating and was now scored at 97+, which could force a recalibration of its price. Léoville-Las Cases also lost its 100-point status, though Le Pin 1982 went from 99 to 100. When fine wine auctions recommence in September 2009, the price of Lafite 1982 will be a test of both the market and the Parker brand. If it continues to increase in price, then surely that would be indicative of Parker's influence waning. But if the price declines, it would reinforce his position as the most influential critic ever ­ the man that didn't just call the market but made it. Even Warren Buffett cannot do that. David Elswood, International Head of Wine of Christie's, does not believe that the new Parker score will affect Lafite's standing in the fine wine market: "Once a wine has been 100, it always has it. It's a bit like having been world champion. You can't take away that 100-point rating. What he's suggesting is that the wine is coming away from its peak. I don't think that a subsequent downgrading affects the demand for a wine in a hungry market." Elswood also points out that relatively low Parker scores have not at all affected the insatiable demand for Carruades. As of June 2009, Lafite 1982 was the best performing wine in Vinfolio's wineprices. com resource for wine auction and retail prices, which collates prices since January 2005. Starting at a base index value of 100, Lafite had increased to 457.93. From 231 lots sold at auction in 2008, its average price was $2474 (including premiums). To June 2009, 96 lots had been sold at an average of $2198. In Italo Calvino's story Il Barone Rampante, a boy climbs a tree and does not come down for the rest of his life. Prices for fine wine are not like that boy. Even Lafite 1982 had to climb down the tree eventually. TRANSEUROPA EXPRESS On January 19, EU Economy Commissioner Joaquin Almunia forecast that the eurozone economy would shrink 1.9 per cent in 2009 and grow by only 0.4 per cent in 2010. Europe's economy was seemingly melting like a pat of butter on a hot Hummer (or should that be Citroën?) roof. Christie's announced in mid-February that its global art sales in 2008 had totaled £2.8 billion/$5.1 billion (including premiums) and that 629 works of art sold at auction for over $1 million. The results reflected an 11 per cent decrease in sterling value and a 19 per cent decrease in dollar value over 2007 sales because of the "difficult global economic backdrop." The eurozone was hit particularly hard, which did not augur well for wine sales in Amsterdam (art sales down by 24 per cent in sterling and 32 per cent in US dollars), Geneva and Zürich (Switzerland was down 16 per cent in sterling and 25 per cent in US dollars), and Paris (down 6 per cent in sterling and 15 per cent in US dollars). In the art market, record prices have been achieved for exceptional works but less distinguished prices have seen a dramatic loss of value. The fine wine market, however, has not skewed as much. Record prices might not be achieved at the moment but there has been far less loss of value for non-trophy wines because they never spiked in the way that trophy lots did. Because of the size of its financial sector in relation to the overall size of its economy, Switzerland has been particularly exposed to the current crisis, as the figures above suggest. At Steinfels of Zürich on February 28, six bottles of Lafite 1982 made CHF10 400 (CHF9000-12 000). "Since our last auction (in November) we have reduced our estimates for expensive wines by 20-40 per cent. In the November auction many trophy lots were sold significantly below the lower estimates or not at all. This time they sold at or above the reduced lower estimates," said Marc Fischer of Steinfels. "At these lower price levels private buyers are back big time. We had more than the double the amount of private bidders who took part in this auction than in November. International wine merchants are also slowly coming back and profiting from these lower price levels. Wine prices held up well until October last year. As of November, however, prices achieved at auction fell substantially. The global financial crisis kept away not only buyers from England, the USA, and Russia, but also those from Asia, who face a recession 100 F I N E

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too." It is now a buyer's market, believes Fischer. After Steinfels' April 25 sale, he commented, "Our estimates were on the same level as in our February auction. Demand has firmed up and in particular trade clients are back, as they seemed to have sold their old stock. Prices are on the same level as in February or slightly above. The interest from private clients is still extremely strong. At the moment the big problem is convincing sellers to have their wines sold at an auction at these lower price levels." At the June 20 auction, Lafite 1982 went to CHF2250 per bottle (CHF 30004000), which is, said Fischer, "on the same level as 12 months ago. Lafite 1982 is still in huge demand. Overall, prices are slightly firmer. Demand from private buyers is huge and demand from trade buyers is also increasing." On April 13, the price of oil fell again after the International Energy Agency predicted that the global recession would cut demand for crude this year. That day, Winefield's of Amsterdam held its tenth anniversary auction. "Despite the financial crisis, which we all have to deal with, people were not afraid to bid and buy. As a result of that, the sale overall reached our expectations," said Milan Veld. The June sale was "a bit small but we're very happy with the results." PRINCE OF CONTI The most valuable wine at auction in 2008 was Domaine de la Romanée-Conti. But DRC wines took huge hits towards the end of last year and have yet to recover. Estimates have been reduced accordingly. At Christie's on March 28, a bottle of La Tâche 1961 was offered at $800, 59 per cent down on its recent auction average price. At Zachys' Winter Auction on January 22-23, Burgundy fetched the highest prices of the sale, though high estimates were seldom broken. In first place was a dozenbottle OWC of La Tâche 1978 that sold for $28 000 ($30 000-48 000). RomanéeConti 1990, which went up to $195 000 a case in 2008, here made $21 000 for three bottles ($20 000-30 000) ­ pro rata less than half its 2008 peak. But it showed signs of recovery at Sotheby's on April 18 when a similar three-bottle lot made $37 500 ($20 000-30 000). But other DRC prices were flat. Acker Merrall & Condit's January 28 sale was its first to feature live bidding over the Internet. Burgundy lots included six bottles of Romanée-Conti 2003 at $25 000 ($30 000-40 000) and two DRC 1990 Assortments, which each made $22 000 ($26 000-35 000). Rousseau's Chambertin 2005 also failed to get much past its estimate, making $10 500 ($10 000-15 000). But Jayer's Vosne-Romanée Cros Parantoux 1990 beat its $13 000 top estimate by $1000. In 2008, Jayer had the highest average bottle price of any producer at auction, and that form looks to have continued into 2009. Six bottles of La Tâche 1971 was the most lucrative lot at Acker Merrall & Condit on March 6 but the most interesting prices were those of DRC 2005s. Six-bottle lots of La Tâche 2005 went up to $13 500 102 F I N E

($15 000-20 000). In May 2008, Acker sold an identical lot for $24 000. La Tâche '05 also showed signs of slowing down away from auctions: In March, it lost 2.6 per cent of its value on Liv-ex. Magnums of Ponsot Clos de la Roche 2005 made $11 000 per six ($10 00015 000), apparently unaffected by April 2008's controversy at Acker Merrall, when Laurent Ponsot claimed that some of the wines consigned from Rudy Kurniawan were from vintages that the domaine had never bottled. Domaine de la Romanée-Conti dominated the list of top results at Zachys' "La Paulée Auction" on March 6, led by twelve bottles of La Tâche 1990 sold for $30 000 ($24 000-38 000). But in April 2008, Sotheby's sold this wine for $60 000. Burgundies from the excellent 2002 vintage sold well at Zachys on April 3-4. Six bottles of Mugnier's Chambolle-Musigny Les Amoureuses sold for $1500 ($600900); a dozen of Perrot-Minot MazoyèresChambertin Vieilles Vignes went for $2400 ($1000-1500); and three bottles of Ponsot Clos St-Denis Vieilles Vignes were hammered down at $650 ($300-450). A magnum of Romanée-Conti 2005 made $20 000 ($20 000-30 000). These had gone up to $25 000 in 2008. Over the summer months, Burgundy prices remained flat and nowhere near the highs of 2007-8, though large format DRC continued to sell well. As of May 2009, the best performing wine in Vinfolio's Wine Prices Burgundy 50 Index, which has collated data from the leading auction houses since January 2005, was La Tâche 1999. The Index as a whole was up 22.8 per cent year to date but down 24 per cent year on year. Perhaps the most interesting DRC lot sold so far this year, and the one that best encapsulates the slings and arrows of the fine wine market since the start of the boom in 2004, was at Zachys on June 25: Six bottles of Les Gaudichots 1929 from the Doris Duke Collection, purchased by the vendor in June 2004 at Christie's for $6250 per bottle pro rata. In October 2007, Acker Merrall managed $35 000 for three bottles of Gaudichots 1929. Zachys sold two bottles in May 2008 for $19 000. Here, it came in at $5333 per bottle, less than half its October 2007 price. HAPPY NIU YEAR Although the bull has given way to the bear in western financial markets, 2009 is the Chinese year of the bull/ox, or niu. A recession at home is a good time to look for opportunities further afield, so it is no surprise that the major UK/US wine auction houses have piled into Hong Kong. There were three sales held in Hong Kong in March and April that were the first real test of the market in 2009. It was reported in The Times on February 16 that Chinese and other investors from the Far East were piling into fine wines as they sought to diversify away from traditional investments such as equities. This augured well for Hong Kong wine auctions. Acker Merrall & Condit held its third Hong Kong auction on March 28. It was dominated by DRC wines. The highest bid was HK$1 520 000/US$197 600 for an eleven-case superlot of La Tâche spanning the vintages 1985­2003 (HK$1 600 0002 400 000/US$200 000-300 000), over twice as much as the next highest bid for seven three-magnum cases of DRC 2003 wines. The auction also saw a claimed world record for a single-bottle lot of Champagne when a 1928 Krug Collection from the cellars of Robert Rosania fetched HK$136 000/US$17 680 (HK$96 000120 000/US$12 000-15 000). Two days before Sotheby's inaugural HK sale on April 4, world leaders attending the G20 summit held in London reached an agreement to tackle the global financial crisis with measures worth $1.1 trillion ­ a fillip to us all and not just those intending to buy fine wine. The sale was a sequel to "The Classic Cellar from a Great American Collector" auction held in New York on March 14 and featured 750 lots that were all sold for a total of HK$49 922 906/ US$6 400 373 (including premium). DRC was again preeminent, with a parcel of nine cases of DRC Assortment 1996 sold to one buyer for HK$1 080 000/US$140 400 (the combined estimate for the nine individual lots was HK$630 000-810 000). In all, five parcels totaling over HK$500 000/$65 000 were sold. Sotheby's April art sales in Hong Kong were expected to achieve HK$600 million, eventually making HK$691 million, which was a steady showing in the still fragile Asian art market. In 2008, the sales totaled HK$1.7 billion. At Zachys' April 25 auction, a 20-magnum lot of Krug Clos du Mesnil 1998 sold for HK$242 000/US$28 725 (HK$260 000-400 000/US$32 000­ 50 000). Standouts from Burgundy included a full dozen of Henri Jayer's Vosne-Romanée Cros Parantoux 2000, which sold for HK$151 250/ US$19 515 (HK$65 000-100 000/ US$8500-13 000) and a dozen DRC Montrachet 1973 ex-Bize Leroy selling at HK$260 000/US$33 550 (HK$190 000280 000/US$24 000-36 000). A similar lot made US$28 000 at Zachys' March 6 sale. The highest bid overall was HK$650 000/US$83 870 for a "superlot" of Latour 1982 that included 12 bottles, six magnums, three double-magnums, and one Impériale (HK$700 0001 100 000/US$90 000-140 000). Lafite 1982 continued its resurgence away from London by making HK$240 000/ US$30 965 (HK$160 000-240 000/ US$20 000-30 000). HEAD CASES For its May 20 sale, Bonhams presented Hong Kong's first "homegrown" wine auction, with consignments sourced from local collectors and buyers in Hong Kong and Mainland China. The sale was invitation only and a sit-down dinner was served to bidders. Catalogues were produced but only 87 lots were offered, 103 I n v e s t i n g Fi n e In v e s t i n g

all of which were sold. Four of the top ten lots were DRC; the rest ­ unusually ­ was Champagne, mostly Dom Pérignon. In Hong Kong, more than anywhere else, honey gets you bees. The highlight of Acker Merrall & Condit's May 30 sale was a six-bottle lot of Henri Jayer's Richebourg 1985, of which only 25 cases were made. Estimated at HK$360,000-480,000/US$45,00060,000, the lot realised HK$440 000/ US$56 480. Lafite 1982 maintained its recent US$30 000 Hong Kong price. A fivecase lot sold for HK$1 200 000/US$154 440, or US$30 888 per case, at Christie's on May 24 (HK$750 000-$1 000 000). In total, eleven cases made more than HK$2.5million/US$325 000, or US$29 545 each. The average lot price at this sale was an extraordinary HK$138 159/ US$15 121, showing that auctioneers can often do much better with smaller, more focused sales of fine wine than larger sales with supererogatory lots. It was an encouraging period in Hong Kong. The Asian art market could be weathering the downturn better than its Western counterpart, suggested the London-based research company ArtTactic. The 38 lots that went on the block at Christie's Hong Kong art sale on May 31 sold for more than double the low estimate. HAMMER AND CYCLE Good auction results are reported with the enthusiasm of a celebrity courting the paparazzi. Auctioneers, especially in Hong Kong, still turn up the dial to 11, like Spinal Tap's guitarist Nigel Tufnel. Zachys turned up the volume for its June 13 auction by introducing its "Immediate Indulgences" format to the Hong Kong market on June 13, giving clients the opportunity to enjoy select lots in the sale room immediately upon purchase. Thirsty bidders bought and uncorked Sassicaia 1985 in magnum and Château d'Yquem 1996 in magnum. Hopefully the white was chilled. Zachys also had its Chairman, Don Zacharia, auction the first lot of the sale in honour of the 65th anniversary of Zachys and Mr. Zacaharia's first visit to Hong Kong. Lot 1, twelve bottles of Latour 1959, sold for HK$200 000/US$25 800 (HK$160 000-320 000). The first 135 lots came from "An Extraordinary Collection from the Bacchus Partners' Fine Wine Appreciation Funds" and included a full dozen of Henri Jayer's Vosne-Romanée Cros Parantoux 1996, which went for HK$190 000/ US$24 500 (HK$120 000-190 000). In total the collection from the Bacchus Partners' Fine Wine Appreciation Funds realised HK$5 289 700/US$682 542. The fund was established as recently as October 2008, when the market bottomed out, with almost a fifth of its portfolio devoted to DRC. The next most invested wine was Lafite, which represented 7.2 per cent of the total fund. Zachys also offered 147 lots of "Magnificent Wines from the Collection of Timothy C. Forbes," scion of the Forbes publishing family. A full case of Lafite 1982 sold for HK$240 000/ US$30 970 (HK$55 000-80 000). But in the aftermath of Parker's new score it didn't look as though Lafite 1982 would crack US$31 000 in Hong Kong again anytime soon. Nonetheless, Hong Kong continued to assert itself as a ­ perhaps the ­ major centre of fine wine trading in 2009. According to Sotheby's end of season report, at its Hong Kong wine sales Asian bidders purchased the entire value. There was no presence at all from North American or European buyers, who remained most active in the New York and London markets respectively. Worldwide, Asian clients represented 56.5 per cent of all Sotheby's lots sold by value and 88.2 per cent of the top 100 lots. In Mainland China, things continued to move steadily but slowly. The Beijing Poly International Auction Co. Ltd. held the mainland's first fine wine auction on May 29. Prices here were about 30 per cent less than the typical market price in China according to Ma Zhefei, the Poly auctioneer in charge of the sale. The wines were sourced from the auction held at Paris's Hotel de Ville in 2006 when the Socialist mayor Bertrand Delanoe cleared out its cellars, which had grown to 10 000 bottles during Jacques Chirac's tenure. All the wines scored at least 90 Parker points, with a third of them at 100. The sale totalled CNY9 175 000/ US$1 376 250 from 131 lots (including 12 per cent premium), an average of over $10 500 per lot. Two bottles of Lafite 1982 were hammered down for CNY65 000/US$9750, or $58 500 per case pro rata, which constituted a record dollar price and supports the argument that Lafite's inflated price has been caused by demand from Asia. With the North American market in the doldrums, US auctioneers have put their faith in the Hong Kong market. At the moment, it is ticking over nicely. But there is a danger that it could become saturated, as New York has. Wine auctions were legalised in New York as recently as 1994; the market peaked in 2008. Of course, nobody saw the credit crunch coming but even allowing for the difficult economic conditions it took 14 fourteen years for the US market to become as corpulent as King Henry VIII ­ the gifted prince who became a bloated tyrant. So will Hong Kong turn into Henry VIII by 2022? With most US auction houses having already piled in, it could happen even sooner than 104 F I N E

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that. It would take only one underwhelming sale to destabilise the Asian market. And then where will they sell their cases of Lafite and Romanée-Conti? DESOLATION ROW Analysis of the global economy and, by extension, of the fine wine market is perhaps a matter of personality: Are you an optimist or a pessimist? Is the glass half-full or half-empty? As in Bob Dylan's majestic song "Desolation Row," "Everybody is making love/Or else expecting rain." Certainly, figures for the first half of 2009 make very pleasing reading for wine auctioneers. For the first time in several years, fine wine is being bought and sold at relatively sensible prices. Like UK property, there is still too much wine that is priced hubristically. But this is gradually being replaced by more sensible expectations from both vendors and bidders. Wine auctioneers seem to have established a sound point on a vinous equivalent of the Laffer curve, which is used by economists to illustrate the idea that increases in the rate of taxation do not necessarily increase tax revenue. For instance, a zero per cent income tax rate will generate no revenue, but neither will a 100 per cent rate, as people will have no incentive to make money. Too much sunshine causes melanoma; not enough causes vitamin D deficiency. At wine auctions, if estimates are too high, nobody buys; if they are too low, nobody sells. THE RULES OF THE GAME Liv-ex has established a Fine Wine Investables Index, backdated to 1988, which shows 12.6 per cent annual compound price growth over a 20-year period. An article in the June 22 issue of Time asserted that $1 invested in US stocks in March 2000 would now be worth 60 cents. According to Liv-ex's figures, in March 2000 a case of Lafite 1982 was worth $4716. By June 2009, the price was $40 233. (This is slightly more than recent auction prices but is the average market price across Liv-ex's 250 global trade members). Miles Davis of the wine investment company Wine Asset Managers states that the compound annual growth rate (CAGR) ­ the year-on-year growth rate of an investment over a specified period of time ­ of the fine wine market in decades that have followed a downward correction range from 15 per cent (1999-2007, after the 1998 Asian currency crisis) to 23 per cent (1975-1984, following the oil crisis). Davis cites 2009-2017 as the long-term subsequent performance period to follow the 2007 credit crunch. The long-term fundamentals for wine investment are compelling. But it is a mistake to assume that the fine wine market (or anything else) is like a roulette wheel set to permanently pay up. Wine does seem to be holding its value better than many other investment vehicles. But whatever happens to its monetary value, it cannot lose its intellectual, cultural, and personal significance. It will always be more interesting than barrels of oil! HALFEMPTY Auction houses are masters of paradiastole ­ that is, of turning negatives into positives. The wine industry has turned adversity into triumph more often than a Hollywood scriptwriter ­ and may do so again. It has more ways of saying "successful sale" than there are colours in Neapolitan ice cream. Auctioneers ­ more so than retailers ­ are hypemeisters. Indeed, some of the press releases sent by wine and art departments to overworked hacks probably belong in one of the talking rubbish bins that are becoming increasingly popular throughout major cities. They torture the statistics until they finally confess and avoid reporting on what didn't sell, just as Perec avoided the letter E in his novel La Disparition. The figures for 2009 so far look good but there has been far less business than last year. There was just one wine auction held in July 2009 (by Sotheby's); in 2008, there were six major sales. And, as mentioned above, the traditional January sales were largely ignored. January to July 2009 saw 58 major wine sales completed; the equivalent period in 2008 saw 68. In Australia, unemployment rose to a fouryear high in March 2009. The Liv-ex 100 Fine Wine Index was back at its April 2007 level ­ two years of growth vanished in October 2008. Russia lost two-thirds of its billionaires. Even Warren Buffett's mighty Berkshire Hathaway lost its cherished triple-A credit rating. One should not feel too sorry for a billionaire whose fortune has been halved, but if their wealth is declining it suggests that the global economy is not doing too well. Japan's recent fall in output threatens to outstrip that of the Great Depression. By July, it looked as though Japan's Liberal Democratic Party would relinquish rule after fifty years of nearly uninterrupted rule. In the space of five months, a quarter of a century of Japanese economic growth was erased. Wealth has been wiped out on a scale not seen since the 1930s. As Virginia Woolf describes the chimes of Big Ben in Mrs. Dalloway, "There! Out it boomed. First a warning, musical; then 106 F I N E

the hour, irrevocable." Like the art market, fine wine has experienced its greatest and swiftest rise in financial value, followed by its swiftest, if not greatest, fall. The price falls for some wines ­ especially DRC ­ were like a bungee jump. For a while it looked as though the rope might not hold. But mercifully there has not been an art and fine wine market crash as there was in the early 1990s. When times are hard, people rethink how they spend, breaking buying habits and abandoning product loyalties. Even sex isn't recession-proof. One German madam interviewed in Time magazine said that revenues at her Hanover brothel had dropped 30 per cent in recent months. Nokia's second quarter results announced in mid-July showed profits down by 66 per cent to $536 million. Nor has generosity escaped the recession. According to Giving USA Foundation, charitable giving dropped 5.7 per cent in 2008 ­ the worst plunge in fifty years. In June, Auction Napa Valley ­ the premier charity and social event of the year ­ raised just $5.7 million, down sharply from the $10.4 million raised last year. Restaurateurs have had to use bold tactics to sell fine wine. Xavier Rousset, sommelier and co-founder of the London restaurant Texture, put cash rather than percentage margins on his listings of Sassicaia, Mouton-Rothschild, and Leflaive Bâtard-Montrachet and sold them to enthusiastic diners. In the summer, the Artic Circle's sunny and clear days don't seem to end. It felt like that during the height of the fine wine market in 2007-8. But winter always follows summer, as in Tove Jansson's Sommarboken: "Every year, the bright Scandinavian summer nights fade away without anyone's noticing. One evening in August you have an errand outdoors, and all of a sudden it's pitch black." HALFFULL Like a newly fermented wine, pessimism breeds upon itself, but confidence cannot be revived without an occasional burst of optimism. Maybe it was just the fine weather in London during Wimbledon but many aspects of the economy and of the fine wine market looked a little brighter than they did in January. The mood was lighter, peoples' demeanors were more relaxed, and perhaps even their clothes seemed to fit better. (I can only speak for myself, of course!). Each year, as the long winter slowly morphs into spring, we are keen to look for signs of rebirth and renewal. So it was fitting that fine wine auctions in spring achieved such relatively good results after the financial nuclear winter. By the summer, we had every right to expect green shoots of recovery to poke through the hard and frozen economic earth. The Swiss bank Syz & Co reported in July that for the second quarter of 2009 "the worst of the economic recession appears to be over. During the second quarter the contraction eased in the United States and Europe, economic activity adjusted in Japan and the cycle got off to a fresh start in some emerging countries, in particular in China and India." We might not be at the bottom of the recession but we might be getting close to it: Recovery often begins when the news is most discouraging and sentiment most gloomy. The direr a situation, the easier it becomes to lose perspective. "Even sex isn't recession-proof." There are signs of deceleration in the rate at which things are declining ­ what President Obama has carefully called "glimmers of stabilisation" (rather than the UK Business Minister Baroness Vadera's over-optimistic "green shoots of recovery" that she saw in freezing January). As Machiavelli knew well, nothing succeeds like success. And the first rule of success is to follow a failure. In 1931, the Governor of the Bank of England had a nervous breakdown and there was a shantytown in New York's Central Park. Neither of those has happened in 2009. The world economy cannot be all that bad if somebody pays $28 million for a chair, as happened at Christie's sale of the collection of Yves Saint Laurent and Pierre Bergé at the Grand Palais in Paris on February 23­25, a claimed world record auction price for any 20th century decorative art and design work. However, the combined value of Christie's and Sotheby's February sales was £96 million compared with £270 million in 2008. A huge hailstorm in Bordeaux in May led to people declaring that the forthcoming 2009 vintage would be a disaster. I saw the storm myself ­huge hailstones rattled the shutters of the château where I was staying and lightning flashed above us. But the vines and their buds and early shoots were still there in the morning. And nobody died. The fine wine market has endured through world wars and depressions (and phylloxera), always re-emerging stronger than before. Things only disappoint when you have high expectations of them. Nobody expected much from the fine wine market in the first seven months of 2009, so its results, sweet as a sunset-streaked glass of Yquem, have been a pleasant surprise. 107 I n v e s t i n g Fi n e In v e s t i n g

Krug or Chilean red? Andreas Larsson When we get back to the ever-interesting topic of wine prices, I always wonder how some restaurants think, if they think at all that is! Not to be demeaning or a bloody besserwisser in any way, but why do they charge huge amounts for wine? Why do they add markups that could fly you across the globe to enjoy the same bottle! It's not the first and definitely not the last time I've been seriously choking on my amuse bouche while grasping through the wine list... Recently in my home town of Stockholm I went for a bite at the restaurant of a new and fashionable hotel. I had a look and the wines were pricey in general and to be frank, the few wines that seemed affordable were not very interesting. And to highlight ridiculous markups, a bottle of Krug Grande Cuvée went for 4950 SEK (roughly 500 euros). The cost of this bottle is about 1200 SEK including taxes, so why on earth did they charge an amount like that? I'll give you a few options: 1. Because of the great wine service, well-composed wine list and the army of skilled sommeliers working the floor? 2. Because they need to pay for the thousands of Riedel Sommelier series glasses and decanters they invested heavily in? 3. Because some accountant told them they have to follow a formula? Well if one and two were the right options, I would be happy to bang out a few extra bucks, as I do not mind paying for service and quality. But as option three unfortunately seemed to be the right answer, I can only regret that many establishments just regard wine as a commodity that you buy in and price according to a formula, just like coffee, water or soft drinks! No passion, no heart and no intelligence, for goodness sake! Yes, a restaurant needs to make money, but they should seriously consider what they are charging for, as to just to open and serve a bottle doesn't cost a lot. If I go to the threestarred Plaza Athené and enjoy my Krug, I can understand that the price will be somewhere close to this level, but there you will doubtlessly get your brilliantly polished Riedel glasses and be served by a smiling and well trained, white gloved staff. Add to that the small spring rolls of sweetbread and truffle, quail eggs with caviar and the other utterly amusing things for the bouche and you have a rewarding experience. But to charge almost 400 euros to open a bottle if you get nothing, that is just unacceptable. Why does the wine need to suffer? Why not mark up the food a little bit more? People wouldn't be shocked if the entrecôte commanded 35 instead of 28 euros, but if the establishment charged 85 euros, they would. You see, even if it was the greatest, juiciest, most tender côte in the world it would still be expensive! A nice establishment should and could charge slightly more, but strangely and thankfully there are still plenty of top restaurants that sell wine 108 F I N E

at very reasonable prices. I would rather take my 4950 SEK and buy a return ticket to Paris and have lunch at La Tour d´Argent with some exquisite wines for the same price instead of being robbed at this hotel, sorry, design hotel. To calculate by numbers and percentage makes no sense. A lot of people say "We need to triple the purchase price ­ we need to add 275 per cent", that is simply not true. Of course there is a cost for everything; you need to pay for your staff, glassware, storage, and other things. People do understand that. However, normally it is a lot easier to charge more for mineral water, coffee and beer, even if the markups are tenfold, since these products will always be affordable in any case. I wouldn't complain if I had to pay fourteen euros a glass for a fourteen euro bottle if it is recommended alongside a great dish and served correctly. This will give the restaurant a fair turnover. But then I think we need to reconsider what a bottle of wine is actually worth and find out what you need to charge per bottle, regardless of the purchase price. I can assure you that one would still make money. Put simply, if wines are too expensive they won't be sold. Clients and wine lovers today are increasingly aware and if prices are too exaggerated, they will end up drinking that not-too-exciting bottle of Chilean red, a beer, or even water instead of three bottles of something nice. I have always loved great wine and great restaurants, unfortunately the two aren't always a possible combination. For my last birthday, I wanted to visit one of my favourite restaurants that has sadly become one of my former favourite restaurants, when I realised that a decent ten-year-old bottle of vintage Champagne and a decent ten-year-old bottle of Burgundy would command something between 600 and 700 euros, and we are talking about sound producers but by no means extraordinary. And then we should add the food and there is easily at least a 1000 euro bill for two... Not that I am greedy but you need to feel that you get what you pay for and with that wonderful, delicate world class cuisine, I simply wouldn't be happy drinking a simple New Zeeland Sauvignon Blanc or a weedy Valpolicella. Great food should be accompanied by great wine. I am still deeply concerned and completely unknowledgeable as to why restaurant critics rarely talk about wine service and prices. Maybe because most restaurant critics are excellent food critics but they simply forget that the other 50 per cent of the restaurant experience deals with things other than the texture of the quail terrine or if langoustine with water cress sorbet is "so last year" or not. And that bottle of Krug, I never had it. I had a glass of Chilean red and left. Going back? I don't think so. 109 C O L U M N Fi n e L a r s s o n

Text: Essi Avellan MW/Juha Lihtonen/ Pekka Nuikki Photos: Pekka Nuikki IN GOOD AND IN BAD, CHAMPAGNE IS THE MOST BRANDED WINE IN THE WORLD. YOU CAN GO TO A RESTAURANT ANYWHERE IN THE WORLD YELLOW LABEL OF VEUVE CLICQUOT. IT WILL BE CONSISTENT IN QUALITY AND STYLE, AS WELL AS IN THE BRAND MESSAGE IT SENDS. THE NON-VINTAGE CATEGORY IS FASCINATING AS AND ORDER THE FAMILIAR IT IS A BALANCE BETWEEN BRAND IMAGES AND THE ACTUAL GUSTATORY QUALITIES OF THE WINE. 110 F I N E

THEREFORE, TASTING THEM BLIND IS A GREAT EXERCISE THAT ALLOWS US TO GET RID OF OLD BRAND PREJUDICES AND TO FIND WHICH CHAMPAGNE REALLY TASTES BEST IN YOUR MOUTH. DESPITE CONSISTENCY YEAR IN AND OUT BEING THE GOAL, THERE ARE RISING STARS AND EVIDENT DISAPPOINTMENTS. FINE BLIND TASTED THROUGH THE CURRENT NON-VINTAGE OFFERING AND HERE IS OUR UP-TO-DATE ASSESSMENT OF WHAT YOU CAN BUY ON THE MARKET. 111 T h e B e s t N o n - V i n t a g e s Fi n e C h a m p a g n e

on-vintage (NV) champagne manifests mastery of blending. It is here where the cellar master shows his greatness: dozens, if not hundreds, of wines from different varieties, origins and vintages are blended together in a way that makes the resulting wine greater than the sum of its individual parts. What is gained is champagne consistent in quality year in and out, possibly in quantities the other wine regions can only dream of. Non-vintage is the bread and butter of the industry. Commonly, it makes up over 80 per cent of each champagne houses' production. Therefore, despite a nice hype around specialty products, it is the non-vintage that determines both the image and financial success of most houses. Clovis Taittinger of Champagne Taittinger explains: "Even though people know our Comtes de Champagne, it is Taittinger Brut Réserve they base their quality opinion on, as that is what they drink." Cellar master Hervé Deschamps of Perrier-Jouët calls the non-vintage the "business card of the house". If you talk to Champenois, many of them are likely to tell you that the nonvintage is their favourite wine in the range. At Mercier, they call it their flagship wine. In addition to the NV's commercial importance, it is also the wine that is most difficult to make, the one in which human intervention is greatest. Bruno Paillard adds: "In this marginal climate we live in permanent uncertainty. And it is people who need to compensate for the nature's caprices. Therefore, blends are superior in this region." THE COMPONENTS "Blending is the salt and pepper of champagne", confirm's Roederer's cellar master, Jean-Baptiste Lecaillon. And it really is a question of "spicing" or finetuning when you think of the job of the cellar master, whose aim is to build a balanced and complex wine from numerous singular wines. At Roederer, they vinify approximately 450 wines each year. The final cuvées are constructed by blind tasting wines from the three grape varieties of Chardonnay, Pinot Noir and Pinot Meunier, as well as wines from dozens of individual villages, each possessing their unique characteristics. The differences in blending for vintages and non-vintages are the reserve wines from previous years that are blended into the latter. The benefits of such procedure are manifold: firstly, it enables consistency year in and year out. The aim is that the customer is not able to detect changes in vintages, easing the perceived risk of wine purchase. Cellar master Frédéric Panaïotis of Champagne Ruinart comments: "The amount of reserve wines we use for Ruinart NVs is approximately 20 per cent. The wines are not very old, as the Ruinart house style is based on freshness and elegance. We use the reserve wines primarily for consistency." But reserve wines are important contributors to house style too. Some producers such as Veuve Clicquot have a rich, evolved style that is created by significant proportions of reserve wines, that can date back many years. Blending is also a form of insurance, as due to this process, it is possible to maintain consistent wines in volumes, even in poor years. Therefore, with the non-vintage wines, the cellar master's task is not to make the best possible wine each year, but to respect the house style and hide the vintage differences. 112 F I N E

Consequently, winemaking-wise it is the opposite of vintage wines, where the aim is to show each year's particular characteristics. Thus, there is very little room for the cellar master's creative freedom in making the nonvintages. There is one winery that opposes that particular mentality for nonvintages: Jacquesson. They rename each and every blend (Cuvées 729, 730, 731 etc.) and print the exact blending components on the back label. This enables Jacquesson to tailor the best possible wine each year and not focus solely on consistency. This also allows the consumers to evaluate and appreciate the development of the wine in bottle, as the age is a known factor. ROSÉ SANS ANNÉE The rosé category has been the star performer of recent years and it seems to be here to stay. Prior to the boom, rosé champagne's share was commonly under three per cent of total production. Now it has climbed to record heights, with many producers such as Lanson now reporting 10­15 per cent shares. READY TO DRINK OR NOT? The main slogan for the champagne producers is that the NVs are ready to drink at the time of launch. They certainly are, but in the case of high quality wines, they are far from being at their best. The NVs have reserve wines in them that bring them around earlier. Also, a high proportion of Pinot Meunier in the blend contributes to early drinkability. However, we find the minimum ageing requirement of 15 months on lees not to be sufficient in gaining enough autolytic influence on aroma or structure. Also, the significance of post-disgorgement ageing is understated by many. In particular, last years' boom made many producers shorten the maturation times to meet the demand. The case has, however, turned around since then and now we can enjoy more mature champagnes, as the sales have slowed down remarkably. 113 T h e B e s t N o n - V i n t a g e s Fi n e C h a m p a g n e

THE VERDICT The quality level was fairly uniform, with most of the wines averaging around 85 to 87 points. There were, however, a dozen champagnes that stuck out with their personality and quality. Most of them possess a lovely potential for further ageing. Some of the wines were clearly fresh disgorgements and did, therefore, not show as well as they could have. But such a possible misjudgement is a problem of the NV category if disgorgement dates are not known and the wines sent early onto the markets. Many of the grower champagnes ended up slightly disappointingly below 85 points, as their singularity and sometimes slight rusticity lowered the marks. However, taking into account, there are some great purchases to be had there. The rosé category was less consistent and exciting than the regular NVs, with only two wines surpassing 90 points. It is, however, a matter of taste if one prefers the rosés over the regulars. Then their price premium should not be a problem either. MULTI- OR NON-VINTAGE? The Champenois are fabulous marketers in general, but there are some exceptions to that rule. One of them is the term non-vintage. Rémi Krug dislikes the term saying that "Krug is non-nothing". Also, many other producers prefer describing their wines with positives: multi-vintages rather than non-vintages. The terms are used interchangeably today, but a solution should be found. One could change the entire category to multi-vintage, as that is what they essentially are. Or the term multi-vintage could be reserved for the prestige cuvées blended of several vintages' wines, whereas the entry-level champagnes would remain non-vintages. THE WAY WE TASTED THE FINE EDITORIAL TEAM HAD THE CHALLENGING BUT 100 NON-VINTAGES. EACH OF US GAVE POINTS TO THE WINES, BASED ON THEIR CONDITION TODAY, ON A 100-POINT-SCALE. AN AVERAGE POINT INTRIGUING TASK OF BLIND TASTING OVER WAS CALCULATED AND WHERE OUR ASSESSMENTS WERE MORE THAN FOUR POINTS APART, THE WINE WAS RE-TASTED AND ASSESSED. 114 F I N E

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. Charles Heidsieck Brut Réserve 2009/2017 ______________93p Louis Roederer Brut Premier 2009/2017 ________________ 91p Taittinger Brut Réserve 2009/2013 ___________________ 90p De Venoge Brut Blanc de Noirs 2009/2013 _____________ 90p Pommery Pop Earth Brut 2009/2012 __________________ 90p Cattier Brut Premier Cru 2009/2013 __________________ 90p Pol Roger Brut Réserve 2009/2015____________________ 90p Chartogne-Taillet Cuvée Sainte-Anne Brut 2009/2015 ____ 90p Laurent-Perrier Brut L-P 2009/2013 ____________________89p Gosset Grande Réseve 2009/2017 _____________________89p Delamotte Brut 2009/2014 ___________________________89p Bollinger Special Cuvée 2009/2015 ____________________89p Canard Duchêne Cuvée Leonie 2009/2013 ______________89p Ruinart Brut 2009/2013 ______________________________89p Laurent-Perrier Ultra Brut 2009/2014 ___________________89p Pommery Brut Apanage 2009/2014 ____________________88p De Saint Gall Blanc de Blancs Extra Brut 2009/2013_______88p Piper-Heidsieck Brut 2009/2014 _______________________88p Mailly Grand Cru Extra Brut 2009/2013 _________________88p De Venoge Cordon Bleu Brut Select 2009/2014 __________88p Ayala Zero Dosage Brut Nature 2009/2014 ______________88p Henriot Blanc Souverain Pur Chardonnay 2009/2015 ______88p Perrier-Jouët Grand Brut 2009/2015 ___________________88p 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. Agrapart Terroirs 2009/2013 __________________________88p Henriot Brut Souverain 2009/2015 _____________________88p Pommery Brut Royal 2009/2013 _______________________88p Mailly Grand Cru Blanc de Noirs 2009/2014 _____________88p Ayala Brut Majeur 2009/2014 _________________________88p Vilmart Grand Cellier 2009/2013 _______________________88p Joseph Perrier Cuvée Royale Brut 2009/2013 ____________88p Bonnaire Grand Brut 2009/2015 _______________________88p Jacquart Extra Brut 2009/2012 ________________________88p Drappier Brut Nature Pinot Noir 2009/2012______________88p Pol Roger Extra Cuvée de Réserve Pure 2009/2014 _______ 87p Veuve Clicquot Ponsardin Brut 2009/2015_______________ 87p Mumm Cordon Rouge 2009/2013 ______________________ 87p Mailly Grand Cru Brut Réserve 2009/2013 _______________ 87p Louis Roederer Carte Blanche Sec 2009/2015 ____________ 87p Joseph Perrier Cuvée Royale Brut Blanc de Blancs 2009/2014 ___________________________87p Billecart-Salmon Brut Réserve 2009/2013 _______________ 87p Lanson Black Label Brut 2009/2013 ____________________ 87p H. Goutorbe Cuvée Tradition 2009/2012 ________________ 87p Moët & Chandon Brut Imperial 2009/2012 _______________ 87p Mercier Cuvée du Fondateur Brut 2009/2011 _____________ 87p Henri Abelé Brut 2009/2013 __________________________87p 116 F I N E

46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. Blondel Carte d'Or 2009/2012_________________________ 87p A. Chauvet Blanc de Blancs Brut 2009/2010 _____________ 87p Ruinart Blanc de Blancs 2009/2012 ____________________86p Bruno Paillard Brut Premiere Cuvée 2009/2017 __________86p Deutz Brut Classic 2009/2012 _________________________86p De Saint Gall Premier Cru Brut Tradition 2009/2011 _______86p Philipponnat Brut Royale Réserve 2009/2013 ____________86p Pierre Gimonnet Brut 2009/2011 _______________________86p Philipponnat Non Dosé Royale Réserve 2009/2012 _______86p Heidsieck & Co Monopole Blue Top 2009/2013 ___________86p Mumm Cordon Rouge Demi-Sec 2009/2012 _____________86p Moët & Chandon Nectar Impérial 2009/2011 _____________86p Besserat de Bellefon Cuvée des Moines Brut 2009/2011 ____86p Mercier Brut 2009/2011 ______________________________86p Jacquart Demi-Sec 2009/2011 _________________________86p Jacquesson Brut Cuvée No 733 2009/2013 ______________85p AlainThiénot Brut 2009/2013 _________________________85p Bonnaire Brut Tradition 2009/2011 _____________________85p Richard Fliniaux Carte Perle Cuvée Speciale 2009/2011 ____85p Pannier Brut Selection 2009/2011 ______________________85p Mercier Demi-Sec 2009/2011 __________________________85p Alfred Gratien Brut 2009/2013 ________________________85p Jacquart Brut Mosaïque 2009/2012 ____________________85p 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. Frank Bonville Grand Cru Selection Blanc de Blancs 2009/2012 ___ 85p Dosnon & Lepage Recolte Brut 2009/2010 ____________________ 85p Comte Audoin de Dampierre Demi-Sec 2009/2010 _____________ 85p Charles de Villenfin Brut 2009/2010 __________________________ 85p Camille Bonville Brut Selection Blanc de Blancs 2009/2012_______ 85p Bonnaire Brut Variance Boisé 2009/2012 _____________________ 85p A. Robert Brut 2009/2010 __________________________________ 85p A. Chauvet Brut 2009/2010 _________________________________ 85p Charles Lafitte Cuvée Speciale 2009/2011 _____________________84p André Clouet Brut 2009/2012 _______________________________84p David Léclapart L´Apôtre a Trépail Blanc de Blancs Extra Brut 2009/2011 ________________________84p Duval Leroy Brut 2009/2011 ________________________________84p Richard Fliniaux Blanc de Blancs 2009/2010 ___________________84p Maxime Blin Carte Blanche Brut 2009/2010 ___________________84p Marguet Père & Fils Grand Cru Brut Réserve 2009/2010 _________84p Dosnon & Lepage Recolte Noir 2009/2010 ____________________84p Comte de Dampierre Grande Cuvée Brut 2009/2011 _____________84p Charles Mignon Brut Premier Cru 2009/2010 __________________84p Besserat de Bellefon Cuvée des Moines Blanc de Blancs 2009/2010 _________________________________84p A. Robert Cuvée Le Sablon Brut 2009/2010 ___________________84p David Léclapart L'Àrtiste Premier Cru Blanc de Blancs 2009/2010 _84p Collard-Picard Cuvée Selection Brut 2009/2010 ________________ 83p 117 T h e B e s t N o n - V i n t a g e s Fi n e C h a m p a g n e

no. 1 Charles Heidsieck Brut Réserve no. 2 Louis Roederer Brut Premier After three long days of non-vintage champagne blind tastings, we had a wine in the glass that made us all believe that we had been mistakenly served a prestige champagne. It was the complexity, rich creamy texture and evolution of the wine that delivered the impression. This champagne bared just more than any other nonvintage champagne. Thus, it is indisputably awarded the best non-vintage champagne in the FINE Champagne Magazine ranking. It is rewarding to see that this once highly acclaimed brand has found its renaissance and succeeded in its revival. Thanks to a great cellarmaster, winemaker and blender, the late Daniel Thibault, who with the financial support of Rémy Cointreau, was able to create a unique wine in the early 1990s. Thibault's concept was to create a non-vintage champagne with rich texture and complexity. As a standard non-vintage champagne constitutes of the latest vintage wine blended with some reserve wines of past two to three years, Thibault wanted to increase the amount of reserve wines in the blend to persuade the complexity. To gain this, he needed several vintages of reserve wines in stock. Since there was no stock of older vintages at Charles Heidsieck, they needed to create one. This was a financially costly decision for Rémy Cointreau, as the immense amount of bottles were stocked in each year instead of being released on sale. Finally, in 1992, Thibault's first special non-vintage champagne was released. Brut Réserve was based on the 1991 harvest, while 40 per cent of the blend was reserve wines from eight vintages. The trial was very successful and Charles Heidsieck Brut Réserve gained the status of grand multi-vintage champagne, referred to Krug Grande Cuvée and Laurent-Perrier Grande Siècle by its quality, but at just half the price. JL It was no surprise our mouths voted Roederer Brut Premier so high in the blind tasting. Roederer's perfectionist approach to viticulture and winemaking produces wonderful output throughout the product line. The key to quality is in their own vineyards, which account for two-thirds of production. The vines are over 25 years old on average and yields are kept modest. The house belongs to the five per cent minority in Champagne who block malolactic fermentation. Therefore, the style searched is high in acidity but it is tied to an uncompromisingly perfect fruit maturity. The varietal blend has 40 per cent shares of Chardonnay and Pinot Noir, which are complemented by 20 per cent of Pinot Meunier. The share of reserve wines is modest, at just 10 per cent, as the style is heavily dependant on ripe, fresh fruitiness. The high quality fruit and non-maloed style guarantee one of the longest living non-vintage champagnes. We recently got our hands on releases over ten years old, which proved to be wonderful and appeared more like vintage quality than non-vintage. Even though it is amongst the most expensive NVs, it is well worth the money. EA 91p 93p Charles Heidsieck Brut Réserve 2009/2017 Louis Roederer Brut Premier 2009/2017 Medium-deep, youthful lemon colour. Developing, mineral, gunflinty, roasted nose. Clean, sweet, citric and tropical fruit on the palate. Wonderful fruit purity. Linear and fruity. Delicious and long with a nice crisp back bone. Fine and elegant. Deep lemon-gold colour. Fragrant and prominent nose of delicious sweet apples and tropical fruits. Broad and powerful on the palate with great fruit purity and intensity. Persistency and class, with a beautiful autolytic touch. Lingering, long and elegantly rich finish. 118 F I N E

no. 3 no. Taittinger Brut Réserve 4 De Venoge Brut Blanc de Noirs Taittinger has that magical something in its wines that makes it stand out in quality and personality time and again in blind tastings. To me, it is the freshness and fragrance and the sublimely pure fruit tied to it which leaves a very energetic overall appeal. Elegant and feminine style is Taittinger's hallmark. It is created by a high proportion of Chardonnay in the wines. In the Brut Réserve it makes up 40 per cent, with the rest being a blend of the red varietals. This style was already chosen by Pierre Taittinger, who acquired Champagne Fourneux in 1932 before renaming it Taittinger. The core of the Chardonnay comes from premium Côte de Blancs villages, which contributes significantly to the style. In the winery, cellar master Loïc Dupont maintains a reductive winemaking style, with the first fermentation taking place in stainless steel. The softening malolactic fermentation is then carried out. A generous 13 g/l dosage rounds up the wine nicely and adds to its seductive style. Taittinger´s style is based on fresh fruitiness and is not the NV I'd recommend prolonged bottle maturation for. However, postdisgorgement ageing of around one to two years post-release seems to get the most from the wine. EA This traditional champagne house, founded in 1837 by a Swiss, HenriMarc de Venoge, had the misfortune of losing family ownership after the turbulence of the world wars. Marquis de Mun, who was married to Yvonne de Venoge, passed away in 1922, leaving his mother-inlaw and his widow in charge of the company. After the last direct heir of the de Venoge family left the company in 1958, it traded hands several times, losing its vineyard holdings along the way. It has now found a home as a part of the Boizel Chanoine Champagne (BCC) group, who have taken several traditional champagne houses under their wing, providing them with financial stability and the resources for developing their brand and wines. De Venoge has always struck me as a great value producer and their basic Cordon Bleu did well in our tasting, too. This Blanc de Noirs was added to the range in 1988. The cuvée was tailored from a gastronomic point of view and it was its firm spine and vinosity that convinced us in this tasting. The blend is 80 per cent Pinot Noir and 20 per cent Pinot Meunier from selected crus. De Venoge has used the blue ribbon as their trade symbol since 1851. It combines the family roots of their local river, Venoge, in Switzerland, with the famous symbol created by King Henry III of France for the Order of the Holy Spirit in 1578. However, it is this Blanc de Noirs and the rosé NV that are the exceptions. The Blanc de Noirs shows a picture of Marquis Adrien de Mun, while Yvonne de Venoge is illustrated in the rosé. EA 90p Taittinger Brut Réserve 2009/2013 90p De Venoge Brut Blanc de Noirs 2009/2013 Medium-deep, developing yellow colour. Soft, sweet white flower and white fruit nose. Balanced with good intensity, elegance and a refreshing spine. Harmonious and complete. Pale lemon colour. Soft, nutty and lemony, sweet peach and tropical fruit nose. Overt fruit on the medium-bodied and fresh, rounded-off, dry palate. Nice elegant depth and long focused length. Bright and very clean fruit expression. 119 T h e B e s t N o n - V i n t a g e s Fi n e C h a m p a g n e

no. 5 Pommery Pop Earth Brut There are only a few champagnes one can feel as good drinking as this wine. It delivers not only the pleasure of taste of the harmonious champagne but also the feeling of contributing some good to the environment. For Pommery, this contribution took over ten years to create. It is a result of the sustainable development and environmental protection programme Vranken-Pommery Monopole Group has been devoted to for over a decade. The vineyards are cultivated applying sustainable viticulture, avoiding the use of pesticides while the winemaking is completed in the traditional way. The biggest difference to other brands is in packaging. Since 1998, Pommery has reduced the weight of its bottles by 35 grams per bottle yielding 4300 tonnes of reduction of glass usage in total. This has resulted in reduced transport volume, energy consumption and carbon dioxide emissions. In 2007 Pommery succeeded in reducing the use of water in producing a bottle of champagne from 1.67 to 0.50 litres. All the labels are made from recyclable paper with solvent printing. The bottles are sold without a jacket in six-bottle cases. Waste water and other materials are all recycled. Although the production of the wine is based on admirable principles, it is still purely the taste, its complexity, harmony and richness, that sets the wine in such a high ranking. Pommery POP Earth differs from Pommery´s POP Brut with a lower dosage of 10 g/l. It is an equal blend of Chardonnay, Pinot Noir and Pinot Meunier. JL 90p Pommery Pop Earth Brut 2009/2012 Medium-deep lemony colour. Smooth, nuanced and delicate tropical fruit nose. Long, rich and gentle palate. Creamy mousse and good length. 120 F I N E

no. 6 no. Cattier Brut Premier Cru 7 Pol Roger Brut Réserve Champagne Cattier is one of the curiosities in Champagne. The Cattier family has cultivated vines since 1763, but launched their own champagne only in 1918. The peculiarity of the house is their commitment to produce nonvintage champagnes even at the highest degree. They have been pioneers of the single vineyard champagne concept with their 2.2 hectare Clos du Moulin plot. The latest launch was the super-luxury brand, Armand de Brignac Ace of Spades, which has taken its position as No. 1 celebrity champagne in the US. However, this classic non-vintage champagne expresses the competence of both the terroir and know-how the Cattier family prosesses. This champagne is produced from the grapes of their own vineyards at Chigny-Les-Roses. The blend is 75 per cent Pinot Noir and 25 per cent Chardonnay. JL Established in 1849, Champagne Pol Roger remains family-owned and proudly independent to this day. Pol Roger, the 1831 born founder of the house, had lived in the Grand Cru village of Aÿ his whole childhood. Early on Pol Roger focused on exports, and the English market was the most important one from the beginning. The commercial success of the company had its roots in the business model, where they produced other champagne brands in the Pol Roger facilities. Much has changed since those days. Pol Roger is now one of the few remaining family-owned Grande Marque champagne businesses. Christian de Billy's son Hubert is actively involved in the company but Pol Roger recently recruited their first managers, Patrice Noyelle and Laurent d'Harcourt, from outside the family. Extensive vineyard holdings of 89 hectare, and perfected skills in the art of blending hold the secret to the quality. The entire board of directors and many family members participate in the blending decisions. Total production at Pol Roger is in the region of 1.5 million bottles per annum. The elegant and technically perfected toasty and intense style is Pol Roger's hallmark that charmed us in this blind tasting, too. The wine is blended from around 30 base wines, base wines drawn from at least two vintages, and the three varieties of champagne, Pinot Noir, Chardonnay and Pinot Meunier blended in equal portions. Customarily the amount of reserve wines is between 20 and 30 per cent. The Pol Roger cellars are one of the coolest in Champagne, averaging at 9.5 degrees, and contribute to the fine house style. After three years in bottle and the following disgorgement, the wine receives 5 months' additional bottle ageing before release. EA 90p Cattier Brut Premier Cru 2009/2013 90p Pol Roger Brut Réserve 2009/2015 Deep lemony colour with a green tinge. Rich and toasty, wonderfully sweet tropical fruit and mineral nose. Smoky minerality on the palate too. Nice autolysis effect starting. Very dry, but intensely fruity and fresh. Will improve with bottle ageing. Pale lemony colour. Fragrant, ripe white fruit nose. Elegant feel with some overripe tones as well as mineral complexity. Pleasantly fluffy mousse. Long, linear and creamy. Stylish with a lot of personality. 121 T h e B e s t N o n - V i n t a g e s Fi n e C h a m p a g n e

90p C CHARTOGNE-TAILLET CUVÉE SAINTE-ANNE BRUT 2009/2015 009/2015 P Pale lemon-green colour. Round and rich, toasty burnt sugar, tropical al fruit nose. Still youthful and restrained on the palate. Stylish creamy fr y mousse. Good degree of complexity and a long length. 88p MAILLY RAND M ILLY GRA MAILLY GRAND CRU MAILLY GRAND CRU EXTRA BRUT L A 2009/2013 M Medium-deep, rich toffee nose with nice red fruit touch. Round, r ripe fruit on the wide palate too. Crisp, tart, acidic backbone. Good concentration and length. Easy to drink, fruit-forward style. 89p L LAURENT-PERRIER BRUT L-P 2009/2014 P Pale lemon-green colour. Mineral and tight white flower and smoky y nose. Very mineral on the palate lined with bright tropical fruitiness. n s. Tight-packed and linear. Very dry. 88p D DE VENOGE CORDON BLEU BRUT SELECT 2009/2014 D Developing deep yellow colour. Rich, sweet roasted nose, with b bruised apples and spiciness. Wide and round on the palate. Pleasing and charming, but lacks the spine of a super premium non-vintage. Clean and harmonious. Easy to approach and ready to drink. 89p G GOSSET GRANDE RÉSERVE 2009/2013 D Deep developing lemon-gold colour. Soft, evolving lactic nose. Apples s a and dust. Mid-weight and rounded. Balanced but with a rustic dusty y touch. Lots of personality and richness. 88p A AYALA ZERO DOSAGE BRUT NATURE 2009/2014 89p D DELAMOTTE BRUT 2009/2014 P Pale lemon colour. Fruit-forward soft nose with a nice autolytic t toastiness and delicate pure fruit: citrus, melon and tropical fruits. Very dry and lean, crisp acidic body. Nice intensity and focus. Long, stylish and charming. M Medium-intense lemony colour. Toasty, evolving, nutty and lemony y no nose. Fresh and linear on the palate with some elegance and intensity y but no great complexity or depth. Stylish and long. 88p H HENRIOT BLANC SOUVERAIN PUR CHARDONNAY 2009/2015 M Medium-deep lemon-green colour. Toasty, harmonious and complex n nose. Smooth, with vanilla and fudge. Gentle, underlying smoky minerality. Good harmony and integration of smooth mousse. 89p B BOLLINGER SPECIAL CUVÉE 2009/2015 M Medium-deep lemon colour. Rich, sweet and complex. Cinnamon, , ap apple pie and vanilla nose. Gentle, deliberate oxidation. Weighty and wide smooth velvety palate, with nicely integrated mousse. Balanced and rich. 88p P PERRIER-JOUËT GRAND BRUT 2009/2015 89p C CANARD DUCHÊNE CUVÉE LEONIE 2009/2013 M Medium-deep lemony colour. Fragrant and charmingly restrained floral nose. Honey and sweet tropical notes. Mineral complexity with underlying muscle and vinosity. Pure with nice freshness and elegance. All pieces in place. M Medium-deep lemony colour. Smooth and round rich toffee, red apple e an and toasty nose. Nice rounded body, focused fruit and good length. . Attractive purity and intensity. Good ageing capacity. 88p A AGRAPART TERROIRS 2009/2013 89p R RUINART BRUT 2009/2013 P Pale lemony colour. Delicate, purist green apple and white fruit nose. Intense and pure, with a powerful linear structure. Clean and tightlyI In packed. M Medium-intense lemony colour. Vegetal lemon and white flower r e el elegant nose. Restrained, intense and dry palate. Youthful still, with a firm, linear structure and good ageing capacity. 88p H HENRIOT BRUT SOUVERAIN 2009/2015 89p LA LAURENT-PERRIER ULTRA BRUT 2009/2014 D Deep lemon-gold colour. Harmonious and stylish bright fruit and gentle toast nose. Slim but concentrated, long and crisp. All parts in place, with to nice ageing potential ahead. M Mid-depth lemon-green colour. Rich, gunflinty and toasty nose. Lemon n an and green apple. Restrained and very dry on the palate with autolysis s coming through nicely. Stylish, with fine mousse and wonderful fruit t purity. 88p P POMMERY BRUT ROYAL 2009/2013 P Pale lemon-green colour. Delicate, soft and elegant nose with melon, gentle citric tones, fine-tuned and tight-packed. g 88p PO POMMERY BRUT APANAGE 2009/2014 M Medium-intense lemony colour. Smooth, vanilla and cream, ripe e tr tropical fruitiness. Tight and closed on the palate, but balanced with h some complexity and elegance. 88p M MAILLY GRAND CRU BLANC DE NOIRS 2009/2014 M Medium-deep lemony colour. Soft and creamy toffee nose, butter, b brioche and cinnamon. Mid-weight, rich palate with good length and fresh spine. Nicely balanced and complex. 88p D DE SAINT GALL BLANC DE BLANCS EXTRA BRUT 2009/2013 88p A AYALA BRUT MAJEUR 2009/2014 M Medium-deep lemon-green colour. Nicely toasty and bready, tropical fr fruit and apple nose. Toasty finish, medium-bodied on the palate. Long and fairly intense. M Medium-deep lemony colour. Delicate, smooth toffee nose with le lemony nuances. Gentle autolytic presence. Tight and very dry palate, linear with sweet, pure fruitiness. Nicely integrated mousse and good length. PI 88p PIPER-HEIDSIECK BRUT 2009/2014 D Deep lemony colour. Rich and smooth, sweet apple and toasty nose. . H High degree of breed and evolution in the nose. Powerfully fruity palate e with coffee, toast and vanilla. Integrated mousse and a wide, dense e mouth-feel. Good length and harmony. 88p V VILMART GRAND CELLIER 2009/2013 P Pale lemony colour. Smooth nose with a slight wood impact, deliberate o oxidation in the form of oxidising apple. Nice intensity and purity. 122 F I N E

88p JOSEPH PERRIER CUVÉE ROYALE BRUT 2009/2013 Medium-deep lemony colour. Creamy and toasty nose, ripe fruit, lemon and apple. Compact and focused on the palate. Exploding fruit. Long length. 87p LANSON BLACK LABEL BRUT 2009/2013 Medium-intense lemon-gold colour. Pure and clean, bright sweet citrus and stone fruit nose. Intense and structured, with a nice acidic focus and length of fruit. Compact and fruity, with good ageing potential. 88p BONNAIRE GRAND CRU BLANC DE BLANCS 2009/2012 87p H. GOUTORBE CUVÉE TRADITION 2009/2012 Mid-depth lemon-green colour. Smooth, clean, tropical nose. Pear and apple cider, delicate white fruit nose. Nice, crisp acidity and beautiful creamy mousse. Nice, smooth dosage level. Long, pure, compact and charming length. Pale lemon-green colour. Fruity, red fruit dominated and lactic nose, with a light autolytic influence. Foamy mousse, round and smooth palate. Long, spicy and fruity finish. Lots of personality here. 88p JACQUART EXTRA BRUT 2009/2012 87p MOËT & CHANDON BRUT IMPÉRIAL 2009/2012 Deep golden colour. Rich and round, toasty nose with nice nutty and toasty vanilla aromatics. Rich and round, slightly oxidised taste. Well integrated, gentle mousse and vinosity. Medium-deep lemon colour. Fruit-forward, peach and apple nose, with delicate floral nuances. Nice degree of elegance. Light-bodied, with medium fruit intensity. Elegant but not very complex. 87p MERCIER CUVÉE DU FONDATEUR BRUT 88p DRAPPIER BRUT NATURE PINOT NOIR 2009/2012 Orange-hued medium-deep colour. Overt, rich, ripe red apple nose and a touch of autolytic notes. Muscular, firm and rounded palate. Dry, medium-long finish. 2009/2011 Deep lemony colour. Harmonious, sweet white fruit and floral nose, some vegetal nuances. Nicely balanced, smooth palate, with medium length. 87p HENRI ABELÉ BRUT 87p POL ROGER EXTRA CUVÉE DE RÉSERVE PURE 2009/2014 Medium-deep lemon colour. Delicate and pure, slightly autolytic nose, with hints of green apple, vanilla and mineral tones. Highly linear and extremely dry palate. Very high quality fruit behind. Good intensity and length. Nice toasty finish. 2009/2013 Deep lemon colour. Overt and soft, toffee, confectionary and vanilla nose. Nice beginnings of autolytic complexity. Long, smooth and easy to like. Not very complex or refined, though. 87p BLONDEL CARTE D'OR 2009/2012 87p VEUVE CLICQUOT PONSARDIN BRUT 2009/2015 Medium-deep lemon colour. Restrained and smooth stone fruit and floral nose. Tight palate and dry finish. Nice cleanliness, ample fruit and focus, lacks great complexity and length. Pale lemon colour. Toasty, apple crumble and white fruit nose. Floral and lactic complexity. Tight and restrained on the palate. Additional post-disgorgement time will help to round up the wine. Slightly too foamy mousse. Medium length and intensity. 87p A. CHAUVET BLANC DE BLANCS BRUT 87p MUMM CORDON ROUGE 2009/2013 Medium-deep lemon colour. Nice smoky touch. Foamy smooth mousse. Very clean, gentle and easy to touch. Well-made and fruity, with some autolytic complexity. 2009/2010 Medium-deep lemon colour. Soft, citric nose with floral influence. Nice fruit purity and length. Compact and stylish. 86p RUINART BLANC DE BLANCS 2009/2012 87p MAILLY GRAND CRU BRUT RÉSERVE 2009/2013 Pale lemon colour. Fragrant and delicate white fruit and floral nose. Pure and clean nose. Very dry on the palate, feels extra brut in style. Intensely structured and perfectly balanced. Pale lemon-green colour. Smoky and minerally straw and lemon blanc de blancs nose. Restrained and smoky, tight on the palate. Coarse bubbles and somewhat angular texture. Mid-length. Lacks autolysis complexity and charm. Post-disgorgement time will bring out the charm in this wine. 87p LOUIS ROEDERER CARTE BLANCHE SEC 2009/2015 86p BRUNO PAILLARD BRUT PREMIERE CUVÉE 2009/2017 Medium-deep lemon colour. Soft, open lemon and melon nose, delicate toffee and autolysis complexity. More one-dimensional on the palate. Floral and medium-bodied. Well-integrated mousse and a gently sweet finish. Pale lemon colour. Honeyed, creamy, stone fruit, licorice and floral nose. Tight, medium-bodied dry palate. Lots of structure behind the clean fruit. Nice, linear, crisp citric acidity. D 86p DEUTZ BRUT CLASSIC 2009/2012 87p JOSEPH PERRIER CUVÉE ROYALE BRUT BLANC DE BLANCS 4 2009/2014 Deep lemon-green colour. Rich and soft, complex nose. Toasted bread, red apple and spices. Nice weight and depth on the palate too. Fresh, h, balanced acidity and long length with well-integrated mousse. Nice e concentration. D Deep lemon-gold colour. Soft and rounded red berry and tobacco no nose. Full, but one-dimensional on the palate. Some concentration on the wide, fat palate. Lacks elegance and backbone. D 86p DE SAINT GALL PREMIER CRU BRUT TRADITION 2009/2011 87p BILLECART-SALMON BRUT RÉSERVE 2009/2013 Medium-deep lemon colour. Soft, sweet apple pie nose, with lovely autolytic richness. Mid-weight palate, with a blended, harmonious s nature and good fruit purity. Pear and lemon. Mid-length palate, with h well-integrated bubbles. P Pale lemon colour. Soft and delicate, fragrant and nuanced co confectionary and white fruit nose. Vegetal notes and nice clean fruit. The grip is lost on the palate, very smooth and appearing slightly spineless. Medium-length and easy to like. 86p P PH PHILIPPONNAT BRUT ROYALE RÉSERVE 2009/2013 M Medium-deep lemon-gold colour. Smooth, ripe, fruity, easygoing nose. Delicate smokiness and floral notes. Medium-intense fruity n no palate. Balanced, but not very complex or fine. 123 T h e B e s t N o n - V i n t a g e s Fi n e C h a m p a g n e

86p P PIERRE GIMONNET BRUT 2009/2011 M Medium-deep lemon colour. Very floral and fragrant nose, clean and fresh. Lean and fruity, nice compact fruitiness. Long and fresh. fr 85p R RICHARD FLINIAUX CARTE PERLE CUVÉE SPECIALE 2009/2011 P Pale peach-hued lemon colour. Nice touch of autolytic complexity o on the nose, red fruit and nutty hints. Fruit-forward and clean on the palate. Lots of personality. 86p P PHILIPPONNAT NON DOSÉ ROYALE RÉSERVE 2009/2012 M Medium-deep lemon-golden colour. Smooth fruit-forward red berry nose, with apple pie and spicy nuances. Dry medium-bodied palate n that lacks the overt fruit of the nose. Coarse sized mousse, palate lacking charm. Post-disgorgement time will round the fruit and bring out the charm. Good ageing capacity. 85p PA PANNIER BRUT SELECTION 2009/2011 D Deep lemon-yellow colour, energetic foamy mousse. Smooth cream and vanilla nose, with ripe, clean fruitiness and a touch of elegance. a Mouth-filling wine, with good intensity. Some vegetal notes take away from the wines elegance. Medium length and satisfactorily wellintegrated bubbles. 86p H HEIDSIECK & CO MONOPOLE BLUE TOP 2009/2013 M Medium-deep lemon colour. Soft apple and lemon nose. Pure and fr fruity but not very complex or evolved. Mid-weight palate, with slightly coarse bubbles. Short length and not as nicely fruity as the nose was. 85p M MERCIER DEMI-SEC 2009/2011 P Pale greenish-lemon colour. Sweet and delicate white fruit and floral n nose. Medium-sweet taste, with plenty of sweet tropical fruit. Medium length and good fruit purity for a demi-sec. 86p M MUMM CORDON ROUGE DEMI-SEC 2009/2012 M Medium-deep lemon colour. Sweet caramel nose, with some toasty in influence. Medium-dry, smooth balance and cleanliness. Medium-long with smooth effervescence. Well-made and balanced. 85p A ALFRED GRATIEN BRUT 2009/2013 86p M MOËT & CHANDON NECTAR IMPÉRIAL 2009/2011 P Pale greenish-yellow colour. Delicate, smoky, minerally nose. Flowers a and stone fruits, no autolysis impact. Quite foamy on the palate. Clean, with bright fruit, but lacks layers and the complexity of fine champagne. M Medium-deep peach-hued lemon colour. Fragrant and sweetly s spiced oxidising apple nose. Medium-sweet palate. Fruity and gentle, rounded. Some personality and a nice balance. 85p JA JACQUART BRUT MOSAÏQUE 2009/2012 86p B BESSERAT DE BELLEFON CUVÉE DES MOINES BRUT 2009/2011 M Medium-deep lemon colour. Open and creamy nose with soft apple, p pear and vanilla aromas. Not perfectly clean. Apricot and lemon on the palate. Medium fruit intensity and length. Not a mainstream champagne, not to every taste. Foamy mousse and mid-length drying finish. L Lemony, youthful colour with lively bubbles. Toasty and nutty a autolytic nose, with ripe apple, straw and dust notes. Medium-intense vegetal and floral palate. Good freshness and well-integrated mousse. Satisfying on the whole, medium length and fruit intensity. 85p F FRANK BONVILLE GRAND CRU BRUT S SELECTION BLANC DE BLANCS 2009/2012 86p M MERCIER BRUT 2009/2011 M Medium-deep straw-yellow colour. Restrained and gentle melon, pear, vegetal and floral nose. Tight, light-weight palate, with some dusty aromatics. Linear, with medium body weight. M Medium-deep lemon colour. Toasty and fragrant nose. Nice brioche a and tropical notes. Slightly dusty on the hollow palate. Medium-length. Easy to drink. 85p D DOSNON & LEPAGE RECOLTE BRUT 2009/2010 86p J JA JACQUART DEMI-SEC 2009/2011 M Medium-deep lemon colour. Smooth and ripe, nicely toasty, gunp powdery nose. Vegetal notes. Medium-dry taste with nice fruit purity, but lacked of spine or complexity. M Medium-deep peach-hued lemon colour. Overt, oxidising apple nose, with a touch of oak impact. Foamy palate and a wide and weighty w mouth-feel. Very vinous but not hugely complex or elegant. Fruity and clean though. 85p C COMTE AUDOIN DE DAMPIERRE DEMI-SEC 2009/2010 85p JA JACQUESSON BRUT CUVÉE NO 733 2009/2013 M Medium-deep colour with a peachy hue. Slightly volatile tobacco and red apple nose, with spicy old oak and dusty nuances. Forward and re fruity, with dry palate. Angular and one-dimensional for now, postdisgorgement time required for full charm. M Medium-deep lemon colour. Restrained, gentle apple and c confectionary nose. Foamy mousse, intense licorice and ripe fruit palate. Distinct personality, with medium length. Nice level of sugar, balanced and not overly sweet for the structure. 85p 85p A ALAIN THIÉNOT BRUT 2009/2013 M Medium-deep lemon colour. Open, creamy, lactic white fruit and v vanilla nose. Very dry and a therefore a bit harsh on the palate. Long and linear though. Required post-disgorgement time to blossom. C CHARLES DE VILLENFIN BRUT 2009/2010 M Medium-deep lemon-gold colour. Roasted coffee and smooth fudge n nose. Nice autolytic complexity. The palate is less intense and nuanced compared to the promising nose. Medium length and good evolution in the glass. Nice gun flint minerality. 85p B BONNAIRE BRUT TRADITION 2009/2011 85p C CAMILLE BONVILLE BRUT S SELECTION BLANC DE BLANCS 2009/2011 M Medium-deep lemon colour. Bruised apple and vanilla nose, nuanced with ripe fruits. Fruity and fairly clean. Fresh, but not very refined or w structured. P Pale lemon-green colour. Fruity and fresh, pear and lime nose. Linear and tight palate. Mid-length and very dry. Not very complex and lacks autolytic complexity. 124 F I N E

85p B BONNAIRE BRUT VARIANCE BOISÉ 2009/2012 D Deep lemon colour. Pronounced, evolving wet wool, nut and ripe a apple, roasted nose. Medium-bodied, wide and round, easy palate which lacks focus, finesse and spine. 84p C COMTE DE DAMPIERRE GRANDE CUVÉE BRUT 2009/2011 M Medium-deep lemon colour. Floral and dusty, tobacco and apple nose. Q Quite hollow mouth-feel, lacking intensity and elegance. CH 84p CHARLES MIGNON BRUT PREMIER CRU 2009/2010 85p A A. ROBERT BRUT 2009/2010 D Deep lemon-gold colour. Complex and vinous, oxidising bruised apple a and cinnamon nose. Wide and rounded, with enough freshness. Lacks finesse and fruit intensity. De Deep lemon-yellow colour. Smooth, restrained nose of ripe apple, lemon an and a gentle toasty edge. Some dusty notes that are accentuated on the palate. Medium-intense palate, with good freshness but slightly coarse mousse. Fruity and fresh but some earthy rusticity takes away from its elegance. 85p A A. CHAUVET BRUT 2009/2010 M Medium-deep lemon colour. Overt, smooth red fruit and fudge nose, with some dusty notes. Powerful on the palate, with a fairly foamy w mousse. Medium length with a nice fruity finish. 84p BE BESSERAT DE BELLEFON CU CUVÉE DES MOINES BLANC DE BLANCS 2009/2010 84p C CHARLES LAFITTE CUVÉE SPECIALE 2009/2011 M Medium-deep lemon colour. Citric and floral nose, with gentle brioche la layers. Appears closed on the palate, with the dosage not in full harmony with the body. Medium-bodied, fresh and lively, a slightly coarse mousse. Pa Pale lemon-green colour. Smoky and minerally straw and lemon nose. Herbaceous and slightly dusty. Lean, with a very dry mid-length taste. Refreshing and simple. Lacks autolysis, champagne complexity and charm. 84p A. ROBERT CUVÉE LE SABLON BRUT 2009/2010 Pa Pale lemon green colour. Open white and green fruit, elegant nose, with nice yeasty complexity. Slightly hollow, restrained and short. w 84p A ANDRÉ CLOUET BRUT 2009/2012 D Deep peach-hued lemon colour. Fruit-forward with red berries, wax a and honey. High acidity on the palate, wide but not very concentrated. Open but quite singular, lacking great complexity. 84p D DAVID LÉCLAPART L´ÀRTISTE PREMIER CR CRU BLANC DE BLANCS EXTRA BRUT 2009/2010 84p D DAVID LÉCLAPART L´APÔTRE A T TRÉPAIL BLANC DE BLANCS EXTRA BRUT M Medium-deep lemon colour. Lactic, creamy nose, with clean fruitiness and oxidising apple. Pungent, highly dry aftertaste, fino sherry-like yeasty effect. Long and linear. 2009/2011 M Medium-deep lemon colour. Toasty and nutty, evolving citric fruit aroma. Yeasty notes. Very toasty, even roasted on the palate, pungent, fino sherry-like yeasty notes. Wide, fat palate, with good length, but lacks in finesse and intensity. 83p C COLLARD-PICARD CUVÉE SELECTION BRUT 2009/2010 84p D DUVAL-LEROY BRUT 2009/2011 M Medium-deep lemon colour. Deliberately oxidising red apple, spicy and dusty nose. Rich, with spicy, wood-like impact on the palate too. a Wide and vinous. Long. M Medium-deep orange-hued lemon colour. Fruity, red fruit dominant, straightforward nose, with some volatility. Not much finesse and a st gentle touch of autolytic complexity. Some fresh, yeasty impact. Bright fruity palate that is not very long but in accordance with the nose. Orange peel aromatics and a citric feel of acidity. Quite a typical as a style but has a lot of personality. Divides opinions. . 84p R RICHARD FLINIAUX BLANC DE BLANCS 2009/2010 P Pale lemon colour. Powerful, smoky and minerality that is lacking a autolytic richness. Vegetal and lean palate, with medium bodyweight. Austere, lacking champagne charm. 84p M MAXIME BLIN CARTE BLANCHE BRUT 2009/2010 D Deep golden colour. Smooth, rounded and rustic vanilla, wax, flower a and red apple nose. Less interesting on the palate. Slightly empty and coarse. Mid-length minerally finish. Lacks intensity and charm. 84p M MARGUET PÈRE & FILS GRAND CRU BRUT RESERVE 2009/2010 P Pale lemon colour. Lactic nose, with yoghurt and honey. Lactic on the p palate but overly so. Medium-bodied and fresh, though. 84p D DOSNON & LEPAGE RECOLTE NOIR 2009/2010 P Pale straw-yellow colour. Soft, delicate, floral chardonnay nose. C Creamy and refined but not very complex. Solid basic quality. 125 T h e B e s t N o n - V i n t a g e s Fi n e C h a m p a g n e

Mario Sculatti Old and new Luxury meet in the east My love affair with wine trading into China came together for the first time on October 29, a few years ago. It was a misty and cool day on the Pearl River in the enclave known as Macau, in the South China Sea. I was a very young wine broker from Napa Valley, California. I was also very clearly out of place, as I tried to conduct my very first Bordeaux wine deal in Asia. The Cantonese pronunciation for number 29 is "yi, gao," and in Chinese numerology it sounds phonetically like the words for "easy, long lasting." I feel fortunate to have contributed to the inevitably longlasting fine wine movement in China, albeit in my own minute way. Only a one hour jet-boat ride (or 20-minute helicopter ride) away from Hong Kong Island, Macau is a peninsula of casinos and hotels; gambling pleasure and epicurean delight are elevated to new heights here. The former Portuguese colony has seemingly overnight become the place of panache on the planet ­ a destination for the most colourful international cast of characters, both pure gamblers and true aficionados alike. Macau originally captured my imagination during a wine sales trip to Las Vegas, when my good friend, who at the time was working for the Venetian Resort and Casino, literally said to me "Go, young man ­ go so far that you reach the East." Taking her advice I packed two Styrofoam shipping cases full of Californian cult wines, a handful of business cards, one suit, and a little extra optimism. I flew across the Pacific Ocean, hoping that new relationships in the South China region would blossom in due time. The first trip turned into several long stays in Macau. Many superb wine lunches and dinners ensued at such restaurants as Joel Robuchon at the old Lisboa Casino, home of the largest set of 1974 Heitz Martha's Vineyard bottles I have ever seen, and surely the deepest collection of Screaming Eagle and Harlan Estate in all of China. I confess to feeling a great amount of hometown pride upon first viewing these wines in their secure, temperaturecontrolled display cases. 126 F I N E

It was during these early visits to Macau that I was privileged enough to forge some wondrous and sometimes mysterious relationships with the most dedicated wine lovers in the city. It was here I met the person who I now affectionately refer to as C.M., because he simply adores Château Margaux, particularly the 1990 vintage, a wine that is so elegantly perfumed, dancing voluminously on the palate. Soon after I met C.M., a gorgeous private collection of Bordeaux First Growth wines became available from the cellar of one of my good clients back on the eastern coast of the USA. I offered C.M. the whole pristine 1250-bottle parcel, which included a prominent and full original wood case vertical of Margaux from 1980 to 2000. I was happily shocked when C.M. said, "Fine, I will take it. I would like it here next week. Our family will give some to our friends and drink some during the Chinese New Year, but the rest is investment." And that is what brings us back to that misty October day all those years ago. That is the day I flew into Macau Airport, having personally escorted the pallets of Bordeaux during the flight over from America. C.M.'s personal staff met me at the customs warehouse there. We unwrapped the insulated shipping covers to reveal the palletised cases that were soothingly cold to the touch, having been gently suspended and cared for in the belly of the jetliner during the journey across the globe. From the airport customs offices, a full view of the Cotai Strip comes into focus as one gazes out toward Hanquin Island and Zhuhai, on the mainland of China. I could not help but smile looking out at the new construction sites of the Venetian Macao casino and Crown Melco's City of Dreams, simultaneously rising up from the isthmus of reclaimed land between Taipa and Coloane islands. Mostly, however, I stood marvelling at how fast China was developing right before my own eyes. I realised that there would be no slowing down in the long term, because a new and real dedication to enjoying life had now permanently taken root here. China's love of fine things was growing, and there was excitement in the air, a wanting, a desire to experience the world's finest wines in a big way. To celebrate the success of a deal well done, an old friend and I decided that the best possible place we could dine at was an authentic little Macanese restaurant on the south shore of Coloane island. The restaurant is called Chan Seng Kei and is situated underneath the old plaster colonnade near the bright yellow St. Francis Chapel in sleepy Coloane Village. It also happened to be the best place we could open one of our own bottles of wine with no corkage fee! One comes here for the authentic experience and the superb fresh seafood. Each wobbly, pink plastic table is dressed spartanly with cellophane plastic wrap, which serves as the tablecloth. Toilet paper rolls act as napkins. The place was packed for a weeknight, but we managed to negotiate some seats and the feast began: steamed snapper in a soy oyster sauce broth, boiled, fresh sea snails, a full Peking Duck, and green beans with tiny shrimp. We happily enjoy our meal alongside a superb bottle that I had brought out of a mixed six-pack: a Kongsgaard Chardonnay, 2004 vintage. Half way through our feast the sounds of the tiny fishing village are interrupted by an entourage of engines: three brand-new black Mercedes-Benz E-Class sedans roll up, stopping with a squeak on the Portuguese mosaic cobble street in front of the restaurant. An octet of Macau businessmen clad in black step out from the two black automobiles, and another pair of men emerge from the last car, holding fast to the obviously valuable provisions for their evening dinner. I was unable to take in the scene that then presented itself, but sure enough these gentlemen were holding two bottles of what we later found out were 1988 Lafite Rothschild and 1995 Chateau Latour! I don't know why, but I never expected to see Mercedes, let alone BYO-Bordeaux first growth, arrive at a holein-the-wall location like this. That is when I realised something important about the "new luxury buyers" in China. It is now more about how one experiences luxury in the moment with friends that matters most, and they are serious about enjoying their newfound luxury alongside traditional, familiar, simple luxury. As we waved "cheers" over to the group, it occurred to me that this place called Macau, and China as a whole, is the key to the future of the fine wine trade. And as I looked over at the half-full Bordeaux bottles on the humble tabletops, I was reminded of a fantastic quote from the Chinese philosopher Lao Tzu, who wrote: "We may shape material into a vessel, but it is the emptiness inside that holds the things we want." I have never agreed with that statement more than on that night of the 29th. Mario Roam Sculatti is the Director of Sales and Consigments for Spectrum Wine Auctions, the world's newest fine wine auction company with offices based in Napa Valley and Orange County, California and Hong Kong. Spectrum Wine Auctions is holding its debut wine auction in Newport Beach, California and Hong Kong, simultaneously, on November 21 and 22, 2009. www.SpectrumWine.com 127 C o l u m n Fi n e Ma r k e t

Happiness Has its Price The Best Romanée-Conti wines to drink today TEXT AND PHOTO: PEKKA NUIKKI have Aubert de Villaine to thank for many of my life's happiest moments. However, I have also had to pay the highest possible price for this happiness ­ the reputation of the wines of Aubert de Villaine's wine estate, Domaine de la Romanée-Conti, has taken care of that. These are the most sought-after and expensive wines of the world. The moments with the 1923, 1945 and 1962 vintages have been worth every single cent invested in them, and not just in my opinion, but also in my friends', who have shared those moments with me. There are a great many happiness-inducing things one can purchase. Yet, the wines of Romanée-Conti stand out on this lengthy list: they have a soul, which does not originate from great wealth or from ultra-modern technology. This soul is the most valuable thing money can buy. The proverb states money can't buy love, but can it buy happiness? If so, how much is one willing to spend on one's happiness? For me, when it comes to Romanée-Conti the answer is easy ­ everything. Which of the Romanée-Conti wines bring the greatest happiness today, then? Here, I introduce ten Romanée-Contis I believe are at their best today. Each and every one of them is capable of stealing your heart...as well as your wallet. I the board it was the right course of action, the vines of RomanéeConti were torn up after the harvest in 1945 and replaced two years later with grafted clones. Luckily this harvest achieved legendary status due to its exceedingly high quality. The severe frosts in mid spring reduced the crop before the growing season had even started properly, while the weather improved dramatically during the end of the spring, ensuring a hot and dry summer followed. The grapes became super concentrated and the harvest was superb in quality but sadly restricted in quantity. It is very difficult to find this vintage available anymore, as this wine only produced 608 bottles. Fine looking bottle with 3 cm level. Decanted one hour. The wine is very deep, dark and richly coloured with a unique exotic nose of oriental spices, black truffles, and plenty of depth ­ very lively! On the palate a full, unbelievably concentrated and sturdy wine. Chewy, intense and showing not a trace of its age ­ this wine will last forever! Magnificent in a good old-fashioned way! The best burgundy I have ever tasted and so good to this day. 100p 1962 La Tâche Domaine de la Romanée-Conti (Côte de Nuits) 2008/2015 x 4 D2h/G2h 100p 1945 Romanée-Conti Domaine de la Romanée-Conti (Côte de Nuits) 2005/2020 x 2 D1h/G3h This wine will remain as a relic of the ancient times of the wine world. Vintage 1945 is the last ever Romanée-Conti made from the ancient Pinot Fin-vines, which dated back to 1585. These vines, along with their descendants, had produced highly esteemed grapes for over 360 years. Thus, it was an extremely difficult and protracted decision for the board of Domaine de la Romanée-Conti to renew the historic vines. Unfortunately, there was no other option since as the disastrous small aphid, phylloxera that had first appeared in Vosne-Romanée in 1882, had finally taken over in both the RomanéeConti and Richebourg vineyards. While most other winegrowers had grafted their vines to resistant American rootstock decades earlier, the Domaine de la Romanée-Conti had successfully fought against the aphid for over sixty years using carbon disulphide. Evidently the Second World War had taken its toll and there were shortages of everything, including carbon disulphide. The vineyards began to decline during the war and after new partner Henri Leroy convinced The greatest obstacle of the 1962 vintage has been its role as a successor to the incomparable 1961. On the other hand the lack of fame has hidden many a splendid wine from the general public. This monumental La Tâche was acquired directly from the domaine in 1991. It looked like it was bottled yesterday. The wine proved worthy of its reputation. A splendid, perfect balance between fruit and acidity, which is typical of this vintage. An intense and abundant taste with chocolate and leather, and a full, pleasantly heavy nature. A genuinely elegant and long aftertaste. Truly a great wine, which is at its best today. 99p 1923 Romanée-Conti Domaine de la Romanée-Conti (Côte de Nuits) 2007/now x 4 D 30 min / G 45 min Belgian van der Meulen was one of the most renowned and trustworthy wine wholesalers at the beginning of the 20th century. All the wine sold through them they bottled themselves. They were particularly renowned for their habit of choosing only the best 128 F I N E

vintages from the most notable producers. Each lot was tasted barrel by barrel, and only the best ones were chosen. The most famous wines bottled by van der Meulen are Cheval Blanc 1947, Pétrus 1947 and Yquem 1921. The 1923 vintage was difficult at the beginning as the humidity and cold caused retarded flowering. The result was favourable with uneven fruit set guaranteeing limited yield. The favourable weather during the summer was followed by a somewhat rainy autumn. Luckily northern winds dried the vineyards and the harvest was completed by the beginning of October, turning this into an exceptional vintage that produced a number of very complex wines. In excellent condition, a rare bottling by van der Meulen of Belgium. Decanted for 15 minutes and held on to its best qualities in the glass for 45 minutes. The level of this Romanée-Conti was top-notch and the colour was a very dark, beautifully translucent red. The bouquet expressed something so magical, overwhelming with chocolate and coffee and warmth, that it would have melted any heart. Simply one of the most intoxicating aromas I have ever experienced. The desire to taste it grew almost too much to bear. Very roasty, delicate, gentle, and really multilayered and sophisticated wine. On the whole, it is still virtually perfect but was at its peak about twenty years ago. The aftertaste was smooth and stylishly seductive. A sensitive experience, although this is a wine that needs to be drunk now. 99p 1959 La Tâche Domaine de la Romanée-Conti (Côte de Nuits) 2009/2020 x 7 D1h/G1h The best burgundies of this vintage, which was one of last century's finest, are rich and multilayered, so great hopes were laid on this particular wine which is maybe the most famous of its region. Both the bottle and the wine seemed to be in perfect condition. Decanted for two hours. Oriental spices, truffles and sweet fruitiness could be sensed in the bouquet. A fascinatingly seductive combination. A very youthful, rich, soft, pure and elegant wine. Considerably more vital than the colour would have led us to expect. A balanced acidity and tight fruitiness with a long and pampered aftertaste. A gentle but most impressive acquaintance. 99p 1966 Montrachet Domaine de la Romanée-Conti (Côte de Nuits) 2001/2020 x 5 D 1h / G 2 h It was in 1963 that Henri de Villaine's business partner Henri Leroy persuaded him to buy a plot of 0.342 hectare land in the `new world' for him. This `new world' was on the other side of the Beaune, in the Chassagne-Montrachet district. This plot was located in the highly esteemed Le Montrachet vineyard. Having only made red Grand Cru so far, this opened up a new, fascinating world of white wines to no. 129 H a p p i n e s s Fi n e 1 0 0 0 Fi n e s t

The Best Romanée-Conti wines to drink today Henri de Villaine. Encouraged by the potential, Leroy and de Villaine acquired a second plot of 0.171 hectare in 1965. In the following growing season of 1966 both men were slightly worried after a difficult beginning. First they had spring hail and then a very poor start to the summer. Nevertheless, the growing conditions improved, and the harvest was carried out in very good conditions. All three bottles I opened were faultless. Decanted for one hour. A youthful light, golden colour, this is a fantastically vibrant wine. Wide and open nose of lemon, toast and butter layered over exotic fruit and truffles, along with a layer of honey and spice. Astonishing concentration and length, which gives this wine a strong presence. The wine's viscosity and extract level are unbelievably high. Beautiful to drink now, it should last for a decade or more. Perfectly balanced and structured with one of the longest and purest finishes one has ever experienced. 97p 1934 Romanée-Conti Domaine de la Romanée-Conti (Côte de Nuits) 2009/2010 x 4 D1h/G1h This 1934 Romanée-Conti was made from pre-phylloxera vines, the proudly named vignes originelles françaises non reconstituées. The old Burgundy vintages from pre-phylloxera vines seem to have had better keeping qualities than their successors ever achieved. The early twentieth-century vintages are therefore normally much younger looking and livelier than their heirs at the same age. Good-looking domaine-bottled bottle, ullage was no more than 3 cm. Magnificent, aromatic and oriental bouquet. Excellent, fully evolved wine. Still quite a powerful and majestic wine, with a charming smoothness and elegance. Velvety and lingering aftertaste, it is impossible not to adore this wine, especially today. 95p 1985 Romanée St Vivant Domaine de La Romanée-Conti (Côte de Nuits) 2009/2015 x 4 D4h/G2h 97p 1962 Romanée-Conti Domaine de la Romanée-Conti (Côte de Nuits) 2008/2020 x 5 D 1.5 h / G 1 h An extremely cold winter destroyed more than 250 hectare of vineyards in the Burgundy area. A part of the La Tâche vineyards was also devastated, and was replanted the next year. After the severe winter the rest of the year was thought to be close to perfect, and the wines became particularly flirtatious and bounteous. The tannins were soft and stylish. The bottle seemed to be in good condition. Decanted four hours. The bouquet is pleasantly perfumed but needs time to open fully ­ at least 3-4 hours decanting. The wine wasn't as tannic and closed as it was five years ago. Now well-balanced and gentle but vigorous with a long, smooth, yet powerful aftertaste. One of the few "younger" Romanée-Conti wines which is very drinkable today. This wine must have been one of the hidden treasures of the wine world. While the Burgundian reds are generally known for closing or falling asleep eight years after bottling and waking up again after fifteen years of age, this sleeping beauty was asleep over 45 years before waking up! All this time it was considered a lesser wine until it finally bloomed at the beginning of the Millennium. This bottle was in excellent condition. Decanted for an hour and a half. The bouquet was youthful, eager and leapt up to your face. Quite leathery and spicy, with dark fruit. A complex and very wellbalanced wine. It kept evolving in the glass. A stunning and unique wine that still has many years left. 96p 1959 Grands-Echézeaux Domaine 98p 1937 Richebourg Domaine de la Romanée-Conti (Côte de Nuits) 2007/now x 3 D 30 min / G 1 h de la Romanée-Conti 2009/2010 x 3 D 45 min / G 2 h In 1959 a big crop was expected from the outset. Indeed the yields were remarkably generous, but at the same time the fruit was fully ripe. The summer was dry and not too hot, with just a little rain at the beginning of September. The 1959s are normally rich and complex, just like this Echezeaux. The DRC Grand Echézeaux 1959 we enjoyed here was in excellent condition. Ullage was 4 cm from the cork. What huge depth and complexity! Fruity, rich, fleshy, and round, stylish wine. This is much finer than the modern-day Echézeaux. Superb concentration and lovely, harmonious, long finish. Drink in ten years or today. This Richebourg 1937 was seemingly in good condition, very dusty and equipped with a wax capsule. The level had fallen by only 6 cm, and the colour was promising. We did not dare to decant this delicate wine. In the glass it gave out a tempting bouquet with a strong blackcurrant and black cherry nose. On the palate it was heavy, rich and very intense. A well-balanced structure and a notably wide and abundant complexity of flavours. This plentiful wine of a small vintage only got better in the glass, and for obvious reasons did not have time to lose any of its unique qualities. A true surprise and a magnificent experience 130 F I N E

DE VISU-REIMS

WINE WEEKEND IN FRANKFURT T MAY FINE ­ DAS WEINMAGAZIN, THE GERMAN EDITION OF FINE, ORGANISED A THREE - DAY WINE EVENT IN FRANKFURT WITH PEKKA N UIKKI . THE MAIN THEME WAS THE BEST I TALIAN WINES. B OTH A NGELO G AJA AND TENUTA D ELL 'O RNELLAIA'S WINEMAKER A XEL H EINTZ WERE IN ATTENDANCE. H UNDREDS OF WINES AND SEVERAL SPLENDID LUNCHES AND DINNERS WERE ENJOYED DURING THE EVENT . H ERE IS A SHORT SUMMARY OF THE BEST WINES TASTED. HIS Dr. Tom Drieseberg from Weingut Geheimrat J. Wegeler and Angelo Gaja 133 W i n e W e e k e n d Fi n e We e k e n d

FINE W INE WEEKEND IN FRANKFURT O RN E LL AI A Ornellaia 1997 ................93p Ornellaia 1985 ..................93p Ornellaia 2002 ..............92p Ornellaia 1999 ..................92p Ornellaia 2003 ...............91p Ornellaia 2004 .................91p VERTICAL 1985-2006 RESTAURANT BURG SONNENBERG Ornellaia 2006 ................87p Ornellaia 1996 .................87p Ornellaia 1993 ..................87p Ornellaia 1994 .............. 86p Ornellaia 2000 ................85p Ornellaia 1990 .............. 90p Ornellaia 1995 ............... 90p Ornellaia 1998 ............... 89p Ornellaia 2001................. 89p Ornellaia 1987 ............... 89p Ornellaia 2005.................88p M A S S ETO Masseto 2003 ............... 94p Masseto 1995....................93p Masseto 2000..................93p Masseto 1999 ..................91p Masseto 1998 ....................91p Masseto 1990 ................. 90p VERTICAL 1987-2006 RESTAURANT BURG SONNENBERG Masseto 2006 ...............85p Masseto 1994 ................ 84p Masseto 1997 ................ 89p Masseto 1987 ................... 89p Masseto 2004 ...............88p Masseto 2002 ................88p Masseto 2005 ..................87p Masseto 2001 .................87p G E H E IM RAT J Weingute Wegeler Geheimrat J Rheingau Riesling Geheimrat 1983 .............. 94p Geheimrat 2001...............93p Geheimrat 1992 ...............92p Geheimrat 2003..............92p Geheimrat 2005...............91p Geheimrat 1990.............. 90p Geheimrat 1993 .............. 90p VERTICAL 1983-2007 KING KAMEHAMEHA SUITE FRANKFURT Geheimrat 1989 .............. 90p Geheimrat 1999 .............. 89p Geheimrat 1994 .............. 89p Geheimrat 2004 ............ 89p Geheimrat 2002..............88p Geheimrat 2006 .............88p Geheimrat 1996 ...............88p Geheimrat 1997 ...............87p Geheimrat 2007 ..............87p Geheimrat 1998 ...............87p Geheimrat 2000 ............ 86p Geheimrat 1995 ...............85p Geheimrat 1986 ...............85p B A RB ARES CO 30 The best Barbarescos: YEARS DINNER WITH ANGELO GAJA ­ 1974-2004 HOTEL VILLA KENNEDY FRANKFURT Barbaresco Angelo Gaja 1997 ................... 91p Barbaresco Angelo Gaja 2001 .................90p Barbaresco Angelo Gaja 1990 .................90p Barbaresco Angelo Gaja 1999 .................. 89p Barbaresco Angelo Gaja 1974 .................. 92p 134 F I N E

F INE W INE W EEKEND IN FRANKFURT M A S S E TO : B E S T V I N TAG E S BY P EKKA N U I KKI 1990 MASSETO TENUTA DELL'ORNELLAIA 91 P A deep, intense, purple colour. Pronounced nose of ripe, sweet dark berries ­ blueberry, blackberry, spiciness, and hints of vanilla from new oak barrels. The full-bodied palate shows balancing acidity along with intense aromas, rich fruitiness and refined tannic structure. Approachable and even delicious now. Shows good complexity while escorting the long explosive finish. I don't think that this will ever be any better than today. 1994 MASSETO TENUTA DELL'ORNELLAIA 92 P Very dark, dense, deep red colour. A deep and profound Merlot wine that exhibits intense berry, mint and cassis aromas, and new oak flavours. Flavourful but very elegant and opulent; wonderful silky tannins and a marvellously fat, spicy, long and luscious finish. Very drinkable now, but will last a few more decades. 1995 MASSETO TENUTA DELL'ORNELLAIA 87 P A clear, rather intense, slightly developed reddish-brown colour. Very well-developed nose, with earthy root notes, fruit essences, ripe dark berries, cedar, mocha and chocolate. A big, medium-bodied wine, which matures into drinkability at a young age. This wine will always be characterised by its green aromas and somewhat coarse tannins but, on the other hand, it is thus also fresher. At its prime in three to five years. 1997 MASSETO TENUTA DELL'ORNELLAIA 94 P Masseto is a pure Merlot wine produced by Tenuta dell'Ornellaia since 1986. It is often referred to as the "Pétrus of Italy". In 1997 an early spring encouraged an early bud break but a frost in mid-April and rains at the end of the month did not bode well for the vintage. However, May then brought very warm and dry weather to Bolgheri. Summer was hot and the harvest took place in ideal conditions between August 25 and the first week of September. Due to the dry and hot weather grapes remained small with thick skins. Thus the crop was very limited but high in quality. Probably one of the finest Massetos. Opaque ruby-purple colour. Powerful and intense nose with loads of blackcurrants and vanilla, new oak, fresh herbs, black olive, chocolate and pine needles. Well-balanced, heavy-bodied structure with intense ripe dark fruit displaying refined firmness. The very classy, long, mineral finish is delicately rich and quite harmonious. The wine still has very good potential for further ageing. 1998 MASSETO TENUTA DELL'ORNELLAIA 90 P Moderately intense ruby colour. Open, complex and developing nose with raw coffee, cedar and earthy aromas combined with ripe blackberry notes. A full-bodied, extracted taste with refined ripe tannins. Very intense, with ripe dark fruit and a well-balanced, pronounced oak character that stands up with vanilla flavours. The long finish is highlighted by alcohol and glycerine with liquorice flavours in the aftertaste. whilst fresh with vivid acidity and firm, quite tough tannins. A ripe and intense blackberry taste combined with lovely toasty and spicy flavours of new, sweet oak. The long, structured aftertaste leaves a really fleshy taste. 2000 MASSETO TENUTA DELL'ORNELLAIA 87 P Medium intense, ruby colour. A round, intense and opulent nose pleases with spicy, chocolaty and toasty aromas. The full-bodied palate shows a fine harmony of ripe, intense dark fruits, moderate acidity and firm, powdery tannins. Rich, earthy aromas mid-palate with leather and cherry liqueur express evolvement. The high level of alcohol guarantees a long, warming finish. 2001 MASSETO TENUTA DELL'ORNELLAIA 95 P A very rich, dense colour. On the nose, sound aromas of espresso roast, honeyed wine with nutty aromas, and loads of spicy oak. Lusciously sweet, moderately high acidity and intense fruit with good structure make this elegant, full-bodied wine very appealing already now. The immense length is utterly charming. The relatively high alcohol level is well integrated and the dense voluptuous texture is so thick. One of the best Massetos ever made! 2002 MASSETO TENUTA DELL'ORNELLAIA 88 P Clear and moderately dense ruby colour. Complex and delicate aromas of intense ripe, dark fruits, white chocolate and spicy oak penetrate through the restrained nose. The moderately high acidity, firm and ripe, but hard tannins with fleshy, intense, dark fruitiness of cherries and black currants, are in good balance and result in the harmony of this vigorous, fleshy wine. Well-integrated, spicy oak character. The long, full-bodied and spicy finish is marked with mouth-puckering tannins. Wine with some potential but not very appealing right now. 2003 MASSETO TENUTA DELL'ORNELLAIA 93 P Dense, dark, near-black colour. The nose is pronounced and packed with sweet jammy fruit and overwhelming cassis, liquorice and new oak aromas. The palate is very full and thick with concentrated fruitiness and high, still integrated new vanilla oak influence. A blockbuster wine with firm, very ripe tannins, balanced acidity and warming alcohol. Voluptuous persistent mouthfeel and with a slight glycerine and tannic finish. Needs a lot of time in the bottle for improved integration. At its peak within five to ten years and will keep there for up to fifteen. 2004 MASSETO TENUTA DELL'ORNELLAIA 89 P An intense, purplish ruby red colour. Extremely concentrated and stylish spicy nose, dominated by oak. Notes of ripe blackcurrant, fruitcake and coffee. Big and sophisticated structure comprised of medium acids, strong, powdery ripe tannins and ripe berry. Long finish with undertones of spicy aromas, chocolate and coffee. Highly integrated alcohol in the mid-palate emphasised almost to the point of distraction at the close. All in all, an elegant vintage, with excellent tannic and acid structure. The current lack of intensive fruitiness means there is not a great deal of hope for long maturation potential. The wine's freshness does not do justice to the wine just yet, though. It will improve within a few years and reach its prime in an estimated ten years. 1999 MASSETO TENUTA DELL'ORNELLAIA 91 P Saturated, moderately intense dark purple colour. Seductive and opulent nose is fully open and serves up plenty of toasty oak, roasted coffee beans and liquorice. The palate is very forward and ripe 135 W i n e W e e k e n d Fi n e We e k e n d

Wine Evaluation and Point System FINE evaluates all wines in circumstances as similar as possible to those which our readers would encounter them. In order for the evaluations to be truly beneficial for the reader we always act upon the following norms: We always evaluate the wines in good company ­ We strongly believe that the best part in enjoying a wine is in sharing the joy and pleasure. We do not taste the wines blind ­ Our readers do not usually drink their wines blind, so we are always aware of its name, origin or vintage when tasting. These factors naturally have an effect on the experience of the wine. We evaluate the wine within an hour of its opening ­ This is when most of our readers also have their wines. We give points to the wines based on their current enjoyment possibility ­ We believe that the most significant factor is how the wine in your glass tastes today, not ten years from now. This is why one of our most important tasks is to find amongst the thousands of wines we taste, those that are at their peak right now. In most cases we evaluate the wines in Riedel tasting glasses ­ As our readers do not always have the possibility to enjoy wine in the perfect glass, we have chosen the neutral Riedel tasting glass for our evaluations. Together with the wine evaluation we also advise how the wine should be served to enable best enjoyment. With each evaluation there is a mention of the most suitable glass shape, decanting time and serving temperature for the wine. As one of FINE's fundamental values is to support excellence, we have made the decision to not publish wines that receive below 79 points in our evaluations. We also appreciate wines that represent excellent value in their price to quality ratio and we present these for our readers' benefit. TASTING NOTE EXPLANATION We use a 100-point evaluation system, where the wines have been divided into the following categories: 99­100p A wine with the wow-effect. Sheer perfection to all senses by every parameter of wine quality. A true gift from nature. 86­89p A good wine with balance and complexity. 80­85p An average, though well-made wine. Nose and palate are somewhat one-dimensional and impersonal. 95­98p An outstanding wine that leaves an unforgettable tasting experience with its perfect structure, complexity and personality. 50­79p 90­94p An excellent wine, that stands out by balance, intensity, complexity and character. A modest and straightforward wine lacking life and harmony. This wine is excluded from appearing in FINE. 136 F I N E

RECENT FINE TASTINGS Historic Perspective Australia Tasting page 138 Napa Classified Growth Tasting part 1 page 141 Heitz Martha's Vineyard Vertical 1966-2004 page 144 Napa Classified Growth Tasting part 2 page 150 137 T a s t i n g s Fi n e Ta s t i n g s

Historic Perspective Australia Tasting T he tasting was part of the inaugural Landmark Australia Tutorial organised in the Barossa in June 2009. The tutorial has been inspired by the legendary Len Evans Tutorial, which has educated the rising Australian wine talent for decades. During the five seminar days the 12 privileged, selected international attendees were introduced to 248 top Australian wines. The most memorable event was the Historic Perspective Tasting. Langton auction houses fine wine principal Andrew Caillard MW, along with famed Australian wine authority James Halliday, had selected and sourced a superb collection of Australian classics that stretched all the way back to the 1954 Seppelt Great Western Hermitage K72 and 1955 Penfolds Bin 95 Grange. The unique tasting experiences were supported by Caillard's in-depth knowledge of the market for mature wines and Halliday's personal memories of earlier tastings of the same wines, as well as his colourful stories of the people behind them. I was fascinated to be part of the journey into the very early days of Australian fine wine. It was also convincing to witness the ageing capacity of these wines, which do not enjoy the same reputation as their European competitors. Essi Avellan MW 90p 1 1954 SEPPELT GREAT WESTERN HERMITAGE K72 SHIRAZ GRAMPIANS, GREAT WESTERN Pale brown-hued, fully mature colour. Evolved, slightly oxidised dried fruit nose with figs, raisins, orange peel, tar and spices. Hint of volatility accentuates nose of the wine. Vinous, viscous 2009/NOW and smooth palate. Almost a fortified feel to the sweet, low tannin palate. Still alive, with some fruit remaining but helplessly past its peak. 94p 1 1955 PENFOLDS BIN 95 GRANGE SHIRAZ/CABERNET SAUVIGNON SOUTH AUSTRALIA Deep brown colour. Powerful, scented tertiary nose with tar and spices, medicinal notes, as well as mocha nuances. Wide, voluptuous palate with some firm tannins left, surrounded by opulent fruit. Warming alcohol, sweet, lifted fruit and good concentration on the palate, which feels high in glycerol. Oak aromas are still detectable. This fully mature wine still has some years ahead of it. 2009/2015 90p 1 1955 WYNNS COONAWARRA ESTATE MICHAEL SHIRAZ COONAWARRA, SOUTH AUSTRALIA Opaque, mature brick-red colour. Lifted spicy nose with capsicum, mint, tar, and dried fruit. Powerful, leafy taste with drying powdery tannins. This wine has a distinct "European", cool climate feel to it. Past it peak but no sudden deterioration is expected. 2009/NOW 94p 1 1962 PENFOLDS BIN 60A CABERNET SAUVIGNON SHIRAZ COONAWARRA, SOUTH AUSTRALIA Deep, browning colour. Evolved, medicinal iodine nose with mint and oriental spices. High tannin content, with an attractively lacy texture. Lots of sweet fruit left. Aged gracefully and is still offering power and complexity of fruit. A charming old wine with a good ten years ahead of it. 2009/2020 138 F I N E

95p 1 1971 PENFOLDS GRANGE SHIRAZ CABERNET SAUVIGNON COONAWARRA, SOUTH AUSTRALIA Deep-brown colour. Fragrant and stylish tar and mint nose with pepper and dark fruit in layers. High tannins and a drying finish. Alcohol is perfectly balanced and a nice freshness prevails. Drinking wonderfully now but there are a lot of tannins left, and they will probably last longer than the already charming, but mature, fruit. 2009/2020 92p 1 1982 WYNNS COONAWARRA ESTATE JOHN RIDDOCH CABERNET SAUVIGNON COONAWARRA, SOUTH AUSTRALIA Medium-deep, tawny-hued ruby colour. Green aromas such as leafiness, mint and capsicum dominate alongside blackcurrant and spices. Fullbodied and rounded, sweet fruity palate with bright, refreshing acidity. Pleasantly full midpalate for an aged Cabernet, with lacy, smooth tannins. Showing its full spectrum of qualities today and has a long life ahead of it. 2009/2025 88p 1 1985 WENDOUREE SHIRAZ CLARE, SOUTH AUSTRALIA Medium-deep, ruby-hued tawny colour. Portlike alcoholic nose with woody whisky hints and oriental spices. A very peculiar aroma spectrum and an old-fashioned style. Hard drying tannins and spicy, tight-knit fruit. Will no longer improve. 2009/2009 92p 1 1986 HENSCHKE HILL OF GRACE SHIRAZ EDEN VALLEY, SOUTH AUSTRALIA Medium-deep, evolving ruby colour. Powerful mint and tar nose with new oak aromas still prevailing. Nicely balanced high alcohol and attractive, firm yet ripe tannins. A very well made fine wine at its peak. 2009/2017 93p 1 1986 BROKENWOOD HERMITAGE GRAVEYARD VINEYARD SHIRAZ HUNTER VALLEY, NEW SOUTH WALES 2009/2015 Tawny colour. Toasty and smoky nose with liquorice and animally hints. Earthy complexity and lots of character. Firm structure of dry tannins on the palate. Very different from the rest of the wines. Peaking now but has several years ahead of it. 90p 1 1990 MOUNT MARY VINEYARD LILYDALE CABERNETS QUINTET YARRA, VICTORIA Deep, dark purple colour. Fragrant, minty cabernet nose with ripe plums, mint, liquorice and leafs. Refined nose with harmonious and structured palate. Green fruit flavours continue on the palate. Nice freshness and length. The wine shows wonderfully today but fruit concentration and structure will keep it going for another ten years. 2009/2020 92p 1 1995 CULLEN WINES CABERNET SAUVIGNON MERLOT MARGARET RIVER, WESTERN AUSTRALIA Deep, ruby-red colour. Beautifully fragrant, spicy and meaty blackcurrant nose. Wide and round, with a silky, concentrated palate. Wonderful green fruit and floral touches on the long and still tight palate. This wine will improve for the next ten years. 2009/2020 90p 1 1996 CLARENDON HILLS ASTRALIS VINEYARD SHIRAZ MCLAREN VALE, SOUTH AUSTRALIA Deep-ruby colour. Overt nose of tar and roses. Complementing spice, vanilla, cherry and green pepper complexity. Full-bodied and firmingly tannic palate. Weighty, even heavy on the long, warming palate. All elements not completely integrated yet, and may never be. 2009/2018 139 T a s t i n g s Fi n e Ta s t i n g s

92p 1 1996 PENFOLDS BLOCK 42 KALIMNA VINEYARD CABERNET SAUVIGNON BAROSSA, SOUTH AUSTRALIA Opaque, ruby colour. Nicely evolved, open, fragrant cassis nose with spicy, new French oak aromatics. Full, powerful and technically perfected palate. Starting to see its peak but there is lot of fruit and substantial tannins left. 2009/2020 89p 1 1996 BEST'S WINES THOMSON FAMILY GREAT WESTERN SHIRAZ GRAMPIANS GREAT WESTERN Deep, dark red colour with signs of evolution. Fragrant, even pungent tequila nose with blackberry and black pepper aromas. High, warming alcohol on the tannic and concentrated palate. Impressive concentration but lacks the freshness and finesse of a great wine. Lots of life ahead, though. 2009/2020 90p 1 1998 PETALUMA COONAWARRA CABERNET SAUVIGNON MERLOT COONAWARRA SOUTH AUSTRALIA Deep, dark-garnet colour. Spicy, capsicum nose with meaty characters and oaky nuances. Very young on the tight palate, which has grippy tannins leading to a drying finish. Needs at least five more years to reach its peak. 2009/2025 89p 1 1999 TORBRECK RUN RIG SHIRAZ VIOGNIER, BAROSSA SOUTH AUSTRALIA Bright, blood-red colour. Pronounced medicinal, iodine nose with vanilla and herbs. Warming alcoholic feel on the full-bodied and round, even cooked palate. Concentrated and too heavy for my taste. Will benefit from a few more years' cellaring. 2009/2017 89p 2 2001 BASS PHILLIP RESERVE PINOT NOIR SOUTH GIPPSLAND Medium-deep ruby-colour, developing tawny hues. Pungent nose of sweet red fruit, spices, liquorice and farmyard notes. Meaty, charred and savoury complexity. High alcohol on the palate, which has a velvety smooth texture, with enough freshness and length. Lots of flavours and personality here. Not everybody's cup of tea though. 2009/2015 93p 2 2001 CLONAKILLA SHIRAZ VIOGNIER CANBERRA DISTRICT Ruby-red, bright colour. Highly spicy and fragrant floral nose with both varieties showing. Lovely mid-weight palate with a charming tannic elegance of tannin and enough freshness. Pepper on the surface. Enjoyable just now but with a few more years of improvement potential. 2009/2018 90p 2 2002 SEPPELT ST PETERS GREAT WESTERN SHIRAZ, GRAMPIANS GREAT WESTERN Opaque, purple colour. Vanilla, dough and spice nose. Wide, powerful and concentrated palate with oak, herb and lactic flavours. Highly extracted, heavy and lacking finesse. Very young still and needs time for better oak integration of oak. 2009/2023 89p 2 2004 BALNAVES OF COONAWARRA THE TALLY CABERNET SAUVIGNON COONAWARRA, SOUTH AUSTRALIA Purple colour with evolving red hues. Green, minty nose and plummy liquorice fruit. Huge tannins and chewy fruit. This wine should not be touched for the next five years. 2009/2020 140 F I N E

NAPA CLASSIFIED GROWTH TASTING part 1 92p 1 1997 ABREU CABERNET SAUVIGNON Moderately intense, ruby colour. Elegant, open nose with profound tobacco character, black currants, cedar, led pencil, black olives and very refined toastiness and vanilla. Lovely hints of 2009/2017 violets, mint and licorice underneath. Full-bodied, mouthwatering acidity, very elegant taste with gentle tannins. High alcohol is dominating the lingering and mineral finish. D5H/G3H 91p 2 2002 ARAUJO EISELE VINEYARD CABERNET SAUVIGNON Deep dark ruby colour. Pronounced, rich nose with great elegance reminding Pomerol. Delicate nose of black fruits, vanilla, licorice, dark chocolate and toasty nose. Firm, concentrated, restrained 2009/2020 D5H/G3H style, tight finely grained tannins, high alcohol and dry toasty aftertaste. Very refined but bit reserved and alcohol dominates. Tobacco, smoky. 97p 1 1999 ARAUJO EISELE VINEYARD CABERNET SAUVIGNON Intense, dark ruby colour. Intense, chocolate, sweet spicy nose with roasted coffee, toast and licorice balanced with jammed black fruit character such as brambles and cassis. Full-bodied, velvety structure with satiny tannins, and elegant acidity. Discreet jammy black fruit, which balanced the 2009/2025 D4H/G3H palate. Very focused and concentrated wine. Harmonious toastiness in the long finish with chocolate, mocha and lovely fruitiness. Great wine to enjoy now but have a long ageing potential ahead. 89p 2 2006 BLANK NAPA VALLEY CABERNET SAUVIGNON Moderately deep, ruby colour. Pronounced herbaceous nose with eucalyptus, rosemary and mint. Heavily toasted, rich dark chocolate and vanilla aromas. Full-bodied, jammy black fruit, very good acidity, and firm tannins. Extracted 2009/2025 palate with high alcohol releasing plenty of dark chocolate, toast, and herb flavors on the palate. Long woody finish with clove and eucalyptus flavors. D7H/G4H 94p 2 2002 BOND ST EDEN Rich, intense, ripe dark black currant and bramble nose, with hints of herbaceousness and licorice. Intense, full-bodied, supple, explosive, vivid 2009/2015 acidity, delicately jammy black fruit, high alcohol well-integrated, broad and spicy lingering finish with smoky, vanilla flavours. Very balanced. D3H/G3H 141 T a s t i n g s Fi n e Ta s t i n g s

95p 2 2001 BOND ST EDEN Intense, ruby purple colour. Intense spicy nose with jammed black berries. Violets and elegant toastiness. Full-bodied, silky structure with 2009/2030 balancing acidity, smooth tannins and intense black fruits that are not jammy at all. Tobacco, cedary and restrained savory aftertaste. D3H/G3H 92p 1 1999 BOND MELBURY Extracted, moderately intense, ruby colour. Rich, jammy fruitiness ­ brambles, raspberries, sweet spicies, herbaceous, floral. Full-bodied, intense, 2009/2020 jammy black fruits, vivid acidity, fleshy taste with gentle tannins and high alcohol. Big wine yet sophisticated with good balance. D6H/G3H 93p 2 2003 COLGIN HERB LAMB CABERNET SAUVIGNON Deep, purple color. Intense, smoky, nose with white pepper, licorice and violet notes. Fullbodied, velvety texture with refined tannins and restrained black fruit ­ cassis, brambles and wild 2009/2024 strawberries. Very concentrated and elegant palate with smoky and licorice notes. Very balanced but still closed. Benefits from further ageing of ten to fifteen years. D5H/G3H 91p 2 2005 GRACE FAMILY VINEYARD CABERNET SAUVIGNON Moderately intense, ruby color. Intense, concentrated nose with vanilla and spicy notes. Ripe black fruits, flowers, smoke, pepper and 2009/2020 D7H/G4H licorice aromas. Full-bodied, intense and discreet jammy fruit with refined gentle tannins and wellintegrated high alcohol. Long concentrated finish. 91p 1 1995 HARLAN ESTATE Deep, garnet colour. Pronounced smoky nose with developing complex nose ­ earthy and burnt wood notes. Sturdy, full-bodied palate, vivid acidity, restrained fruit with firm tannins and high alcohol in drying finish. Toasty and burnt wood 2009/2014 character. Refined wine with earthiness. The wine lacks fruit to form a great balance. Well-integrated wine with sophisticated style. However, the wine will presumably not be softening ever. D3H/G2H 97p 1 1991 HARLAN ESTATE High intensity, brick red colour. Pronounced, complex and developed nose with black fruits, cedar, leather, earthy, meaty and smoky notes with dark chocolate aromas. Full-bodied, elegant silky structure with vivid acidity. Refined gentle 2009/2015 tannins. Restrained tobacco and black fruit flavours ­ brambles, blackcurrants with hints of herbaceousness. Long lingering and savory aftertaste with well-integrated alcohol. D3H/G3H 96p 1 1990 HARLAN ESTATE Medium-intense, brick red colour. Pronounced, complex nose with extremely refined aromas of black currants, black olives, tobacco, cedar and cacao. Medium-bodied, elegant palate with silky tannins, vivid acidity, and restrained fruitiness ­ all 2009/NOW in wonderful balance. Very concentrated, lingering mineral aftertaste with black currants and dark chocolate. Smoke and toasty flavors in the savory finish. Aristocratic wine. D3H/G2H 89p 2 2001 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Deep, ruby color. Powerful, perfumey, herbaceous, spirity, jammed brambles and cassis, heavy toast and chocolate. Full-bodied wine with moderate 2009/2020 D 5H / G 3H acidity and refined tannins. Dried black fruits, mineral and smoky with dry spices, licorice and refined tannins, cedary and spirity long finish. 142 F I N E

Heitz Martha's Vineyard -vertical 1966-2004 I t was this tasting that finalised the decision on classifying Heitz Martha's Vineyard to first growth. Tasting all the Martha's Vineyard Cabernets ever produced from 1966 to 2004 gave us a good impression of the quality of the wine. Good stable quality with continuity and longevity. The consistence relies on one specific site, commitment to one winemaking practice throughout the years, and the same winemaker, David Heitz. Combining these three factors has allowed Heitz Martha's Vineyard has been able to continue and improve its distinctive style. The 1992 was the last vintage produced from the old vines. After this the phylloxera louse killed the old vines and they needed to be replanted. The first crop after this was 1996. Beside vintages 1993, 1994 and 1995 the vintage 1971 was never produced. 96p 1 1966 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, brick red colour. Smoky nose with great dose of ripe wild strawberry and dark chocolate notes. Medium-bodied, vivid acidity, 2009/2015 D 30 MIN / G 2 H moderately intense fruit, and long concentrated finish with supple tannins. Harmonious wine and surprisingly youthful still. 92p 1 1967 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, brick-red colour. The nose is sligthly off at first. After a while it shows intense, ripe yellow fruit, herbaceous, smoky, and chocolate 2009/2016 D 30 MIN / G 2 H aromas. Medium-bodied palate with vivid acidity, milky structure, and gentle tannins. A moderately long finish with nutty and floral flavours. 95p 1 1968 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, brick red colour. Evolved and complex nose with leathery, earthy, and nutty aromas. These aromas are combined with flower, 2009/NOW D 30 MIN / G 2 H vanilla and intense plum aromas. Medium-bodied palate has vivid acidity, mellow tannins, and drying fruit. Long lingering finish. 94p 1 1969 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderate intensity with brick red colour. Minty, smoky nose with classic style. Peculiar ripe strawberry and ginger aromas. Medium-bodied on palate with moderate acidity and mellow 2009/2013 D 30 MIN / G 2 H tannins. Restrained fruitiness is still balancing the palate. Toasty and roasted coffee flavours in the long lingering finish. 88p 1 1970 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately intense, brick red colour. Herbaceous nose with vanilla, milk, and chocolate aromas. Dried fruit, medium-bodied palate shows volatile 2009/NOW D 45 MIN / G 1 H aromas and mellow tannins. Yoghurt aromas. Medium-long finish. This bottle is not in top condition. 144 F I N E

89p 1 1972 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately dark, brick red colour. Earthy, vegetal, and oxidative nose with dried fruits and volatile aromas. Medium-bodied bit rustic palate. Gentle 2009/NOW D 45 MIN / G 1 H tannins and dried fruits with tobacco notes in moderately long finish. 93p 1 1973 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, brick red colour. Complex nose with licorice, smoke, tar, and spiciness. Mediumbodied palate, lively acidity supported by supple 2009/2014 D 45 MIN / G 1 H tannins and intense black fruit. Lovely toasty flavours follows in long aftertaste. Harmonious wine. 97p 1 1974 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Deep, intense, cherry red colour. Pronounced, rich and slightly wild nose with licorice, ripe blackcurrants and herbaceous, minty tones. Velvety rich and broad texture, full-bodied and 2009/2015 D 1 H / G 1.5 H very structured. Good acidity and supple tannins are balanced with surprisingly fresh fruitiness, Concentrated taste with cassis, roasted coffee, and mint flavours in its long aftertaste. 94p 1 1975 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately intense cherry red colour. Intense nose with burnt sugar, smoke, and mocha. Lively 2009/2013 D 45 MIN / G 1 H wine on palate with good balance of intense fruit, gentle tannins, and acidity. Long, energetic finish. N/A 1 1976 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Slightly corked. The wine shows still the promising structure with its medium-bodied, moderately high acidity, mellow tannins and high alcohol. 2009/ - D1H/G- There is still some fruit that is not killed by the cork taint revealing the wines potential. 92p 1 1977 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense brick red colour. Broad, evolved, and complex nose with cassis, dark chocolate, sweet fruits, and vanilla. Medium-bodied palate 2009/2016 D 45 MIN / G 1 H rich in black fruits, sweet spices, supple tannins and long finish. Very balanced wine with great appeal. 92p 1 1978 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Bright, brick red colour. Toasty and smoky nose shows ripe dark fruit, and floral notes like violet, Medium-bodied wine with fresh acidity and a bit sturdy tannins. The fruit intensity is moderately 2009/2014 D 45 MIN / G 1 H low and herbaceous and mineral tones are dominant in the medium length. Restrained and cool style but still in good balance. N/A 1 1979 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Leaking cork. Medium-intense, brick red colour. Sweatty, maderised nose with chocolate and dried 2009/NOW D 45 MIN / G 1 H fruits. Dry, low acidity, lack of fruit, less tannic. Roasted coffee. Short, less concentrated finish. 145 T a s t i n g s Fi n e Ta s t i n g s

91p 1 1980 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, brick red colour. Toasty, woody, and cedary aromas with black currants and sweet fruitiness. Restrained palate with high acidity and 2009/NOW D 30 MIN / G 30 MIN moderately low fruit intensity. Supple tannins and dried fruits. Savory finish with medium length. 91p 1 1981 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, brick red colour. Complex and rich nose is appealing with its chocolate and toast aromas. Medium-bodied palate has silky structure, 2009/2018 D1H/G1H round tannins, and balancing acidity. Harmonious structure with ripe dark fruit, chocolate, vanilla and toast flavours in the long and intense finish. 93p 1 1982 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense brick red colour. Complex nose serves black fruits combined with herbaceous aromas, roasted coffee and vanilla notes. Mediumbodied palate with good struture formed by lively 2009/2014 D1H/G1H acidity, supple tannins and intense fruitiness. Cassis and mint flavours are highlighting the lingering concentrated finish. 88p 1 1983 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately light brick red colour. Slightly closed nose reveals some complex aromas such as dark chocolate and tobacco. Dry, crisp palate with 2009/NOW D1H/G1H medium-bodied and refined structure. However the wine lacks of balancing fruit while high alcohol rounds up the less interesting finish. 92p 1 1984 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Modetrately light, brick red colour. Complex nose delivering the aromas of tar, herbs, earthiness, and orange peel. Dry palate with vivid acidity and 2009/NOW D1H/G1H less intense fruit. Tannins are gentle and the long aftertaste turns out as lean, savory and mineral. 96p 1 1985 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, brick red colour. Extremely seductive and opulent nose. Ripe sweet fruits, toasty, vanilla, and cigar box. Medium-bodied, 2009/2030 D2H/G3H elegant vivid acidity, complex, and intense palate with lovely spiciness, long, supple and concentrated finish. 92p 1 1986 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, brick red. Lovely herbaceous nose with minty aromas. Cassis, cedar, toast and vanilla. Medium-bodied, vivid acidity, gentle 2009/NOW D 1.5 H / G 2 H tannins, balanced and elegant structure although drying finish. 93p 1 1987 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately deep, brick red colour. Mediumintense, dark chocolate, rich toasty aromas of tobacco and vanilla. Dry, firm palate with touch of 2009/2014 D1H/G2H green tannins. Herbaceous, black currant leaves, tight and restained finish, but still very appealing Bordeaux style taste. 146 F I N E

88p 1 1988 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Beautiful, brick red colour. Rich and complex nose shows earthy, smoky, and herbaceous mint aromas. Medium-bodied palate with fresh acidity and refined tannic structure. Not very complex or 2009/NOW D 1.5 H / G 2 H elegant wine but certainly concentrated wine with smoke, vanilla, and herbaceous flavours on long, restrained yet concentrated finish. 89p 1 1989 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Brick red colour. Intense, rich nose with ripe sweet fruit, hints of chocolate, tobacco, floral, very complex. Medium-bodied, broad palate with 2009/2014 D 1.5 H / G 1.5 H ripe dark fruits, spices, herbaceousness, mint, and cedar. Balanced supple palate turns out less complex and concentrated. Long, warming finish. 94p 1 1990 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium intense, red colour. Complex, open nose with cedar, mint, cassis, vanilla, leathery and earthy aromas. Medium-bodied, vivid acidity, 2009/2015 D 2.5 H / G 3 H refined gentle tannins, ripe fruit, elegant structure, long finish. Very classic and sophisticated wine with great harmony. 93p 1 1991 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, cherry red colour. Rich, complex and very evolved nose with vegetal, earthy, and mint aromas. Medium-bodied palate shows moderate acidity, elegant structure, supple 2009/2022 D2H/G3H tannins, and restrained fruit. Long, harmonious finish with minerality and well-integrated, warming alcohol. 93p 1 1992 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, ruby colour. Pronounced, complex nose with many layers, chocolate, mint. Full-bodied palate with vivid acidity, great 2009/2015 D2H/G3H concentration, mineral, and intense, dark fruitiness. Firm tannins show a good grip on palate in a long, mineral aftertaste. 92p 1 1996 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately intense cherry red colour. Pronounced nose with lovely evolvement, chocolate, herbaceous, mint. Full-bodied, opulent and round palate with moderate acidity that is balancing high alcohol. The wine has juicy fruitiness with 2009/2015 D3H/G3H flavours of cassis and mint. Long and supple aftertaste with slightly tannic finish. This was the first vintage made from the young wines after replanting the Martha's Vineyard. Surprisingly complex wine from young vines. 93p 1 1997 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense ruby colour. Round, rich, and dark chocolate nose with cedar, tobacco, cassis and floral notes. Full-bodied, vivid acidity, and refined 2009/2022 D6H/G3H tannins. Concentrated, spicy and supple taste with elegant finish. However, the wine is still closed and benefits from ten to fifteen years ageing. 90p 1 1998 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately intense, cherry red colour. Pronounced, complex, rich nose, red fruits, mint. Medium-bodied palate with vivid acidity, supple 2009/2020 D4H/G2H tannins, and long, intense finish showing mineral and less fruity in style. The wine benefits from further ageing. 147 T a s t i n g s Fi n e Ta s t i n g s

92p 1 1999 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium-intense, ruby to cherry red colour. Intense and very seductive nose with chocolate and mint. Full-bodied wine with vivid acidity, gentle tannins, 2009/2020 D6H/G3H and intense fruitiness of blackcurrants. The finish is restrained and mineral. The wine benefits from further ageing. 89p 2 2000 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Medium intense, ruby colour. Restrained nose has broad range of aromas ­ toasty, cedary, vanilla, chocolate and black fruits. Full-bodied palate 2009/2016 D4H/G2H with moderately high acidity and sturdy tannins. Dry spicy flavours with moderate fruit intensity of black fruits. Toasty finish. 93p 2 2001 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately intense, ruby colour. Pronounced and rich nose shows complex aromas of flowers, dark chocolate, ripe dark fruits, herbs, and mint. Rich palate with elegant structure, firm, gentle tannins, 2009/2016 D6H/G3H and high alcohol that is well integrated. Refined, long finish with flavours of tobacco, smoke, and toastiness. Very refined. 91p 2 2002 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately deep, ruby colour. Restrained nose shows complex and intense character. Smoky, toasty vanilla aromas with dark chocolate and 2009/2017 D8H/G4H mint. Full-bodied, moderate acidity, round mellow tannins, high alcohol and balanced ripe dark fruitiness. Long finish. 93p 2 2003 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately intense, ruby colour. Refined, spicy, strong toasty nose with peppery and eucalyptus notes. Intense palate shows as firm, full- 2009/2025 D8H/G4H bodied, refined, and mineral, even salty. Good concentration and wonderful long grip. 90p 2 2004 HEITZ MARTHA'S VINEYARD CABERNET SAUVIGNON Moderately intense, ruby colour. Rich, floral, chocolate nose with smoke and licorice. Fullbodied palate with vivid acidity, spicy, vanilla, 2009/2015 D8H/G4H floral and toasty taste. Gentle, powdery tannins and warming alcohol. Balanced finish, but closed. Still in pieces, will evolve. 148 F I N E

MAYFAIR IS THE HEART OF LONDON. BROWN'S IS IN THE HEART OF MAYFAIR. This chic hotel offers the perfect home-away-from-home. Boasting luxurious rooms and suites that you will never want to leave, outstanding dining that you will never forget and heavenly spa treatments, Brown's is the only address you need in London. Albemarle Street, London, W1S 4BP Tel: 020 7493 6020 Fax: 020 7493 9381 E-Mail: reservations.browns@roccofortecollection.com · www.roccofortecollection.com

NAPA CLASSIFIED GROWTH TASTING part 2 92p 2 2004 HARLAN ESTATE Deep, purple colour. Rich, spirity and intense nose with flowers, roasted coffee, toast and licorice. Full-bodied palate, moderate acidity and silky t tannins. Complex flavour profile shows chocolate 2009/2020 an spices like clove. Long harmonious finish. Too young wine to deliver its best yet. Keep another eight to ten years to experience its peak. D5H/G4H 96p 2 2001 HARLAN ESTATE Deep, ruby colour. Complex nose. Leathery, floral, and plumy aromas with almonds, Macademian nuts, chocolate and brambles. Full-bodied palate with silky texture, lovely intense and ripe 2009/2025 black fruit, very refined tannins. Toasty flavours with chocolate tones. Lingering long, silky finish. Beautiful wine but very young and will benefit definitely from at least ten years ageing. D6H/G5H 93p 2 2000 HARLAN ESTATE Deep, ruby red colour. Rich, perfumey nose shows spicy and toasty tones enhanced with black fruits like brambles and cassis. Lovely chocolate and vanilla aromas present. Full-bodeid, opulent palate with elegant and smooth texture with 2009/2018 tender tannins and intense cassis fruit. Moderate acidity adds nice vividness to wine's silky taste. Long concentrated finish. Very well enjoyable wine already but will reach its peak after seven to ten years ageing. D4H/G3H 96p 1 1999 HARLAN ESTATE Deep, ruby colour with brick red tints. Rich, opulent nose with complex aromas of leather, cassis, brambles, plums, hints of mint and dark chocolate. Full-bodied palate with silky texture. Satiny tannins and mouthwatering acidity. 2009/2022 Restrained fruit in the spicy and toasty aftertaste. Lingering, broad and elegant finish. The wine is still in its youth and will deliver more complex flavours in next five to seven years time. D5H/G4H 98p 1 1992 HARLAN ESTATE Moderately intense brick red colour with ruby tints. Complex, deep nose with bell pepper, blackcurrants, tobacco and black olive aromas reminding of classic Pauillac. Medium-bodied palate has broad mouthfeel with vivid acidity and 2009/2018 powdery tannins. Velvety long finish with cedary tones. Great elegance and highly sophisticated style. The wine drinks beautifully now but will keep another decade. D 3H / G 3 H 92p 1 1993 HARLAN ESTATE Deep, intense ruby colour. Pronounced, rich and evolved nose with leathery, earthy and floral notes. Hints of licorice, violets and smoke. Mediumbodied, concentrated, restrained mouthfeel with good acidic grip, powdery tannins, dried fruit and 2009/2018 long savoury finish. The wine is somehow closed yet energetic. Slightly austere woody and tobacco character in the finish. The wine will benefit still from further ageing of six to eight years. D5H/G3H 91p 2 2004 SHAFER HILLSIDE SELECT Deep, ruby colour. Intense cassis nose with refined style. Lovely perfumey and hints of floral notes. Full-bodied, intense, moderate acidity, broad 2009/2020 and elegantly jammed black fruit character. Silky texture and long finish. Very young yet. The wine benefits from eight to ten yeasrs ageing. D7H/G5H 150 F I N E

95p 1 1996 SHAFER HILLSIDE SELECT Deep, ruby colour. Complex but restrained nose with smoke, cedar, toastiness and chocolate. Some tertiary aromas referred s leather. Full-bodied, intense and rich palate with round tannins and broad mouthfilling texture. Ripe black fruits with 2009/2018 spices and toastiness. Lingering long, smooth, and silky aftertaste. The wine is starting its second life with evolved flavours. It will just improve in next ten years. D5H/G3H 94p 2 2005 COLGIN TYCHSON HILL CABERNET SAUVIGNON Deep, ruby colour with purple tint. Lovely chocolate nose with perfumy, floral, blackcurrant and hazelnut tones. Full-bodied palate with elegant structure formed by balancing acidity and supple tannins. Intense frutiness and high alcohol 2009/2025 D8H/G5H are all in harmoniously integrated. Long silky finish with blackcurrant and smoky notes. Refined and subtle in style. The wine starts to drink well already but will deliver its great character better in 10 to 15 years from now. 93p 2 2005 COLGIN HERB LAMB CABERNET SAUVIGNON Deep, ruby colour with purple tint. Complex, rich and toasty nose with elegant aromas of cedar and blackcurrant leaves. Full-bodied palate with firm structure formed by big tannins and vivid acidity. Blackcurrant leaves, spices and dark chocolate 2009/2025 flavours. Powerful wine with great backbone. However the lingering finish is very silky. The wine is delivering the foretaste of its full character which needs to be waited still another 10 to 15 years. D8H/G5H 94p 2 2005 COLGIN CARIAD CABERNET SAUVIGNON Deep, ruby colour with purple tint. Reserved nose opens up revealing intense and powerful nose with smoky and vanilla aromas. Full-bodied palate, vivid acidity, firm and big tannins with high level of 2009/2025 alcohol. Concentrated taste shows spicy, floral and mineral in style. Long lingering finish. The wine is still closed and will benefit from 10 to 15 years of ageing. D8H/G5H 94p 2 2005 COLGIN IX ESTATE NAPA VALLEY SYRAH Deep, ruby colour with purple tint. Refined Syrah nose reminding classic Côte-Rôties. Smoky, white pepper nose with bacon, brambles and dark chocolate. Full-bodied palate is very refined and subtle. Intense fruitiness is in harmonious balance with supple tannins and vivid acidity. Brambles, 2009/2015 white pepper, smoke and chocolate flavours follow the lingering finish. One of the best if not the best Syrah tasted outside Northern Rhône. The wine starts to drink well already but will deliver its great character better in five to six years from now. D8H/G5H 92p 2 2005 COLGIN IX ESTATE NAPA VALLEY RED WINE Deep, ruby colour with purple tint. Rich, complex, but still reserved nose with smoke, perfume and lovely chocolate aromas with butterscotch notes. Full-bodied palate with vivid acidity, supple tannins and smooth texture. High alcohol is well 2009/2030 integrated. Toasty flavours of chocolate, hazelnut and some spices. Firm finish. Although the wine is in good balance it still benefits from long ageing for at least five to ten years, exposing its true complexity in next 15 to 20 years. D 10 H / G 5 H 88p 2 2005 STAG'S LEAP WINE CELLAR FAY CABERNET SAUVGINON Medium intense, ruby colour. Refined and complex nose shows cedar, pencil shave, blackcurrants, woody spices, black olives and tobacco aromas. Medium-bodied palate with vivid acidity, 2009/2017 D5H/G3H restrained fruit and refined tannins. Elegant wine with dry spicy and mineral style with tobacco and vanilla notes in the moderately long finish. The wine still benefit from five eight years ageing. 151 T a s t i n g s Fi n e Ta s t i n g s

89p 2 2005 STAG'S LEAP WINE CELLAR S.L.V. CABERNET SAUVGINON Medium-intense bright ruby colour. Intense dark chocolate nose with cherries, smoke and black fruits. The palate is medium-bodied and has a firm structure formed by vivid acidity and velvety 2009/2020 D5H/G3H tannins. Restrained black fruit. Long spicy finish with toasty flavours. The finish is slightly austere with high level of alcohol. A masculine wine that benefits from eight to ten years further ageing. 92p 2 2005 STAG'S LEAP WINE CELLAR CASK 23 CABERNET SAUVGINON Moderately intense, ruby colour. Pronounced nose with intense ripe blackcurrant aromas combined with toast, cedar, tobacco, cigar, and black olive notes. Medium-bodied, elegant palate with vivid acidity, satiny tannins, and restrained fruit. The 2009/2020 D5H/G3H palate is dominated by mineral and savoury taste. Blackcurrants and toasty flavours escort the long restrained finish. Harmonious wine with great concetration. The wine definitely benefits from at least eight to ten years further ageing. 90p 2 2005 JOSEPH PHELPS INSIGNIA Deep, purple colour. Intense, refined nose is dominated by toasty and spicy aromas with vanilla, mocha and rich tobacco notes while the black fruit aromas remain underneath. Fullbodied and big palate with jammy black fruits, tender tannins and high alcohol. The moderate 2009/2015 level of acidity is balancing the palate nicely. The texture is smooth and silky. Broad flavour profile shows violets, cherry chocolate, vanilla and cassis. Elegant spicy tones continue in a lingering finish. Drinking well already but will evolve positively next five to seven years. D8H/G3H 92p 2 2005 JOSEPH PHELPS BACKUS Intense deep ruby colour with purple tints. Pronounced nose with floral, spicy and cassis aromas with vanilla, clove, chocolate and tobacco notes. Full-bodied, vivid acidity and pristine structure with firm tannins but still silky mouthfeel. 2009/2025 Very elegant wine that shows plenty of ripe black fruit character and vanilla. Long lingering and rich finish. The wine is drinking well already but will show its greatness after ageing decade or more. D8H/G4H 90p 2 2006 BOND MELBURY Moderately intense ruby colour. Rich, floral nose with blackcurrants, blueberries, vanilla and toastiness with hints of eucalyptus aromas. Fullbodied palate with firm acidity and ripe tannins forming good backbone. Sweet toasty flavours 2009/2030 with violets, wild strawberries, earthiness and tobacco. Satiny texture with long firm finish. Surprisingly well-drinking already, but benefits from another fifteen to twenty years of ageing. D 10 H / G 4 H 88p 2 2006 BOND QUELLA Drk ruby colour. Delicate nose with reserved black fruits, spirity and earthy aromas. Very concentrated full-bodied palate with pronounced minerality, tight tannins and more red ruit 2009/2030 flavours. In the long finish the high level of alcohol dominates and the finish has walnut falvours. Astringent wine that need at least ten to fifteen years to open up. D 10 H / G 4 H 92p 2 2003 BOND ST EDEN Deep, dark ruby colour. Ripe and round big black fruit nose with great complexity. Very appealing wild aromas with cassis, smoke, plums, milk chocolate and butterscotch. Rich medium-bodied 2009/2020 and vibrant palate with satiny texture formed by ripe elegant tannins, vivid acidity and intense fruit. Long chocolatey finish. Absolutely charming wine that drinks well already but has a long life ahead. D8H/G3H 152 F I N E

92p 2 2003 BOND ST EDEN Deep, ruby colour. Appealing chocolate nose with flowers, cassis and menthol. Full-bodied, rich but elegant palate with refined ripe tannic structure, jammy black fruits and vivid acidity. Silky wine 2009/2020 with high alcohol nicely in balance in long finish dominated by powdery tannins. Keep another ten to twelve years. D8H/G3H 89p 2 2006 BOND VECINA Deep, ruby colour. Complex, dark chocolate nose with herbaceous tones­rosemary, lavender and violets. Very intense, complex full-bodied palate with firm mouthdrying tannins. Very powerful 2009/2030 finish with cedary and spicy flavours. The wine will definitely require years of further ageing to settle down and round up, beneficially fifteen to twenty years. D 10 H / G 4 H 90p 1 1999 BOND VECINA Deep, ruby colour. Pronounced nose with herbaceous and black fruit aromas with tobacco. Medium-bodied, firm palate has precised tannins, vivid acidity and menthol flavours. Long aftertaste 2009/2025 is dry and astringent with cedary and cigar flavours. The wine will benefit still another ten to fifteen years of ageing. D 10 H / G 4 H 90p 2 2006 BOND PLURIBUS Deep, ruby colour. Intense and rich dark fruit nose with smoky tones. Full-bodied and very powerful palate with jammy cassis, firm tannins and high alcohol. Volaptuous style with a long licorice and 2009/2020 spicy finish. The wine reminds of Priorat wines. Drinking well already but will evolve beneficially next eight to ten years. D8H/G4H 93p 2 2003 BOND PLURIBUS Deep, ruby colour. Very complex, intense and ripe black fruit aromas with violets, smoke, licorice sweet spiciness, perfume, brambles, dark chocolate and wild earthy aromas. A big palate with full-body, mellow acidity but chunky ripe tannins. Opulent jammy fruit with blackcurrants, 2009/2018 violets, dark chocolate and licorice. Rich and round wine with velvety texture and long supple finish with pronounced high level of alcohol warming in the end. Drinking well already but will evolve positively next eight to ten years. D6H/G4H 90p 2 2005 OVID Dark, opaque purple colour. Rich, roasted and intense nose with cola, coffee, nuttiness and smoke. Reserved fruit. Very concentrated, powerful and full-bodied palate shows great structure. Refined tannins, high level of alcohol 2009/2025 and rich black fruit are all in balance. The finish is still closed though. This will most obviously be a great wine in future after fifteen to twenty years of ageing. D 10 H / G 4 H 93p 2 2004 THE NAPA VALLEY RESERVE Intense, dark ruby colour. Rich and ripe black fruit nose shows brambles, cassis and lovely floral nuances with touch of licorice and smoke. Fullbodied, concentrated palate with delicate black fruitiness, supple, satiny tannins and balancing 2009/2024 acidity. Long lingering aftertaste is highlighted with lovely round flavours of milk chocolate and coffee. Drinking well already but will keep easily another ten to fifteen years. D6H/G4H 153 T a s t i n g s Fi n e Ta s t i n g s

89p 2 2006 GARGIULO VINEYARDS MONEY ROAD RANCH Deep, ruby colour. Rich nose with lovely toasty, roasted coffee and vanilla aromas over the fresh cassis aromas. Concentrated, medium-bodied palate with vivid acidity, refined tannins and 2009/2020 reserved fruit. Satiny texture and very balanced taste with elegance but still partly closed. The wine benefits from at least five to seven years ageing. D6H/G3H 91p 2 2007 GARGIULO VINEYARDS 575 OVX CABERNET SAUVIGNON Medium-intense, ruby colour. Pronounced tosty nose with seductive black fruit, coffee, chocolate and sweet spices. Elegant, rich texture on palate with silky tannins, delicate black fruit and vivid 2009/2025 D 10 H / G 4 H acidity. Lovely concentration in the long lingering finish with floral and spicy flavours. Wine with great future. Keep at least five to seven years. 93p 2 2005 GARGIULO VINEYARDS 575 OVX CABERNET SAUVIGNON Moderately intense purple colour. Pronounced and rich roasted coffee aromas and dark chocolate aromas dominates the nose that shows also elegant black fruit underneath. Very concentrated, elegant palate with firm but tender tannins, high 2009/2025 D8H/G4H alcohol is well-integrated. Balanced wine with refined black fruit character. Toasty, long finish. The wine is in stage of evolving. It will presumably show its full complexity after ten to fifteen years ageing. 93p 2 2003 SCREAMING EAGLE CABERNET SAUVIGNON Moderately intense ruby to purple colour. Very refined and intense nose, full of dark chocolate, hints of mint and violets and lovely dose of black fruits. Medium-bodied, elegant palate shows vivid acidity and supple tannins. Great depth 2009/2020 and concentration. Satiny texture with black fruits, chocolate and roasted coffee tones in the lingering long finish. Wonderful wine to drink already but will definitely show its best after ten to twelve years ageing. D8H/G4H 92p 2 2005 ARAUJO EISELE VINEYARD CABERNET SAUVIGNON Medium-intense, ruby colour. Refined and elegant nose with intense aromas of black fruits, roasted coffee and cedar. Full-bodied yet elegant on the palate. The intensity of the fruitiness is 2009/2020 D8H/G4H harmoniously in balance with polished tannins and vivid acidity. A great wine with sophisticated concentration. The lingering aftertaste shows black fruits, roasted coffee and sweet spices. 90p 2 2005 ARAUJO EISELE VINEYARD SYRAH Moderately deep, ruby to purple colour. Complex and seductive nose with toasty, roasted coffee, dark chocolate and black fruit notes. Concentrated, refined texture on mediumbodied palate with smooth tannins, vivid acidity 2009/2016 and delicate black fruitiness. Spices, violets and cherry flavours escort the long, lingering finish. Harmonious wine that drinks well already but will benefit from six to eight years further ageing. D5H/G3H 154 F I N E

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And the Heavens were Filled with Wine Adi Werner and His Legendary Big Bottle Wine Cellar tle TEXT: UWE KAUSS PHOTOS: THOMAS SCHAUER A ll is quiet in St. Christoph. The hotels located near the famous Austrian ski resort Ortes am Arlberg are all closed. There are a few hikers here at the end of October, who have e set out to wander in the near-1800 metre high gh ys area, taking advantage of the last warm days of autumn. In the restaurants, the chairs are all up on the tables and the kitchens are clean and ean ally empty. The ski season does not officially begin h littl until the end of November, when, with a little luck, snow will have transformed the area into uck, transformed the area o s a white mountain paradise. Since the 1920s, 1920s, 2 n Arlberg, along with St. Christoph, St. Anton Anton and Lech, has been considered to be among the g the h best and most exclusive places to ski in the world. world. o In St. Christoph at the end of October, however, e end of October, however, e there are no festivities, skiing or glamour to speak glamour to speak u a of. It is an entirely normal mountain village, with village, with thirty inhabitants, a couple of hotels, a few ski hotels, few ski o lodges and workmen with much to do. workmen with much to do. m C E L L A R 159 Fi n e C o l l e c t i o n

A di Werner is a busy man. The 72-year-old owner of the five-star Arlberg Hospiz Hotel and the Hospiz Alm restaurant telephones as he walks, all the while ticking items off his list. It is a list that seems never-ending. In a few days, he plans to travel to Bordeaux, where he will visit wineries, all the time sampling and speaking with the owners. However, prior to doing so, he needs to take care of himself a little. "If you don't take care of yourself, then nothing works right, and that just won't do," he states. He drives his Audi station wagon past a nearby lift that takes skiers all the way up to runs 2200 metres up to mountain. A narrow road alongside the hotel leads to the restaurant, which, together with the Hospiz Hotel, he has been running for forty-four years. Since 1997, together with his wife and son Florian, he has managed operations with a staff of over a hundred in the restaurant, which was awarded 15 points by the influential French restaurant guide, Gault Millau. He also finds time to run the 2000 square metre large spa, the four-star lodge "Hospiz Residenzen," hotel "Goldener Berg" and the restaurant "Alter Goldener Berg" in Oberlech. Adi Werner, hotelier, connoisseur, collector, and host, in his fabled treasure house of big bottle wines. BIG BOTTLES IN THE FALLOUT SHELTER All of the above are considered to be top destinations in the region, with celebrities, kings and politicians among their guests. At the moment, however, cement sacks are stacked up in front of a rustic hut by the Hospiz Alm, which is made of a dark wood from age-old farmer's homes in the area. Folding tables are stored out on the empty terrace, which is illuminated by the brilliant sunlight, amid the backdrop of the stunning mountainside. The proprietor, dressed in a casual shirt and brown leather jacket, opens the door to the restaurant and switches on the lights. With a mobile phone to his ear, he continues giving instructions to repairmen and his co-workers. The exchanges are short, in calm tones, typically beginning with "I am..." or "Adi said..." and quickly ending with a clear order. Sometimes there is time for a joke, sometimes not. "The stairs need more work, still. Don't stop now." Next task: down in the cellar, new bottle hangers need to be affixed. "Ensure that they're all symmetrical." He rushes down the half-lit stairs to the cellar and turns a large wheel on a steel door to open it. "And here we are" he says while tucking his mobile back into his jacket pocket. The lights come on and we are standing among the most prized vintages of Bordeaux. This is his legendary big bottle collection and it starts at the beginning of the alphabet. The bottles are stored not only along the white-painted walls of the room, but also on the ceiling within large steel supports. The collection contains 5000 magnums and double magnums, along with twelve, thirteen and fifteen litre bottles, all from the finest years and the best châteaux. Over the course of his life as a collector, he has obtained nearly two thousand extremely uncommon, very big bottles, including Nebuchadnezzars and Melchiors. These treasures are stored down here in what was once a fallout shelter. Austrians had to build such shelters for their own protection during the Cold War, but when that particular period ended, the bunker presented Werner with other, more useful, 160 F I N E

The lights come on and we are standing among the most prized vintages of Bordeaux. possibilities than facing the end of his days inside of it. The bunker soon began to fill with bottles of wine, so the proprietor built another room, this time not offering any shelter from any kind of bomb, but with lots of space. Now, he has a total area of two hundred square metres dedicated to the big bottles alone. However, why does he collect bottles as heavy as marble statues? "The wine can be stored much longer because the amount of oxygen between the underside of the cork and the surface of the wine, in relation to the total amount of wine, is five to six times less than in a normal sized bottle. This has a positive effect on how the wine ages, as it becomes more refined, elegant and less strong. Time and time again in tastings, we have immediately discovered the difference between the wine in these bottles and the wine in regular ones." At the restaurant today, one can have such a bottle opened and shared. Werner's most expensive bottle is a Nebukadnezzar Cheval Blanc 2000, available for 48 000 euro. On the wine list of the Hospiz-Alm are over 650 Bordeaux selections from 1924 to 2002. In addition to that, there are 450 wines from Austria, Germany, Italy, and other wine regions. There are, however, no reds younger than 2002. "I could drink two bottles of the older wines, yet after one glass of a young wine, I have a headache." Together with over 60 000 standard sized bottles of Bordeaux, the collection beneath the ski lodge constitutes one of the largest in the world. The wine is stored not only here, but also in two additional cellars: one is the Bruderschaftskeller, which dates back to 1386 and is located beneath the chapel of the Hospiz Hotel, and the other is a few kilometres outside St. Christoph. Their value, in total, approaches roughly seven million euros. Their auction value: inestimable. Gastronomic associations have declared this "Austria's top wine cellar" thrice over, while many other distinctions have also been awarded. This collection has taken Adi Werner nearly half his life to put together. Born in Vienna, he grew up in Salzburgerland. Instead of following the path that his family intended ­ becoming a veterinarian ­ he took on jobs in restaurants and discovered his love of gastronomy, eventually graduating from a hotel management school in Lausanne. Later, he worked in Bermuda and San Francisco and became a personal assistant to billionaire shipping magnate Daniel K. Ludwig. In 1964, together with his wife Gerda, he took over the Arlberg Hospiz Hotel in St. Christoph. Werner's father-in-law, Arnold Ganahl, a well-to-do textile and paper industrialist, originally bought the inn in 1955. He had it renovated and then as little as three years later, it burned down to its foundations in a fire on the eve of Epiphany. Ganahl rebuilt the hotel, this time taller and much more expansive than before. The new lodge reopened during Christmas 1959. It offered the most modern accommodation to be found in and around the Arlberg mountain pass. Each room had its own bath, shower and lavatory, all quite luxurious back then. "Arlberg was already rather famous. Scenes for the film The White Flame with Leni Riefenstahl were C E L L A R 161 Fi n e Ce r slo n a lot y P ol ecti i n

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"Get me a Lynch-Bages!" "Let's have a Pichon-Lalande!" Soon I was able to get a hold of some '55 Mouton, as well as the '59. That is how my passion for collecting began. shot on location here. The Hospiz Hotel was part of the attraction. Many guests have stayed with us ever since," remembers Werner. Among its guests have been the influential families of the new Bundesrepublik, such as Flick, Quandt and Burda, as well as the King of Spain. That is how it remains to this day. The Dutch royal family, King Harald V of Norway, former Russian President Vladimir Putin, Czech Republic President Vaclav Klaus, Canadian ex-Prime Minister Pierre Trudeau, ex-Bundespresident, Walter Scheel, and Sheik Hassan of Jordan, as well as many other dignitaries, have all stayed ­ and continued to stay ­ at the Hospiz Hotel Arlberg. Whosoever has been a regular guest long enough is requested by Werner to join the Hospiz Brotherhood, which was founded by monks back in 1386. Donations are gathered for families in need, with some 10 million euros having been raised to date. New members are ceremoniously inducted within the hotel's own chapel with a glass of wine and a sword touched upon their shoulder. LYNCH-BAGES FOR THE FLICKS In the new hotel's first few years, guests were pampered with everything, except wine. Adi Werner laughs and explains, "The wine server would come to your table and ask: Would you care to have something to drink? The next question: Red or white? The third question: A glass, quarter bottle or half bottle?" And with that, the business at hand was finished. Once, the billionaire Karl Friedrich Flick followed this up with another request for Adi Werner, "Do you not have something else to offer? A LafiteRothschild perhaps?" Adi was puzzled about what to do: "I'm familiar with the name from hotel management school, though I've never 164 F I N E

tried it myself." He turned to a wine seller in Innsbruck, by the name of Alexander Gottardi. He supplied him not with the requested wine, but rather with a case of something else which is considered to be a great rarity today: a 1947 Mouton-Rothschild. "Well I suppose it'll do," Werner said to Gottardi back then. "We'll take a case." A bottle ran about ninety schillings, which is today around six euros. "The guests truly enjoyed this wine," he remembers. He sold them in the restaurant for the equivalent of 18 euros a bottle. This caused a bit of frustration with his father-in-law at first. He was strict with his son-in-law, seldom giving words of praise, and also running a very tight ship. "Every bill was examined and signed by him," recalls Werner. Ganahl felt no one would pay 18 euros for a bottle of wine when the price to stay the night was 15 euros. "Nobody pays more for a bottle of wine than a room," said the strict owner, before telling the young Adi to "Send back the case!" Werner resisted, however, and it was the wine dealer who came up with an idea to solve everything. He rewrote the invoice as ten cases of cheaper St. Magdalener wine. Now, Adi had the right wine for the distinguished Flicks and Quandts. "When the other guests saw these families drinking a special wine, they would ask, `Could we have that as well?' and I would answer them with `But of course!' That's how I was able to completely sell out of the '47 Mouton. I intended to re-order more, and, well, that was all there was." Werner was electrified by this wine and began to learn everything about Bordeaux, because there was more than just Mouton, there was also Lafite and Margaux to consider. Moreover, he then bought and bought and the wine cellar was underway. "New wines were always being added whenever one of the Flicks mentioned something unfamiliar to me; 'Get me a Lynch-Bages! Let's have a PichonLalande!' Soon I was able to get a hold of some '55 Mouton, as well as the '59. That is how my passion for collecting began. Often I was invited to enjoy the wine together with patrons and so I always had to give away a bottle. I gradually came to understand that Bordeaux is fantastic wine and is something completely different from the quarter-litre reds that I had known previously. I was soon seriously interested in the subject, reading everything that I could find, tasting and buying." In 1976, he travelled for the first time to Bordeaux, in the company of his wine dealer. Werner speaks French well, having acquired the language during his education in Lausanne. However, the successful Arlberg hotelier did not always have the best language capabilities. "My first visit was to Château Figeac, a choice that we felt confident about. We were received rather warmly. At other châteaux, we were served only the new wines. We could sample that, have a look around, and then were supposed to leave, rather quickly." In 1980, he took a trip to Bordelais with a Bordeaux specialist in search of unfamiliar wines. One of their discoveries was the Châteaux Haut-Marbuzet in St. Estèphe. "Their wine impressed me a great deal then, and it remains to this day the château that we most often order from," says the Hospiz owner. From one of the houses, Henri Duboscq, he sought a 1978 vintage barrique. Duboscq laughed and simply said: "Sold out." After sampling the 1979 vintage, he and his wine dealer wanted to order a hundred cases, which again elicited a chuckle from Duboscq. "Ultimately, we spent four or five hours tasting, becoming merrier all the while. Then I asked, 'So when can I make a purchase from you?' He answered: 1982. Fine, and so the wine dealer and I each ordered 50 cases." A year after the delivery, Henri Duboscq telephoned the Arlberg Hospiz and cautiously asked the owner, "Could you sell ten cases back to me? I made an error and sold too many to you. I'll pay double." "That, I won't do." replied Werner. "But why not?" asked a frustrated Duboscq. "You can have the ten cases back and only for the same price that I paid." From then on, the two were the best of friends, and remain so to this day. Ready for still more bottles. Additional space in the second cellar NO SOURCE FOR LARGE CORKS It was at this time that Adi Werner discovered his specialty that he is known for in collector's circles: The big bottle. The collector Hardy C E L L A R 165 Fi n e C o l l e c t i o n

"The first six corks cost me 1500 euro" co "It was a pure elixir" Rodenstock was regu Rodenstock was a regular guest at the Hospiz denstock a regular guest u ues the Hospiz spiz H tel Hotel and organised legendary tastings that Hotel and organised legendary tastings that organ sed legend r tastings hat a n are still remembered to this day, such as in 1988 when four 1875s and one 1937 Yquem were opened. Werner only knew the imperial size then, which was six litres. After looking into its history, Adi hit upon an idea: "Rodenstock had given me a book, where I found that in 1820, the Tsar's cellarer had his wine in St. Petersburg filled in bottles with a capacity of up to 18 litres. These bottles stowed away well on the ship. The barriques, in contrast, occupied a great deal of valuable space. On voyages, there was always a possibility that they might become unsecured, and, even worse, cause the ship to lean. At the Tsar's large state banquets, where 120 people might sit at a single table, these bottles were suited to the occasion: "Two servers shouldered the bottle and to the right and left were twenty other wine stewards. I saw illustrations of this and it was massive!". However, after the October revolution in 1917, the estates no longer filled the big bottles, which were associated with royalism. Adi Werner, who describes himself as a born host, immediately grasped their gastronomic potential. Now, he wanted to have the big bottles for himself. However, it was not going to be simple. He asked his friend Henri Duboscq from Château Marbuzet, who had become interested in the idea, and he agreed to fill them. Now all he needed were the right bottles. Werner located them a short while thereafter at a wine expo in Bordeaux. Today, the Bordeaux Vinexpo is the largest of its kind in the world. Back then, it was something just for wine growers, gathering to exchange information about new cultivation methods, filling tech qu techniques and bottles. "The wine itself was techniques and bottles. "The wine itself was chniq n ottl s Th win itse f a t n self secondary rememb secondary " remembers Werner e came to secondary," remembers Werner. He came to a b Werner stand where bottles from the smallest marie up to imperial size were displayed, "like the pipes of an organ." He asked whether it would be possible to procure bottles that were even larger than that. "Anything you wish," answered the exhibitor, in a typically French manner. Werner wanted a 12 litre double imperial, a 15 litre bottle and an 18 litre bottle. The merchant then asked, somewhat in disbelief, "Why do you want these?" He explained to him what he had read in Rodenstock's book. The merchant understood and Werner could order them from him. However, he would have to order at least twenty-four of each, due to the amount of labour required to make them. "Fine, I'll take them," decided the Hospiz proprietor. Now he had to pay for the bottles on the spot. He took out his chequebook, but the merchant said, "Pas de Cheques" or "no cheques." Only gradually did we arrive at an understanding between us. A month later, the bottle supplier rang ­ the bottles were ready, and he wanted to know what to do with them. Henri Duboscq aided him by retrieving the giant bottles himself and bringing them back to the château. It was not until three years later that they were finally filled. Over time, Werner persuaded Henri Duboscq to let him have some of the 1981 vintage, which was officially sold out. Werner remembers this well, "One day Henri telephoned and told me he wanted to fill my bottles. He then enquired as to where the corks were. I responded that I did not have any in this uncommon size. When I contacted the cork supplier I was informed that he did not have the correct equipment to make this size and that he would not spend 13 000 francs on such equipment. That is the equivalent of 1500 euros. Since he was so close to finally reaching his goal, Werner would not give up now. "I decided to just pay for the equipment so he could make the damn things. The first six corks cost me 1500 euros." A year later, Werner had six big bottles of the 1982 he ordered. This was something quite special for him. The last of these was enjoyed in 2001 in the company of forty guests on the occasion of his 65th birthday. "It was a pure elixir," raves Werner to this day. The first bottles were in an antique shape once common in Burgundy. Not until these were used up did the bottle supplier offer the typical cylindricalshaped Bordeaux bottles. NO LUCK WITH PÉTRUS AND LE PIN In order to develop contacts, Werner has been inviting owners of estates to winter wine tastings since the end of the 1960s. Every year there were nine vintages to be sampled. "Each time, I would show them my 1981 and 1982 big bottles and ask whether they could fill them," describes Adi Werner of his strategy for obtaining more. "They mostly stated that they could give it a try once. They never declined, at any rate." Wineries were persuaded by Werner over time to do so, with the exception of Pétrus and Le Pin, who continue to decline. Château Canon La Gaffelière is now in his cellar, as well as Lynch-Bages and many others, including the legendary 1990 Mouton-Rothschild. The wineries were all soon filling new big bottles in what was something of a boom that Werner had initiated. He eventually had some luck with Cheval Blanc, after years of waiting. When Pierre Lyon took over the direction of the estate, he consented to the project and 166 F I N E

The collector's pride Werner received a bottle for the first time in 1998. "Since then, I receive six bottles of each vintage yearly. This is quite a great thing for us," remarks the wine collector with pride. He knows that most of the estates only fill the big bottles for him alone. For this reason, his bottles are the rarest of rarities, with just a few exemplars per year. All of them are in his cellar. At first, there were a good many requests at the châteaux for the bottles. "At Pichon Lalande or Figeac, they received orders for up to one hundred bottles. This became too much for them to handle." Werner knows that eventually the estates decided amongst themselves to cease filling the big bottles. The background: Mouton-Rothschild sold 1995 big bottles to another customer for 3000 marks. They in turn resold them for 6000 marks within a week. "The estates decided that they would not allow speculators to benefit from such deals at their expense," says Werner. Only for him do they continue to make an exception. "I've known these cellar masters for ages, and that is why they still take care of this for me. With Palmer and Mouton-Rothschild, I even have to sign a contract stating that I will not turn the bottles over to speculators." Even when the châteaux owners want to have bottles filled, they need to persuade the cellar master. "The French can be very stubborn about things. If the cellar master is not willing to do it, then that is that." Werner's solution: "We go directly to him bringing everything with us ­ bottles, corks, tools ­ and speak with him about it. We pay respect. We praise him. The one from Palmer, after a long discussion, decided to fill three bottles, not six. That was actually enough for me anyhow. C E L L A R 167 Fi n e C o l l e c t i o n

A PRIZE FOR CHEVAL BLANC Even though Werner has become one of the most well known collectors of Bordeaux worldwide, he never takes part in auctions. Since 1978, he has purchased directly from the estates, or not at all. "I never attend auctions, as no one can say with certainty how the wines were stored over the years" Werner explains, thus making his principle very clear. Older vintages, when he does buy them, he obtains directly from the châteaux. "For me, bidding on older wines at an auction is the greatest mistake one could make. In the 1970s, for example, the American speculators ordered massive quantities of Bordeaux. The cases then sat on the piers by the hundreds in 30 degree Celsius heat or in winter cold," says Werner. With his legendary big bottles, there has never been any such loss. "We examine and smell each cork and take the most extreme care in handling every aspect from filling to transportation," he explains. The air in the cellars is always maintained at 90 per cent humidity and kept at the perfect temperature. In spite of his professionalism, he prefers to make one last distinction: "I am a Bordeaux wine lover and do not necessarily seek to be a specialist." When he needs information, he knows all the finest specialist and experts worldwide. In such a situation, he once contacted Michael Broadbent, a renowned specialist at Christie's, in order to find out the auction value of an 18 litre Cheval Blanc 2000. His response was almost a touch insulting: "It does not exist." Werner wanted to make certain that he had named the correct vintage would promised to ring him back in fifteen minutes. He called back and insisted that indeed this was what he had in his cellar. Broadbent then named a price that Werner does not want to repeat, but it was certainly a very substantial sum. Robert Parker has been a guest at the Arlberg many times as well. At the Rodenstock tasting in Münich, with hundreds of vintages from Château d'Yquem, Adi Werner had the opportunity to be seated next to him. Werner's solid English skills and communication talents were of no use though, as Parker paid him little attention. "To any remark I made or for any question I asked of him throughout the entire evening, his only response was either `yes,' `no,' or `perhaps.'" Regardless of that incident, he still considers Parker as one of the most important Bordeaux critics anywhere. "The great majority of his predictions have turned out to be correct." The Bordeaux-lover Adi Werner is not to be separated from his role as senior host and proprietor. His collector's passion was born in the restaurant, and it is there that he celebrates it still. He organises tastings of great and exceptional wines in the Hospiz Alm, inviting friends and, above all, regular guests. Between 40 and 120 enthusiasts assemble, depending on the occasion, and some wine houses now take the opportunity, with these affluent guests present, to sponsor the events. The wine houses greatly enjoy these events and at the same time, "the wine is the best publicity for us that I could ever possibly wish for," he adds. Nearly 70 per cent of his guests come because of the collection in his cellar. Werner only enjoys wine in the company of others. "I never have it at home," he says, adding "and never before six in the evening." He also prefers to taste them blind and in flights, which allows him to compare and contrast each wine with another. This is the way in which he discovered his own personal favourites over time, during hundreds of tastings. He does not need long to recall them: '45 Pétrus, '47 Cheval Blanc, `82 Pétrus and '89 Haut-Brion are his favourites. each season, with nearly half of them being of the 12 or 18 litre variety. It is quite an affair to decant these wines and dispense the glasses. The bottles themselves are opened with an entirely regular corkscrew. Yet even without the excuse of a special occasion, Werner likes to simply sit down with company and enjoy a glass. That is how it was when the Spanish king Juan Carlos visited. "The Spanish ambassador in Austria appeared ten days early to make all the preparations. He insisted on having a personal dining room for the royal family, on having a separate lift just for them, as well as many other details. When the King arrived, however, he did not use the lift reserved for him and insisted on dining with the other guests." Werner offered him a '59 Latour, which was quite to the King's liking, and the King requested that Werner should join him at his table. "He had barely finished his sentence, and I was there sitting next to him," recalls Adi. In the end, four bottles of Latour were opened and the ambassador bristled with indignation. The next evening, the King wished to have the Latour again, yet there was none left to be had, and the duty to tell him this fell to Werner. He offered instead a '59 Lafite. "This the King enjoyed better still," recounts Werner. At the end of the evening, Werner again sat next to the King, and again there were four empty bottles by the time they had finished. Juan Carlos and Adi Werner parted warmly and in the best of spirits. However, only a few minutes afterwards, the ambassador appeared in front of Werner in his office. He was furious, as all the services for the royal family would be coming out of his own diplomatic affairs budget, including these costly rare vintages. The next day, when Werner told Juan Carlos of this, the King simply sighed, shrugged his shoulders and said of the intervention, "It's the same every time." Werner's eyes sparkle as he tells this story. He reflects on it and surmises, "A host who loves beer would never be able to sell wine." A GLASS WITH THE KING In a few weeks, when all the workmen have disappeared and the season begins, Adi Werner is there, ready for his guests, just as he has been for the last 44 years. He will spend two hours in the Hospiz Alm, then a couple more in the restaurant talking with his guests. His sommeliers open 250 big bottles 168 F I N E

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wine supplier once asked me as to what wine estate I would own if I could choose from absolutely any estate in the world. I immediately replied Château Haut-Brion. One reason would be the estate's fine buildings, while another would be its location, which is close to Bordeaux. However, the main reason would be the wines that it produces. text: JAN-ERIK PAULSON ­ Photos: PEKKA NUIKKI The Haut-Brion wines are elegant and perfectly balanced. They have their own distinctive personality. They are soft, warm and graceful, but require intense concentration to be fully understood. Their stratification and nuances do not immediately come across to the inexperienced taster. That 172 F I N E

was why Haut-Brion was the least expensive Premier Cru for many years. This is no longer the case, however. Some vintages ­ 1989 for example ­ are the most expensive of all. 173 B O R D E A U X Fi n e Es tat e

Jean de Pontac lived for 101 years and, therefore, was living proof of the favourable effects of good Bordeaux on one's health, longevity and progeny. He had 15 children. 174 F I N E

The Wine Connoisseur's Premier Cru aut-Brion is normally drinkable before other Premier Cru wines, but this does not mean that it ages less satisfactorily than the rest. On the contrary, it has a very long ageing potential. Haut-Brion once again shows that a wine's perfect balance is a more crucial factor in good ageing than its intensity or concentration. Pontac's great-grandson, Arnauld III de Pontac, inherited HautBrion in 1649. He later became the first President of the Parliament of Bordeaux and the city's most wealthy resident. Pontac showed a keen interest in winemaking. He developed the quality of his wines while they matured in oak barrels by topping them up and separating the lees by transferring clear wine from one barrel to another. He was the first to pay attention to the fact that the properties of the soil and vintage were more obviously evident in an aged wine than in a young one. At that time, young wines were very often preferred. Bordeaux wines were very popular in England, which was the main market for them. Claret (or clairet) was the generic name for these wines, owing to their pale, rosé-like colour and style. They were usually sold under the name of the region or commune in which they had been produced Médoc, Graves and Pauillac. Haut-Brion, however, was sold under its own name. Samuel Pepys wrote in his diary on 10 April 1663: "To the Royal Tavern...there I drank a sort of French wine called Ho-Bryan, which hath a good and most particular taste that I never before encountered..." Laffite, Margouze and Latour, and 200 barrels of new French `O'Brian' claret, were sold directly from the vessel Liberty, which had arrived from the port of Bordeaux. These four wines, all to achieve Premier Cru status in 1855, were thus regarded as outstanding some 150 years before the Official Classification. In the mid-18th century it was normal to bottle wine on an estate as and when the orders came in. According to the cellar records, 13 barrels of the vintage 1764 were bottled and sold in 1769, and the same vintage was bottled once again nine years later. At the time it was common practice to rack the casks twice a year and top them up with the young vintage. Thomas Jefferson, the US Ambassador to France and later on President, visited Haut-Brion in 1787 and commented in his diary on the soil there, adding that there were four first rate wine estates ­ Château Margaux, Château Latour Ségur, Château Haut-Brion and Château La Fite. This is one of his entries: "Haut-Brion is a wine of ESTEEMED PRAISE In 1666, Francois-Auguste de Pontac, Arnaud III's son, opened a tavern in London and named it the Pontacs Head. It soon became established as London's most important and fashionable restaurant. The cook was from the Pontacs' house in Bordeaux and the wine was obviously from Haut-Brion. John Locke, the famous English philosopher, visited the place and wrote: "The wine of Pontac, so revered in England, is made on a little rise of ground, lying open most to the west. It is nothing but pure white sand, mixed with a little gravel. One would imagine it scarcely fit to bear anything. There is an ensemble of elements in the soil on the property of Monsieur de Pontac near Bordeaux such that the wine produced resembles no other." In May 1707, new, highly regarded French claret from the growers A LONG LIFE AND 15 CHILDREN Château Haut-Brion is thought to be the first wine from the Bordeaux region that was sold under the name of the estate rather than the general name of the wine-growing region. It was Jean de Pontac, born in 1488, who began wine production on the estate. He married one Jeanne de Bellon, whose dowry included the `Aubrion' lands in the village of Péssac. Jean de Pontac lived for 101 years and, therefore, was living proof of the favourable effects of good Bordeaux on one's health, longevity and progeny. He had 15 children. His fourth son, Arnauld II de Pontac, later inherited a large portion of the land, before Jean de 175 B O R D E A U X Fi n e Es tat e

The Wine Connoisseur's Premier Cru first rank and seems to please the American palate more than all the others that I have been able to taste in France." Over the years, Haut-Brion was handed down from one generation to the next, until it was sold at a fair price to Napoleon's Foreign Minister, Talleyrand, in 1801. However, he was not interested in making wine and sold the estate just four years later. Thereafter, Haut-Brion was owned by a succession of bankers up until 1836, when it was bought by Eugène Larrieu. The Larrieu family owned the estate until 1922. to produce quality wine worthy of inclusion. At the time, Bordeaux was also going through hard times on account of disease: oidium mould in 1852, phylloxera in 1875 and mildew in 1881. The economic hardship that resulted meant some estates were sold and, in fact, Haut-Brion itself was eventually sold in 1922 to André Gibert, a retired banker. City had turned down the generous offer, as it would not have been able to make a go of the place. Therefore, Haut-Brion was sold to Clarence Dillon in 1935, and it is still owned by the family to this day. Clarence's granddaughter, the Duchesse de Mouchy, is the current president of Domaine Clarence Dillon. Her son, Prince Robert of Luxembourg, is becoming increasingly involved in its management in his capacity as vice president. Indeed the same family has managed the estate for generations. Georges Delmas arrived at HautBrion in 1921, his son, Jean-Bernard, inherited the position of the director of the estate in 1961, and now his son, Jean-Philippe, has that very responsibility. THE ODYSSEYS OF DILLON The late Hugues Lawton, a member of an influential négociant family, told me a true story about how his father, Daniel, had been asked to look for a château for the American banker, Clarence Dillon. Cheval Blanc was up for sale at the time and they all went off to St-Emilion to look over the property. However, they got lost in a thick fog that had blanketed the area and had to return to Bordeaux. Then, they heard a rumour that the owner of Haut-Brion, Monsieur Gibert, might be keen to sell his estate. Daniel Lawton visited him in the hospital to find out more. Gibert said he had offered Haut-Brion to the City of Bordeaux as a gift, on the condition that the estate would be kept as it was and would not be turned into a construction site. The ODD ONE OUT When in 1855 the Bordeaux Chamber of Commerce was asked to rank the wines of the Gironde for the Paris World's Fair Committee, Haut-Brion was judged to be one of the four Premier Crus among the 62 estates featured. It was also the only wine outside the Médoc region included in the classification. It is a common fallacy that only Médoc wines were to have been included in the classification and that Haut-Brion only made it onto the list because of its recognised importance. The fact is, that after careful consideration, no other wine estate outside Médoc, apart from Haut-Brion, was believed PIONEERING Haut-Brion is located in the commune of Péssac, five kilometres from the centre of Bordeaux. The city has gradually surrounded HautBrion and its neighbouring property on the other side of the road, the Château La Mission Haut-Brion, which has been owned by Domaine Clarence Dillon since 1983. The vineyards are on a small elevation approximately 27 metres above sea level. The land consists partly of a very old layer of gravel, which is perfect for wine growing. Just over half of the 40 hectares are planted with Cabernet Sauvignon, a quarter with Merlot and a fifth with Cabernet Franc. In 1961, Haut-Brion began using stainless steel fermentation vats, the first of Bordeaux's highly regarded estates to do so. In 1977, an ambitious project was started to try to see what vines were best suited to which plots, as the trial planting of various clones commenced. The wines of Haut Brion are elegant, perfectly balanced wines with a very characteristic personality. They are soft, warm and attractive but also demand concentration to be fully appreciated. There is a complexity that is not immediately obvious to the inexperienced palate ­ this led to Haut Brion being the least expensive Premier Cru for many years. This has now been rectified and in some vintages, like 1989, it is now the most expensive. Along with Latour, Haut-Brion has proved the most consistent in terms of the quality of the Premier Cru wines during the last 100 years. Even the sceptics have always been convinced of its Premier Cru status. That status, however, has never been taken for granted either. Haut-Brion's owners invested and continually strived to improve the quality of the wine, down to the most minute detail. They also tactfully managed to make the wine's style more enjoyable when young, thanks to its concentrated fruitiness. The concentration has been achieved in the vineyards by limiting harvests without relying on modern technology. Although the style has subtly changed, HautBrion's greatness still appears to lie in its perfect balance, which remains in the wine even after decades of storage and that is the very essence of Haut-Brion and its noble character. It is also what makes Haut-Brion the wine connoisseur's Premier Cru. 176 F I N E

Th e v i n tag e s of C h â t e au H au t - B r ion The 1986 shows a touch of burnt rubber on the nose that seems to get less noticeable with time and a couple of hours of decanting time is good. The 1985 and 1983 are both elegant and soft wines, drinking very well now. 1982 Haut-Brion is the least powerful and tannic of the Premier Crus in this great vintage but also the most charming and elegant. The 1979 and 1978 are still drinking very well, the 1979 is very elegant and the 1978 is the more robust of these wines. The 1975 is a good wine that is not showing the hard tannins so typical of the vintage. The 1971 and 1970 are both very elegant and stylish wines, now fully mature. ta s t e d by Pe k k a Nu i k k i 1996 and 1995 are both very good wines. I personally think that the 1996 is the wine with the better future. 1991 is a vintage affected by frost. Only by removal of the second generation of unripe grapes did Haut-Brion produce one of the better wines in this vintage. 1990 is an exciting, spicy wine, drinking beautifully now but with the balance for a long life ­ one of my favourite wines in this fantastic vintage. 1989 was marked by a very hot, dry summer and the earliest harvest since 1893. The wine of the vintage by a long way. Magnificent! The 1988 is elegant and very good for this somewhat tough and tannic vintage. The 1966 and 1964 Haut-Brions are fabulous wines; spicy and with a distinct nose of coffee and leather. They are still to be found at more or less the price of the latest vintage enprimeur and are absolute bargains. The 1961 and 1959 are both great, legendary wines and I am hard pressed to say which one I prefer. I recently drank a bottle from the "minor" vintage of 1957 which showed amazing class and youth. The 1953 is a wonderful, elegant Haut-Brion. Good wines were made in 1955 and 1952 and they are still giving great joy if stored well. The 1949 and 1947 Haut-Brions are both very good but the star of the decade is clearly the magnificent 1945. At a blind tasting of all five Premier Crus I personally voted this the best wine, just ahead of the legendary Mouton. Bottles from earlier vintages have shown large variations due to how they have been stored. The 1929 is rather atypical, showing a very dark, almost portlike wine rather than the sweetness and elegance so characteristic of the vintage. The 1926 is, on the other hand, a very charming and lovely wine. 1898 1900 1921 1924 1928 Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) 94p 85p 93p 96p 94p 2006/now x1 2000/now x1 2000/now x 2 2009/2010 x2 2004/2010 x2 1929 Château Haut-Brion (Graves) 98p 2008/2015 x5 D1h/G3h The year 1929 was extremely hot and dry, the driest vintage since the beginning of the century. It only rained for a short period during the harvest, but then the fine and hot weather came back again. The grapes became very concentrated and the wines were characterised by an enormous richness of tannins. Wines slow to mature, but with exceptional structure. This bottle came from the small Cannes auction house, Besch. Level was high-shoulder. Decanted one hour. The colour was very black, dense and full. Intense, complex nose ­ round and elegant. This wine has lots of muscle left and it's still quite tannic, and certainly has a long life ahead of it, especially in large bottles. Long, velvety and rich on the palate. Hints of truffles and dark chocolate. Absolutely magnificent. Very enjoyable now or over the next decade. 1937 Château Haut-Brion (Graves) 87p 2008/now x5 1945 Château Haut-Brion (Graves) 100p 2009/2015 x9 D2h/G2h The 1945 vintage produced some of the most memorable Bordeaux. The climate conditions were among the last century's best. The 1945 vintage commands also some of the top prices at auctions, as high as 4800 for Pétrus. Most of the first growths sell at around 3000 per bottle. Even smaller châteaux such as La Tour Haut-Brion, L'Église Clinet and CantenacBrown easily go from 200 to 500. This legendary Haut-Brion is a truly classic Bordeaux that epitomises complexity. Excellent-looking bottle. Decanted for one and a half hours. Superbly integrated aromas of sweet black fruits, roasted herbs, tobacco, chocolate and walnuts make it memorable. Its lively, firm texture keeps it fresh to drink. Full-bodied with enormous concentration, masses of fruit perfectly balanced. Tannins are fully integrated and softened. A remarkable taste experience from start to the solid, smooth finish. This wine has about all one can ask for from a wine this age. 1946 1947 1949 1950 1952 1953 1959 Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) 84p 91p 96p 94p 91p 95p 98p 2005/2010 x1 2008/2010 x3 2008/2015 x3 2002/2010 x2 2008/2015 x3 2009/2015 x4 2009/2020 x7 1961 Château Haut-Brion (Graves) 98p 2009/2020 x13 D2h/G3h This spectacular vintage had a rough start due to a cold period at the end of May causing severe coulure. After a poor fruit set in late spring, the weather changed to very hot and dry for the summer, actually the driest on record. Very fine weather in September guaranteed ideal ripeness of grapes and extremely high concentration. The rainfall that year was almost half the average in Haut-Brion. Both of the two bottles were in good condition. Decanted for two hours. This is Haut-Brion at its best without a doubt. Very dark, garnet in colour. Gorgeously intense nose ­ exotic, sweet black fruits and oriental spices. Full-bodied, very well balanced, and an excellent structure. This finely concentrated but generously open wine shows a lovely sweet, round and intense ending. A real joy of a wine. 177 B O R D E A U X Fi n e Es tat e

Th e v i n tag e s of C h â t e au H au t - B r ion 1962 1964 1966 1970 1982 Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) Château Haut-Brion (Graves) 89p 92p 91p 88p 98p 2009/2015 x4 2009/2015 x13 2009/2015 x6 2009/2015 x13 2009/2035 x11 ( Pe k k a Nu i k k i ) 1989 Château Haut-Brion (Graves) 99p 2009/2030 x17 D 2 h / G 3+ h This is one of the greatest left bank wines from this excessively hot vintage in Bordeaux. Very intense, opaque ruby colour with brown tints. Moderately closed at the beginning but opens up in the glass beautifully. Great depth, rich and complex aromas with very refined toasty oak nuances. Full-bodied wine with refined firm tannins, mellow acidity and opulent fruitiness. High level of alcohol is well-integrated and adds richness to the wine. The aftertaste is extensively long and edgy. Charmingly sturdy wine with lovely accessibility now but will develop deliciously over the next decade. 1990 Château Haut-Brion (Graves) 97p 2009/2020 x6 1929 Château Haut-Brion Blanc (Graves) 98p 2004/2010 x2 D 30 min / G 1 h This rare wine is hardly ever missed when talking about Haut-Brion. It is still amazing how many times it has impressed, especially in lesser vintages. Nevertheless when the vintage is as superb as in 1929, it really shows its true colours. Very rare and old-looking bottle. Has a good level and promising, youthful colour. Decanted 30 minutes. Rich, clean, golden colour. Sound and wide bouquet. Aromas of vanilla, amaretto and nuts on the nose. Palate is brilliantly balanced, rich and silky with creamy texture and lots of citrus and flourishing apricot fruit. Multi-dimensional and oily, with layers of mature fruit and beautifuly-integrated silky tannin and harmounious acidity. Fabulous and long, vigorous ending. Very youthful and thrilling white beauty with still some years to go. 1962 1985 Château Haut-Brion Blanc (Graves) Château Haut-Brion Blanc (Graves) 94p 97p 2008/2010 x5 2002/2015 x4 178 F I N E

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a brief story of art and wine Wine tasting and art 1924/1945­2003 F or the last 150 years, Château Mouton-Rothschild in Pauillac, near Bordeaux, has embodied the attributes of perfection and innovation like no other wine estate. Mouton has taken on mythological proportions in the wine trade. The marvelling, awestruck wine connoisseur will certainly be aware that the great family tradition of the Rothschild's is combined with a dash of style, eccentricity and an appreciation of art, when he holds a bottle of Mouton in his hand, if he has not realised it prior to that, and certainly when he takes his first sip of a Premier Grand Cru. When in 1922 Baron Philippe de Rothschild took over the running of the wine estate, the worldwide lauding of Mouton commenced. To start with, it was its magnificent wines that caused such a stir. Then it was the Baron's idea of having the Mouton labels designed by internationally important artists that saw them become both the unmistakeable symbols of the MoutonRothschild brand, as well as internationally sought-after collectors' items. We are planning to publish eight of these special works of art in each of the forthcoming issues of this magazine. Oliver Drerup will write about the artists, while Michael Link has photographed all the bottles and labels. Moreover, Pekka Nuikki tasted all of the vintages from 1924 to 2003. The notes he made during the process will allow us some insight into his impressions and feelings. M O U T O N - R O T H S C H I L D 181 Fi n e Ar t a n d w i n e

Text: Oliver Drerup and Pekka Nuikki Photos: Pekka Nuikki The Mouton-Rothschild Legend The Château Mouton-Rothschild is situated in Pauillac, north of Bordeaux, between the River Gironde and the Atlantic. The region is flat; it has only a very few gently rolling hills and the sparsely wooded landscape is not particularly spectacular. In terms of appearance, there are much more beautiful winegrowing regions. It is in Médoc, however, that the famous Mouton-Rothschild, the Premier Cru Classé that has gained worldwide mythological status, is grown. There has been a large, successful wine-growing tradition in the Bordeaux region for centuries. It can be traced back to the Roman period and has become an important, key source of income for the otherwise rather impoverished region. The secret of Médoc lies in its naturally-occurring conditions, which are encompassed in the French term, `terroir'. What is meant by that is the interplay between its perfectly suited soil and ideal climate, which allows the region's wine growers to produce first-class wines. The Bordelais wine-growing region is the largest cohesive area of cultivation in the world for wines of quality. The percentage of top-class wines produced there is higher than in any other region of France. There are around four thousand châteaux in the Bordelais region producing these world-famous wines. A sophisticated system of local appellations and classification is used in order to rank the quality of the wine. The separate growing sites play a limited role only. Taking pride of place is the château itself, to which they belong. Typical of the Bordelais region are the dry, durable red wines, which are fruitier in the Médoc region than the softer, fuller wines of the neighbouring Saint-Emilion and Pomerol areas. Less than twenty per cent of the total wine production of the region is centred on white wine. The Bordelais region rests on an enormous limestone plateau that is covered in most places with layers of sand and gravel dating from the Ice Age. In the Médoc region, these layers can be up to several metres thick. This gravely, sandy soil permits the vines to root deeply into the ground and allows for excellent drainage. The varying nature of the terrain and the siting of the vines create several small zones, each with their individual microclimate, which in turn have an effect on the harvests that are achieved by the various châteaux. Nearby, the Atlantic generally creates a mild and even climate, normally without extreme changes in temperature. The large rivers and expansive wooded areas of the region also have a balancing effect on climatic conditions. Typical of the annual weather for the wine region are frost-free winters, damp spring months and a sunny summer from July to October. The climate can differ, however, meaning that the quality of the individual vintages can vary to a great extent. The wine growers of the region know that the following basic conditions have to be met between April 1 and September 30 in order for a great vintage to result: in total, the average temperatures should reach at least 3100 ºC over 1250 hours of sunshine. During this period, there should have been at least 15 hot days with a temperature of over 30 ºC and there should also have been a total precipitation of between 250 and 350mm. Since the wine harvest often continues until well into late autumn, the ··· 182 F I N E

weather during the harvest in October plays an important role in the quality of the vintage. Much of what is exceptional about the Mouton wines may be attributed to the soil and old vines, but it is not the site alone that determines the quality. The soil must be treated well, cultivated and monitored with a great deal of care. French wine production is one of the best-supervised agricultural sectors in the world. Every bottle filled is assigned to a particular category of quality. By 1855, the best produce from the wine-growing region of Bordeaux was uniformly classified and termed `Grand Cru Classé'. This produce was then further divided into five sub-classes :Premier, Deuxième, Troisième, Quatrième and Cinquième. The classification at that time was based less on excellent quality and more on the average revenue from the sale of the wine, the figures for which were collated from a period of several decades. Since 1855, there has been only one single change to this system of classification, which is so sacrosanct to the French. The top class Premier Crus had always included Château Lafite-Rothschild, Château Margaux, Château Latour and Château Haut-Brion. On 21 June 1973, Château Mouton-Rothschild was re-categorised from a Deuxième to a Premier Cru. Nowadays, Château Mouton-Rothschild's acreage covers around eighty hectares. Eighty per cent of the land is planted with Cabernet Sauvignon vines, ten per cent with Cabernet Franc, eight per cent with Merlot and two per cent with Petit Verdot. At the Château alone between 250 000 and 300 000 bottles of wine are produced annually, with the Mouton harvest reaching around 40 to 45 hectolitres per hectare. Then there is the second wine, `Petit Mouton' and the great brand name, `Mouton Cadet'. With more than five hundred employees, the ultra-modern wine company achieves an annual turnover of approximately 200 million euros. The core of the company is the winery at Saint-Laurent, built in 1994, which can accommodate 170 000 hectolitres of wine in its 200 tanks. This corresponds The story of Mouton's success ··· M O U T O N - R O T H S C H I L D 183 Fi n e Ar t a n d w i n e

··· to 24 million bottles. A further 32 tanks, each with a capacity of two thousand litres, were added in 2004. In Germany, where the Rothschild family originated, the name, which has been passed down through several branches over the centuries, is held in the highest esteem. It was a branch of the Rothschild family in Frankfurt-am-Main that sent its sons to five different European metropolises in search of luck and careers. The family formed a broad network primarily in the fields of finance, banking and, later on, wine. In 1853, Baron Nathaniel de Rothschild, born to the London branch of the family, acquired the Château Brane-Mouton, immediately renaming it Château Mouton-Rothschild. Very swiftly, the Château went on to establish itself as one of the leading châteaux of the region. The subsequent marvellous success story of the family concern at Château Mouton-Rothschild is closely linked with Baron Philippe de Rothschild, the great grandson of Baron Nathaniel. In 1920, in the company of his grandmother, Baroness Thérèse, to whom the château belonged, young Baron Philippe visited Mouton for the first time. He would go on to visit it frequently and on his return to Paris would always tell his father, with drive and enthusiasm, about the disorder and neglected state of the place. Baron Philippe's father and grandmother finally decided that they should hand over the wine estate to him. Therefore, in 1922, as a twenty-year-old, he took over the running of Mouton. Its rise to become one of the best-known and most successful châteaux in the world would never have been possible without his dedication, personality, pioneering spirit, appreciation of art and foresight. Baron Philippe de Rothschild became the most important figure in the wine-growing Bordeaux region, precisely formulating the aim of his life's work as the expunging of the ignominy of not belonging to the Premier Crus. Early on, with this in mind, he chose his motto, `Premier ne puis, second ne daigne, Mouton je suis' (`First, I may not be, second, I will not be, Mouton, I am'), which would continue to motivate him to pursue his ambitious goal. Finally, in 1973, Baron Philippe de Rothschild was able to celebrate a personal triumph in his tireless struggle to make good the slight of 1855 when Mouton was not classified as a Premier Cru. After a half a century, all the dedication and hard work invested by the Baron in his life's work was finally rewarded. A young agriculture minister by the name of Jacques Chirac, who would later be President of France, elevated Mouton into the first echelon of wine producers in the Bordeaux region. To celebrate this occasion, so historic for his wine estate, Baron Rothschild chose a new motto, `Premier je suis, second je fus, Mouton ne change' (`First, I am, second, I used to be, but Mouton does not change'). ··· 184 F I N E

··· By 1924, Baron Philippe de Rothschild had already revolutionised the wine industry, by inventing the concept captured in the phrase, `Mise en bouteille au Château', which meant he decided to have the wine bottled directly at the Château. The Baron spared no cost in setting up the new method of bottling, and commissioned a hundred metre long wine cellar that was built over a period of several years by Charles Siclis, then France's star architect. At the same time, he introduced a system for numbering the filled bottles. For centuries, influential brokers from Bordeaux had bought the wine in vats and only then did they bottle it. At first, the other, more conservative Premier Cru wine growers rejected the idea of bottling at the Château. However, just three years later the other Châteaux followed suit, beginning to bottle their own wines in 1927. The centralising of the bottling, brought about by Baron Philippe, would prove decisive for the quality of the wine. In this way, each château could maintain control over its wines from the bud to the bottle and also direct marketing and sales independently. In 1924, the Baron undertook another innovation, which would attract at least as much public attention as the bottling changes. Baron Rothschild commissioned the Cubist graphic artist and painter Jean Carlu to design a separate label for the 1924 vintage, the first to be bottled at the Château. Carlu's bold design depicts not only the five arrows ­ the Rothschild family coat-of-arms ­ but also the head of a ram. This image of the ram ­ based on a play on words relating to the name of the Château, `mouton' being the old French word for hill as well as for sheep ­ would subsequently serve as an inspiration for many of the artists who would produce labels for the Mouton vintages. The image of the ram would also come to stand for the pioneering spirit and unique business sense of Baron Philippe de Rothschild, who had been born under the sign of Aries. In the early 1930s, Philippe surprised the world with further innovative business ideas. From the supposedly weaker, declassified vintages of 1930, 1931 and 1932 he created the extremely successful brand, `Mouton Cadet'; bought several small châteaux in the area (among them the richly traditional Château d'Armailhac); and, with his purchase of a small wine dealership, laid the foundation stone for the company, Baron Philippe de Rothschild S.A., which is today one of the most successful, global and best known wine companies in the world. Aside from this, Baron de Rothschild developed the legendary Opus One wine in Napa Valley, California at the end of the 1970s in collaboration with the American wine mogul Robert Mondavi. This wine was the first assemblage ­ a wine blended from several grape varieties ­ to be created in the USA. Baron Rothschild and Robert Mondavi had set themselves the goal of cultivating a qualitatively high-grade Bordeauxtype premium red wine in California. Even though it took ten years before the newly created Opus One was viable, the wine became the embodiment of the successful wine concept for wines from California and the New World. Baron Philippe also demonstrated with this decision his extraordinary sense of entrepreneurial strategy. Opus One has today become one of the most expensive and valued red wines on the fiercely competitive North American market. ··· M O U T O N - R O T H S C H I L D 185 Fi n e Ar t a n d w i n e

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The artist labels In what would be a groundbreaking year for Mouton-Rothschild, Philippe de Rothschild began in 1924 to have artists illustrate the Mouton wine labels. In the following decades, he succeeded every year with the vinification of one of the best wines in the Bordelais region. Baron de Rothschild had many artist friends and enjoyed surrounding himself with them, so that he could take part in the life of the Parisian bohème at Mouton. In 1945, twenty-one years after the sensation caused by the first artist's label, Baron Philippe decided to commission a separate label for each year. Instead of being paid with money, the artists involved were given several cases of wine. The relationship between the artists selected and the Rothschild family as patrons was always an especially friendly one, based on trust from both sides. The artists commissioned to design a label were able to give their creativity free rein and to let themselves be inspired by the themes of cultivation and the enjoyment of wine, as well as the symbol of the ram. In the same way as a wine is a fingerprint or a mirror of a particular year, each Mouton label embodies the way the artist concerned perceived the moment. They also tell a story, paying tribute to the synthesis of art and nature and, above all, to the Château Mouton-Rothschild. The Baron's decision to commission contemporary artists to design the labels proved in retrospect to be a masterstroke, because the Mouton bottles thus became total works of art and therefore sought-after collectors items. Salvador Dali, Henry Moore, Joan Miró, Wassily Kandinsky, Pablo Picasso and Andy Warhol ­ the list of well-known artists who designed labels for Mouton-Rothschild, reads like an index of a treatise on the most influential and successful modern artists of the 20th century. Several of the labels were kept deliberately simple and straightforward. Philippe Jullian's `V', which celebrated the end of the Second World War in 1945, is a classic example of this approach. Other labels are illustrations of a pre-existing artwork, such as Pablo Picasso's `Bacchanale' of 1973 or Kandinsky's label of 1971. Many designs sparkle with joy and a lust for living, for instance John Huston's dancing ram dating from 1982. Some are also convincing in their sensuality, such as Balthus' drawing of a nude young girl, which was considered too sensual for a prudish America and the US market and, therefore, was censored, thereafter replaced by a blank label. Since the death of her father in 1987, Philippine de Rothschild, born 1933, has held the ownership of the Château MoutonRothschild winery and has also been the majority shareholder in the powerful wine company, Baron Philippe de Rothschild S.A. Like Baron Philippe before her, his daughter Philippine is continuing the tradition of integrating art into the philosophy of wine growing. The artwork on the Mouton labels reflects occurrences in contemporary history, but also the triumphs and strokes of fate experienced by the Rothschild family themselves. Many labels have become witnesses to real historical events. Together with the fantastic quality of the wines, they have contributed to the undying legend that is Mouton-Rothschild. ··· We start our print series in this number with the years 1924­1951. In the next issue of FINE, the years 1952­1959 follow. All the text, photos and tasting notes from the MoutonRothschild series, which starts in this issue, have been taken from the book, "Château Mouton-Rothschild ­ Tasting & Art", 288 pages, bound with decorative slipcase, bi-lingual German/ English, published by Tre Torri Verlag, 2007, ISBN 978-3937963-57-0, available for purchase at fine-magazines.com for Ð149­Ð185 (including delivery). M O U T O N - R O T H S C H I L D 187 Fi n e Ar t a n d w i n e

Rather average weather conditions in the spring, no improvement in the summer either, with unusually high levels of rainfall in the summer months. Finally, good weather in September, a lot of sunshine. The beautiful early autumn permitted a flourishing of good grapes. Finally, the war was over. It was a fantastic year for wine with a very dry, hot summer. Autumn was also very pleasant. The harvest at Mouton started early, at the beginning of September. 1924 · Jean Carlu the first artist label of all The artist Jean Carlu was born in 1900 into a well-respected family of architects. Although he also worked as a painter, sculptor and architect, as a graduate of the famous Ecole des Beaux-Arts, he specialised early on in graphics and lithography. At the age of eighteen, he had already attracted public interest and was accorded the title of France's `Designer of the Year' by a jury headed by the famous graphic designer, Cappiello. Tragically, in that same year he lost his right arm in a traffic accident. Despite this setback, the young graphic artist decided to continue with his chosen career regardless of his handicap and once again learn his practical skills. Many of Carlu's posters and placards bear witness to his political engagement and liberal attitude. Also known as the `Musketeer of the Poster', Jean Carlu became involved with the peace and resistance movements, and in 1940 designed the arresting series of placards, `Stop Hitler now', which were intended to stir up resistance against National Socialism. His graphic work can be classified as Cubist and later, under the influence of André Breton, Surrealist. In 1926, Jean Carlu designed the first artist label for Mouton-Rothschild for the 1924 vintage, thus producing the first in the series of outstanding works of art on the Mouton labels. 1945 · Philippe Jullian `victoire' ­ the large `v' Baron Philippe de Rothschild celebrated the victory of the Allies and the end of the Second World War with his highly symbolic choice of illustration for the Mouton label. The young artist Philippe Jullian and the Baron together chose the large `V' (for `victoire' or `victory'), the victory sign of the Allies and the symbol which then stood throughout Europe for resistance against the Nazis. Parisians ripped their metro tickets into the form of a `V'; and British planes formed the letter in the air with vapour trails. The appropriate sign in morse code was sent out repeatedly from London over the airwaves as an interval signal on Allied radio stations. The `V' on Philippe Jullian's label for Mouton-Rothschild documents, in a unique, universal way, the outbreak of peace and the return to normal life. ··· 100P CHÂTEAU MOUTON-ROTHSCHILD 1945 2009/2040 x 8 D 1h/G 2h ··· 95P CHÂTEAU MOUTON-ROTHSCHILD 1924 2007/now x 3, D 1h/G 1h Bottle in excellent condition with a label in perfect condition. Fill level topshoulder (ts), decanted only an hour before tasting. Very good dark, deep and mature colour. Intense appearance. A fabulous, decadent nose with blackberries, mint, earthy notes and tobacco. Fully opened after 15 minutes. Wonderfully balanced on the palate, with fresh acidity and, like all great wines, became ever better in the glass. The tannins were soft and fiery. A complex, elegant wine with rich fruit facets and a long, clean aftertaste. Without doubt, a first-class Mouton. In many respects an epochal wine! Although the Mouton-Rothschild wines of 1926, 1959 and 1961 are perfect, the 1945 has really something special about it, which I cannot describe without deep emotion. Perhaps the special quality is found in the longest, fullest aftertaste, which returns over and over again, or in the fact that it is the `Victory vintage', the symbol of freedom and the end of the war. I really do not know, but what I do know is that there is nothing comparable to a 1945 Mouton-Rothschild. The four tastings over the last twelve months were really special moments for my friends and I. The last 1945 was in excellent condition with a very good, undamaged label. The fill level reached the neck of the bottle. The wine was decanted two hours before the tasting and had a deep, dark and dense colour. Healthy and fully opened. Enormous, with an unbelievably sweet nose, including blackcurrants, coffee and eucalyptus. All constituents combined in perfect balance and created an extraordinary, very concentrated, luxurious and lively wine with a powerful, nearly unending aftertaste. This is the father of all wines and has earned my trust and my eternal loyalty. I bow deeply before it. 188 F I N E

A rainy first part of the year was followed by a sunny, warm spring. A very dry, hot summer then followed, with sufficient precipitation for absorption by the grapes. The harvest was above average in terms of quality and yield. Any hopes of having a fantastically great vintage like the previous year were not fulfilled. Bitterly cold and wet weather conditions in the spring greatly damaged the blossom; there were large areas of poor fruit sets. Furthermore, it rained frequently during the summer. In the autumn there was further precipitation, as well as wet and damp conditions at the start of the harvest 1947 · Jean Cocteau portrait of jean marais The work of Jean Cocteau (1889­1963) has belonged for a long time to the highest canon of French culture; by 1955, he had been admitted to the Académie Française. He was an artistic genius, an outsider with a great desire to create beauty on all levels. As an improvisational artist, author of poetry, novels and plays, as well as a filmmaker and draughtsman, he set standards in many genres. This darling of the Parisian art scene found his inspiration particularly in Greek and Roman mythology. As a publicist, Cocteau contributed greatly to the comprehension of modern art and contemporary painting with his essays and articles about his artist friends, such as Picasso, de Chirico and Modigliani. He also made a name for himself as a surrealist. Regardless of whether he was producing swiftly executed sketches or extravagant illustrations, Cocteau dazzled with his apparently endless creativity and great playfulness. On the label for the 1947 Mouton, Cocteau portrayed Jean Marais, a long-time friend of his, who was also a visual artist and an actor, in a mythological pose with a bunch of grapes and a cornucopia. 92P CHÂTEAU MOUTON-ROTHSCHILD 1947 2007/2015 x 11 D 1h/G 2h 1946 · Jean Hugo dove with olive branch ­ the first year of peace Jean Hugo (1894­1985), a direct relation of the great French author and national hero, Victor Hugo, was the first professional painter to design a label for Mouton-Rothschild. The miniature on the label depicts a white dove with an olive branch in its beak. This Biblical motif ­ the return of the bird after the apocalyptic flood ­ makes reference to the first year of peace after the Second World War. Hugo preferred to paint landscapes, animal and family groups, and mostly in oils and watercolours. Jean Hugo also worked for his friend Jean Cocteau as a set designer and illustrated his progressive plays, thus proving his talent in many other areas. ··· 91P CHÂTEAU MOUTON-ROTHSCHILD 1946 2006/now x 2 D 1h/G 3h ··· This wine proved to be true to its reputation ­ a marvellous, perfect balance between fruit and acidity, which is a typical characteristic of this vintage. Intense, sweet and mature taste with notes of chocolate and leather, as well as a full, pleasant and heavy nature. A really elegant, concentrated aftertaste. A truly great wine. For me, it is one of the best wines of this vintage. 1947 was an extraordinarily good vintage, with very mature, rich full-bodied wines perfect for cellaring. The Mouton looked like it was new. Cork and cap in good condition. A deep, very impressive colour, even more sparkling than the 1949 Mouton. Fantastically mature, full fruit, sweet vanilla and an open nose. Beautifully balanced on the palate, very concentrated, not as complex as was hoped but a wonderful softness and structure. Mild tannins and sweet, ripe fruit make for a deliciously flirtatious wine experience, the balance and quality of which is reflected in a long-lasting aftertaste. Lasts for an hour and a half in the glass without drying out. A wine that has kept well, without a doubt. 189 M O U T O N - R O T H S C H I L D Fi n e Ar t a n d w i n e

The spring was very warm. By mid-May, temperatures had already risen to an unusually hot 40ºC. It then became cooler towards the end of June, meaning there were losses due to bud damage. July was warmer, while August was cold and wet once again, causing the rot to spread. The harvest, on the other hand, was brought in under the best of weather conditions. Extremely dry start to the year, at blossom it was very cold and wet. These weather conditions led to disastrously poor fruit sets. Very hot from June to August almost continuously, and hardly any rain or morning dew. The harvest began during good weather, with drizzly rain now and again. 1948 · Marie Laurencin 1949 · André Dignimont gentle, romantic figure of a woman the French artist Marie Laurencin (1885­1956) was at first inspired by the great Cubists in the circle of Pablo Picasso and Georges Braque, before finding her own style, that was influenced by the artists' group, the Nabis. Laurencin was known for her very romantic, nearly dream-like images of gentle female figures, which she painted in light pastel colours and hints of shading. These pictures of an approaching sweetness in the female figural type show Laurencin's talent for soft, subtle use of colour. She chose a lyrical motif that was typical of her work for the Mouton label, depicting two innocent-looking female figures linked by a red ribbon, the colour of the wine. She painted both graceful, young women in soft pastel colours and gentle tonal gradations. still-life with wine bottles and glasses the artist André Dignimont (1891­1965) was very closely linked by friendship with to famous contemporary writers, who were associated, as was he, with the Parisian world of the literary salons. Above all, he was known as an illustrator of his friends' books. Dignimont illustrated works by renowned authors, such as Balzac and Colette. Many of his images and illustrations were inspired by the lively goings-on of the salons and depict the entertainment that was on offer in cafés, cabarets and throughout the Parisian nightlife. Dignimont's rural scene for the Mouton label is thus all the more surprising. He chose to depict a still life with wine bottles and glasses on a table in a village inn, a scene that is typical of the Bordeaux region. ··· ··· 97P CHÂTEAU MOUTON-ROTHSCHILD 1949 2009/2020 x 4, D 1h/G 1h 92P CHÂTEAU MOUTON-ROTHSCHILD 1948 2007/2015 x 2 , D 1min/G 1h Sparkling fill level and appearance. Fully mature and healthy, dark colour. Decanted only 15 minutes before the evening meal, but had already developed an open, robust bouquet. Surprisingly heavy and stylish wine, as well as complex. Very full, cedary and fruity wine. Long, sweet aftertaste. I really enjoyed this. Ready now, will not improve. A satisfying surprise! Cap and cork in excellent condition, although the fill level was only midshoulder (ms). The colour was very promising, but then we were in a very optimistic mood. The bouquet developed straight after opening and it was very distinct and complex. From the first sip to the last this was an absolutely fabulous wine. It has soft and very pleasant tannins combined with good, delicious fruit. A balanced, many layered wine, although with a slightly exaggerated acidity. It could have earned a higher score, but to be honest it was not my sort of wine ­ a bit too `grand' for me! At its best in normalsized bottles, but in a magnum could be easily aged for another five years. A serious, pleasant experience! 190 F I N E

Mild weather in the spring. Luxuriant blossom gave hope for a particularly good vintage. Hot summer with many storms, followed by the best weather conditions for the harvest. However, against all expectations, the harvest was only of average quality. A year with the worst weather conditions since notes began. Wet and cold in the spring, in June and July lowlying, threatening clouds dominated, with frequent storms occurring. The heat that had built up by the end of July was replaced by unusually cold weather during August. In September, there were some hot days but with very cold nights. 1950 · Georges Arnulf for the first time on a label ­ the ram the Monacan artist Georges Arnulf was a graduate of the famous Ecole des Beaux-Arts in Paris and even as a young graphic artist he developed captivating skills. He was awarded the Grand Prix de Rome in 1950 for his technically demanding etchings. In that same year, he was commissioned by Baron Philippe de Rothschild to design a label for Mouton. Arnulf was the first artist to choose the motif of the Rothschild coat-of-arms ­ the ram ­ as the basis of his design. In its linear structure, his drawing lends the label perspective and depth. The very spare, economic drawing is in contrast to Arnulf 's later work, which has a more playful and extravagant style, frequently depicting people and nature in flowing movement. 1951 · Marcel Vertes arcadia and lovers' tryst Marcel Vertes (1896­1961) was born into an Austro-Hungarian family and began his career as a poster artist in Vienna. After moving to Paris, he was employed by renowned publishing houses primarily as a book illustrator. He not only designed the deluxe editions of books by contemporary authors, such as Colette and Paul Morand, but also provided illustrations for older works belonging to the French classical literary canon. Vertes's drawings, etchings and lithographs again and again depicted themes from the everyday life of the Parisian metropolis. His works often have the mischievous undertone of a caricature, but at the same time always display his great gift for observation. For his Mouton-Rothschild label, Vertes drew a pastoral scene with a shepherd and shepherdess, a reference to the mythology featured in the work of the famous Roman poet, Virgil. In his `Arcadia', Virgil described a garden-like place in which shepherds and shepherdesses lived in paradisiacal innocence. The pastoral poetry of Virgil expressed a great belief in a Golden Age. An arcadia was seen as a metaphor for original bliss, noble sentiments and artistic sensitivity. ··· 92P CHÂTEAU MOUTON-ROTHSCHILD 1950 2009/2015 x8, D 45min/G 1h Another bottle of perfect appearance. The fill level was up to the neck of the bottle and was decanted for only 30 minutes. Clear, ruby red colour with relatively little evidence of development. At first, the nose was a little blocked, but after 30 minutes it opened with an intense bouquet of blackcurrants and other dark fruits and a trace of vanilla. Rounded and clear but not as meaty and full as we remembered it to be. Excessively light, with a short aftertaste. Somewhat lighter and drier than the other two 1950 wines that I tasted last year. Nonetheless, it is always a lovely and enjoyable experience! 79P CHÂTEAU MOUTON-ROTHSCHILD 1951 2005/now x 1, D 15min/G 30min ··· This bottle was in first-class condition and was decanted for only 15 minutes. As expected, it had a pale, light colour, but the bouquet was surprisingly intense, spicy and healthy. This was no massive Cabernet, but rather a weak, soft wine with only one or two layers of dry fruit and tannins. Drinkable and not nearly as hard as the vast majority of other Bordeaux wines of this poor vintage. It even had a certain length ­ perhaps the best 1951 Bordeaux that I have tasted in years. M O U T O N - R O T H S C H I L D 191 Fi n e Ar t a n d w i n e

194 F I N E

TEXT: Pekka Nuikki PHOTOS: Pekka Nuikki & Bugatti uper cars are super scary. They have a will of their own and are difficult to master. My first car, a Jaguar E-type sporting a V12 engine, was already a scary sight ­ a super car of its own era. The manoeuvrability of the Jaguar, compared to the capacity of its engine, was close to zero, especially since there was a young man with a brand new driver's licence in his pocket behind the wheel. Years later, I experienced a cold sweat and weak knees while trying to steer a Lamborghini Countach from London city centre to an open motorway. I had to use both of my hands in order to turn the wheel and practically needed to stand on the clutch. Even still, the 400-and-then-some horsepower engine took control of itself and I stalled at several traffic lights before being able to experience the pleasure of driving on the open road of the motorway. Since then, I have, for example, managed to smash the wing mirror of a Ferrari Testarossa into a concrete wall on a German autobahn, when the back of the car got loose during a slight sideway skid while driving at 270 km/h. Furthermore, the failed co-operation between myself, the engine, transmission and clutch of a Lotus Esprit Turbo was often quite scary and challenging. Therefore, you can now imagine what was going through my head when I was sitting behind the wheel of a relatively safe Porsche 911 Carrera 4 en route to Mölsheim, which is the home of the scariest super car of them all, the 1000 horsepower Bugatti Veyron. Was I scared? Not in the least. While I clearly knew that the Bugatti angel ­ which is able to outrun a Formula 1 car ­ could fly me to the moon, I also knew the ride would be as smooth and elegant as riding in the finest limousine. Bugatti Veyron is the Jekyll and Hyde of cars. But just as in Robert Louis Stevenson's story, good triumphs over evil here as well. 195 B u g a t t i S Fi n e L i f e s t y l e

M ölsheim, just inside the French border with Germany, was overcast, with dark clouds covering the Bugatti estate, isolating it from the rest of the world. Located next to the modern production facilities was the Bugatti head office, in the old St. Jean manor, which bore an eerie resemblance to Norman Bates' house. I did not have to struggle to imagine the evil forces born there. The screeching sound of the closing gate enhanced the feeling that this was the point of no return. I parked my Porsche in front of the huge front doors of the manor house and firmly started walking in the opposite direction, that is, towards the entrance of the modern Bugatti display hall next to the manor. The rain was subsiding and the dark clouds literally parted to make way for me as I entered the hall. My attention was immediately drawn to the two sinister Veyrons occupying the front of the display hall. The headlights of the cars seemed to watch my every move. It was a breathtaking moment. The Veyron was much lower, wider and more wicked than I had ever expected and the car appeared very sleek and agile. However, agility should not be the first thing that comes to mind when talking about this sports car, with its huge gear box, Bugatti Veyron 16.4 and Pierre-Henri Raphael 196 F I N E

heavy cooling system, four-wheel drive and every imaginable electrical and safety system bringing the total mass of the vehicle close to two tonnes. The Veyron has doubled everything compared to its predecessor, which was formerly the world's fastest car in serial production, the McLaren F1, in turn weighing approximately 700 kg less. Waiting for me behind the two black Veyrons were Pierre-Henri Raphael, the official Bugatti Pilot, and Georges H. Keller, Head of External Affairs. We took a seat on one of the many sofas in the middle of the hall, surrounded by a table that was laden with local delicacies and drinks. On any other day, the feast in front of me would have received my full attention, but today even a cup of tea seemed inappropriate for the occasion. George sensed my anxiety and broke my first myth about Bugatti instantly by promising to keep the introductions short and getting me behind the wheel of the Veyron in no more than twenty minutes. I had assumed that I would have to go through some multi-level, protracted initiation sequences to access the Veyron's performance, beginning with an IQ test and ending with a criminal background check. But no, Georges assured me that "Any person with a driving licence can just jump in and drive off ­ you just need to put your key in and turn the engine on," and there began his twenty minutes of introduction. he success story of the Bugatti Veyron started when Ferdinand Piëch, the automobile engineer that rose to lead Volkswagen, wanted to show the world the technical superiority of the Volkswagen Group. When the Porsche 917 hit 407 km/h at Le Mans in 1971, Ferdinand Piëch is said to have stated, "I want to do this with a normal car." The Volkswagen Group, which also manufactures Audi, SEAT and Skoda, acquired the Bugatti marquee in 1998 and Ferdinand's statement started to become quite the reality. The original aim was to create a vehicle that would retain the proud tradition of styling, performance and technical sophistication that was created by Ettore Bugatti. The starting point in itself was noble and challenging but when Ferdinand Piëch announced in the production kick-off meeting that the vehicle had to have over one thousand horsepower, everyone considered it a joke. "There was no chance of creating a monster like that, they thought," continued Georges. T T he development of the Veyron began in 1999 with the EB 18/4 concept model. The concept was initially introduced at the Tokyo Motor Show, in which the very first model bore an accurate resemblance to the future production model. The only significant change was with the engine. The concept model had a V18 engine, while the production model has a W16 engine. The engine had four turbochargers, generating 1001 horsepower, or 736 kW. The top speed of the car was promised to exceed 407 km/h and the price tag was estimated to exceed one million euros. T he development of the Veyron continued throughout 2001. At the end of the year, it was announced that the car would enter production in 2003. However, there were still uck st r lly ract tua nt IL ven a co nch RA sis e n re O wo UT e F een cri I A mic ot or th b T n AT ono tti ain f have 0s. UG c ga r 1 B bal e d Bu ed t ould y 193 r l 193 glo a ca pe y w ear rail d h h-s n e h e as a Th e, an w hig mpa t the nc ne e co ts in tself ine of il. i Fra ild a i h t ra ng d ra nt, al st lishe ale e Auto r bu to rnme i tab e Roy g the rd fo nc a es ug ve o go re fin fore h rec erin di there ith the e pow peed s. in ti , w d us rld s gine rer gat o o en Bu factu o go e w on nu put t ld th busti ma 41 he com e en ti Typ tti ev s with gat le ga Bu 's Bu vehic aw tore t ss ed s sE 30 rail ly wa hicle e 7 ear g car v 5 e E h YP ain, t tourin d 700 r ET TH the t 7. This aroun 4 193 ell as ype 5 with w e T ess, As op th c suc vel re de great tto E al RIK ver. E his fin T "S ore with ilt. df IRE p bu LA ange nshi above U , OP ld ch elatio and P ike r or str NT fits ial RO tti's w spec bene lled a rew F a 6" ga ca ial thd 193 6, Bu joyed d soc orce d wi rom f an ely f r 193 ys en goo work e In a nt, d iv his affro xclus y low alw ffere e at all had and o When onal ost ctu ft th . s f, taf e pay a per rk alm was a a ri s rag as wo trike t, and s n ave ok it m to the e pla o ei e t olsh lt of th h u M to . m res ers led fro The om hea is. wc y be Par or ne full ad f ti h ay never gat the p u in 7, B uld Y 193 joyed took wo OR ry in T en oist i VIC victo t had en att NS ug s si tB MA Man cces ober nk. B 24E u e Ta 7L dR he es tL 193 a firs of th ille an 57 G for t th ste Wim Type ecord Wi er ta rre r in a nce th ie ano ean P d flag dista s. J uere new 20 q a che ed the chiev oa als race. ur ho 197 B u g a t t i Fi n e L i f e s t y l e

Bugatti Veyron Grand Sport 16.4

B u g a t t i 199 Fi n e L i f e s t y l e

several bridges to cross, including designing a gearbox that could handle the raw output of the engine. The stability of the car at high speeds also caused problems, with one prototype crashing on the test course during a press event. Furthermore, as Bugatti is a part of the Volkswagen Group, Volkswagen's safety principles also applied to the Veyron. Therefore, Veyron's safety features and emissions had to be on the same levels as those of the VW Golf and Passat. In April 2005, these challenges were met and Veyron entered production at the end of that year. Marketing began immediately. The goal was to produce fifty cars every year. F rom day one, it was apparent that the Bugatti Veyron would not be a directly profit-generating model for Volkswagen. The massive Volkswagen Group did not have to financially fear the production costs of the Veyron project, even though the costs, including the production and development for a single unit, were estimated at seven million euro ­ making the car a relative bargain for the buyer. In practice, the manufacturer stood to lose over six million euros with every unit. Therefore, the Bugatti Veyron is essentially a shining example of technical skill, boosting the image of the Volkswagen Group and therefore not a strictly rational product aiming for financial profit ­ at least for now. "This is a masterpiece of cars. I believe that nobody will make a car like this ever again. Solely from the financial point of view, no company can accept the fact that investing into something that is known at the end of it all to turn into a negative figure on the bottom line. This is like the Tyrannosaurus Rex of cars. It will certainly become extinct. The current regulations and green values are putting an end to the building of these kinds of cars," Georges concluded with gravity. At this point, Pierre-Henri Raphael glanced at his watch and announced that the twenty minutes were up. It was time to get to the real business. s I opened the driver's door I was met with the irresistible scent of inimitable leather wafting up from the lavishly furnished and fully equipped cockpit. Pierre-Henri, a former Formula 1 and Le Mans 24h driver, sat next to me and said: "In 2005, I sat in a Bugatti for the first time. I spent seven hours there. I ate and drank in the cabin, I just could not leave." The cabin proved to be significantly more spacious than the exterior dimensions would lead one to assume and the cockpit was by far the most exclusive super car cockpit I have ever been in. Clear lines dominate the design, and all the controls reflect a meticulous care for detail. The selection and finish of the prevailing materials is something that you have only seen in cars like Bentley or Rolls-Royce, not in super cars. Only the best leather ­ free of even the tiniest blemish ­ was used for the interior. The unique light-alloy steering wheel is beautiful: a composition of aluminium spokes, leather cover, and convenient rocker switches offering easy access to the car's automatic sports functions. The satin-aluminium finish of the handcrafted centre console rounds off the elegantly sophisticated look. A he design and finish of the cockpit would have justified the trip to Mölsheim for many people. However, the cockpit was not the reason I went there ­ the reason was the evil residing behind the cockpit. I pushed the start button and the evil woke up with a deep, thunderous growl. The super car fear came back to me. Only inches from my restless mind, which was filled with primal fear, was a roaring beast demanding to be set free. I tried to control my instinct to hit the accelerator by reminding myself of the fact that I was sitting in a car faster than Kimi Räikkönen's Formula 1 automobile and not facing the empty Monza circuit, but a small-town centre. My self-doubt as to whether I could control the vehicle fought with the twitching urge to plant my foot firmly on the acclerator. Luckily, Pierre-Henri saw the sweat on my brow and gave me a wry assurance: "Don't worry, Bugatti is a very forgiving car. The last thing it wants to do is to punish you." T

n Jea gh / I RY AR I thou team TO W ally, r a nd VIC RLD ci a nte NS O nan r to e mille A fi 7 M /W TH gling fathe e Wi th a 5 LE 9 EA ierr ti, wi nd a 193 'S D strug e his P N at s (a rs nc JEA tti wa onvi Drive e Bug arger and c l . a h ), g g o ans erc d ner sin Bu ble t e M red a d sup 7 win arke a L s m n 3 wa e at n's sha sis a he 19 race Jea t rac yron has c to . The gust, had e to e V eries body e u t c rr 11 A r tha eft pla Pie ard s ank t d rst ry. On ct ca was l r n fi st sta imila ook to xa any s t . Ju vic he e ry t re at mp essor ve mo st gre g of he co cc u n t ce d s ut. on tti's la testi eant o ate g a ug durin ans m esign broke B M h 's d ar II r e at de n L unde ld W r o wo st t its f r, Wo ju ou s late h wit day few a re we pts ever, em ow AR att H es E W ative eim. ourc TH nt sh res te n Mol ial OF ge. ND few ni nc E E r, a uctio fina ct ran H wa rod the rodu 5T p 194 r the tart p ked ew te o res is TI lac an Af e t AT Par ny elop UG tal in ad ad mpa ev B m co d RE ospi nd h to h TO a 0 the sary ET itary old ,80 s OF mil ars nd 7 ece n ye rou TH at a A 6 . DE ied s6 , a d wa total name HE 7 T gatti 7. He 4 In his 19 Bu t 194 ia. ring on s a ore Ett Augu neum ilt be u p 1 n 2 cted een b o tra db con les ha ic veh D RE TE on GIS E s s S-R tti' RK ga tered Bu en WO GP as ER ore as R A f Ett ar w car w EV T TE c S o er EN LA The ip la 1 aft 56 TI TO ersh ormu eims. ired 19 d t f h T lea t re ine GA nR BU r the -eng Prix i nt bu ies. id d na de ult Un d, a m Gran rintig diffic h n l T c a la ren urice chnic Ro a eF e t th by M e to t a ven ps du dri la t 18 jus o pan His ny pa ER OV com EN craft K TA e air TI th AT to G BU s sold 3 196 tti wa a ug B . iza Su 201 B u g a t t i Fi n e L i f e s t y l e

W e started to make our way through the small town of Mölsheim, driving slowly among the traffic. It was no coincidence that the Bugatti production facilities were built here, as this is the place where Ettore Bugatti founded the company back in 1909. We passed the town centre effortlessly, as if we were travelling in the finest of luxury cars. The only small difference was the primal roar of the engine breathing peacefully behind my head as the car withheld its full capacity. During the tour of the town, Pierre-Henri did his best to educate me, as he explained the technical finesses of the Bugatti. Although the Veyron experience blew away all my senses, I did pick up on some of them. Instead of starting with the description of the 16-cylinder, 8-litre engine and the 1001 horsepower, Pierre-Henri began by explaining the act of stopping the car: "Super sports cars may usually seem to be quite difficult to bring to a halt, but the Veyron's ceramic brakes slow it down faster than it can accelerate. While it only takes 2.5 seconds to go from 0 to 100 km/h, it needs even less time ­ a mere 2.3 seconds ­ to come to a standstill," says PierreHenri. Instead of the breaks, the winding small road leading to the motorway tempted me to test the accelerator pedal and the W16 engine on the car. "The W16 engine on the Veyron has been engineered by combining two Volkswagen VR8 engines and by adding four turbochargers. Veyron features four-wheel drive, a hydraulic system controlling the tilt of the body, ceramic brake blocks enforced with carbon fibre, titanium suspension and exhaust pipe and Michelin MAX tyres, which are graded for the top speed of the car. The body is made of a light carbon fibre composition, the same as race cars, with the exception that race cars do not have to carry a two tonne mass like the Bugatti does. "The transmission is a seven-step, direct-shift gearbox with a dual clutch. There is no clutch pedal, gears can be changed from the steering wheel, from the stick or simply by leaving the job for automation," I heard Pierre-Henri explain just before we reached the motorway. hts rig the ry in t gh to ou fac e a L VA tioli b new tur VI Ar E a fac I R ano ilt anu TT bu GA Rom and r to m U 7B eur me rde 198 pren ti na , in o tre ugat Italy En B o, the allian to g o . car mp Ca uper s new O h yes. The motorway opened up in front of us and Pierre-Henri gave me the go ahead to put the pedal to the metal ­ with a mischievous comment that if I keep going at full blast, the hundred litre tank of the Veyron will be exhausted in twelve minutes, leaving us sitting at the side of the road. From its stage behind my ears, the W16 started an entirely different concert, as if the soprano of the opera had given way to the thunderous boom from the heavens. All my senses sharpened to their limits as I released a giant cry of pure euphoria that was left echoing in the scenery that was 203 B u g a t t i Fi n e L i f e s t y l e As if to prove his point, Pierre-Henri switched on the audio system and the cockpit was filled with soothing classical music from the integrated sound system designed by the esteemed specialists at Burmester, in Berlin. The Veyron is the first car to boast Burmester system elements that were originally developed for high-end home use.

currently passing us by at 300 km/h. The Veyron switched gears gently and the hydraulics proceeded to control the tilt of the speeding car by lifting up the two-level rear wing. The car felt firm, the feel for the road was good and the electronics kept the car's behaviour nearly neutral, at least when considering the speed by which the world was melting away around us. At the same moment, the memories of my previous driving experiences fell into oblivion. There was nothing that met the Veyron experience ­ how could there be? After all, I was piloting the fastest, most powerful and most expensive serial production car in the world, a genuine Bugatti that proudly bears the name of Pierre Veyron. After all, this is the man who is best remembered for his win at the 1939 Le Mans 24h, driving a Bugatti Type 57 race car. S econds had barely turned into minutes when Pierre-Henri's hand touched my shoulder to remind me that we were driving on a public road, although it did not have any speed limits. Still in my adrenaline rush, I slowed below 200 km/h and tuned to Vincenzo Bellini's La sonnambula, The Sleepwalker. Accompanied by the exquisite arias, Mr Hyde crept back to the deepest caverns of the W16 engine, thus allowing the return of Dr Jekyll. I doubt there is any other car with the split personality of the Veyron. In a few seconds, this sophisticated, ultra-comfortable, soft leather-scented executive car turns into the world's fastest sports car, oozing raw power. The Veyron feels right at home in any surrounding, be it sitting in front of the Vienna Opera, or tearing up the track at the Monza circuit in Italy. The Bugatti Veyron is a spiritual, surreal experience. It is the culmination of the work of the masters of surrealism; the simple, yet mind blowing, insights of Magritte's paintings, the mystic force behind Dali's brush strokes and the grace and ethereal appearance of the figures by Delvaux.

i's att ug 110 re B ed in il EB tto E nve HE F T ry of was u O a ING ers car EIL nniv super NV h a t 1U 110 199 e 110 EB th ew n s On the I wa , BIL P.A irth b MO PTCY ili S. round O is. ob ed a UT KRU Par ad IA r om TT AN i Aut factu hich h r A B UG FOR gatt nu , w neve on 5B u ma S s 199 FILE 95, B aving 2 salo , wa 3 9 11 h B 199 .P.A mn 1 upt, E S in r u he aut bank 10s. T ublic p In 1 d re the i EB cla de ugatt ed to t B n 140 prese ES the at UIR een ed. CQ b iled oupé c N A TI c nve du GE s u door T pro WA UGA 8 wa KS 11 B two . B O OL at, e ST eE 8V -se gin 199 IGHT 98, th e four er en ND R d 9 1 , A n E Th VA O TH umn how. 8-cyli NE aut tor S itre, 1 GE TOKY va In IN Mo 6.3-l ne D Y is AN e Ge pt UD Par red a ST FURT at th nce u t co OR NK in fea ed -DO FRA esent hiron year, C UR IN s pr as e O 3 w 18/ 9 F ARS wa sam yron EB t h e 199 TS C tudy Ve f he R s t .4 o O SP B 218 with umn the 18 t is, how. e E how, au h Th r S he fter t or S t to a n t Mo iled i ortly o Mo y ve . Sh e Tok un furt t th nk Fra ited a b i exh On the other hand, the Bugatti Veyron is a unique combination of impressive statistics: 1001 horsepower, 1 000 000 euro taxfree price tag, 407 km/h and 0-100 km/h in 2.5 seconds. But the statistics are a mere surface. The Veyron is much more than the sum of its parts. It represents the endless faith in the boundless potential and skills of humanity. It is the Apollo 11 of today. Even though the Veyron did not drive me to the moon, it took me even further into the unknown, into myself and to my very essence, wherein I found and unleashed something sinister: Mr Hyde. of ling OW unvei ourH R S the df r TO fo , an w MO w sa inder ady T ho UR cyl st re eries S F NK otor h a 16 almo gin s e. RA M ac be wit was 1 F furt Als lly 0 n 20 rank yro that actua eim, Ve ar F o lsh The B 16.4 , a c sion t in Mo i e E c d in in the eng he de unce S GIN acility rbo ion. T anno BE f tu an t s c wa ION ction n beg du CT u pro ction DU prod Veyro ed on u O d PR the pro he open f t lly f ON go a YR n o VE letio turin offici c 05 mp ufa e was 20 o n c ma er sit ti Aft eim, new gat h e . S ls Bu . Th 2005 Mo un GIN first 5 r BE he 00 er ion RY ft in 2 temb dit IVE ery o ed e p e EL it iv 3S N D e del a lim RO th t of Y aw par VE 6s 06 20 g 200 ls, as rin mode s Sp wa ron on Vey 0. T eyr f the OR atti V s o 30 SP it e g of ND e Bu 50 un nam A GR of th 08. 1 r the 0 ON sion ea h2 lb YR r VE p ve Beac d wil o n 08 e 20 pen-t ebbl ced a e o d at P rodu Th he p be nc lau l will e . d ort mo Sp and Gr 205 B u g a t t i Fi n e L i f e s t y l e

THE BEST OF THE BEST + 1

Essi Avellan MW Glass matters When guided to the table of even a casual restaurant one is more and more often greeted by a well thought-out setting, crowned by beautiful, spacious and functional wine glasses. However, all too often the promise of a dining fairytale comes to a sudden end when the aperitif champagne is served. Time and again I witness a great bottle of bubbly being poured into clumsy, small-sized, petrol station-quality flutes. Apparently, champagne still does not seem to be considered a serious wine that deserves proper drinking gear. This neglect is even more troubling if you take into consideration the fact that the bottle of champagne is often the most expensive wine of the entire meal. But how could the restaurateurs understand the importance of glasses if the Champenois themselves don't? It is not rare when visiting the producers that one is made to taste from the standardised ISO or INAO glasses that are restrictive due to their small size. How is it that these, in many aspects, marketing geniuses constantly make such a rookie mistake, as the tasting vessel undeniably plays a big role in how the wine smells and tastes. Some journalists get around this problem by travelling with their own set of glasses, wishing to taste from them in the name of comparability. I have chosen to stick with the glasses I am provided, as bringing my own would be too fussy or showy for my taste. But sometimes I just can't help but request better glasses, such as at the historical Perrier-Jouët tasting last spring. As we were tasting the twenty top PJ vintages of the past 177 years, the INAOs provided were just not good enough. These mature beauties needed to be given every opportunity to speak and shine. A like-minded colleague and I just had to plead for better glasses. Luckily, PJ were able to provide us with a few beautiful and spacious glasses, designed with the help of Serena Sutcliffe some years earlier. It was only then that the wines got the pedestal they deserved. Apparently the house no longer possessed the four hundred glasses that would have been necessary for serving all the wines. I'd love to see them in reproduction, though. Not all the houses' promotional glasses are as good as these though. It seems to me that it is more the visual side that is emphasised in champagne glasses ­ at the expense of gustatory qualities. The two popular types of champagne glasses are the Marie Antoinette coupe and the tall flute. The coupe admittedly looks very glamorous at 208 F I N E

cocktail parties and in champagne pyramids. Nevertheless, the glass is very much a champagne killer, that makes the aromas and effervescence vanish like magic. The flute is widely considered the optimal glass for champagne. What it does perfectly is show us the beauty of the rising bubbles. But the flutes are often small in size and too open at the top. Additionally, the custom is to fill the glasses up to the rim, therefore leaving no headspace for the aromas and allowing the carbon dioxide showers to unpleasantly tickle the nose if one tries to smell it. Is smelling champagne necessary then? As for any wine, the answer is absolutely yes. All the same rules of thumb apply to champagne. The glass needs to be spacious enough to allow generous headspace and it is essential the glass is tulip-shaped to encourage the aromatics. Some glass manufacturers offer two types of champagne flutes, one regular and one for vintage champagnes. In my opinion, the first one is useless, as all champagne worthy of drinking benefits from being served in the "vintage" glass. I experiment with a lot with glasses at home. My everyday glasses are Riedel Ouverture red wine glasses, which I find to be excellent overall glasses for champagne. To be honest, they work better than my "real" champagne glasses, the Riedel Vinum Extreme flutes, which are for this reason collecting dust in the cupboard. However, when I have older champagne, a prestige cuvée or a top rosé, the best performers are the round and spacious Pinot Noir and Chardonnay glasses of the same series. Why is this? These balloonlike, large-sized wine glasses steer the aromatics and structure away from the cheerful and easy champagne format towards the drinks' serious vinous qualities. Along the same line of thought, Mumm have designed a glass for Cuvée R. Lalou and even give tastings that demonstrate how the wine changes if served in different glasses and various temperatures. As with any other wine, the better the quality, the more nuances a proper glass can give you. I was pleased to discuss the subject with Dom Pérignon cellar master Richard Geoffroy, who revealed to me that he prefers drinking his DP Oenotheques from the gigantic Riedel Sommelier Pinot Noir glass. So, please do try this at home! And when offered an inferior champagne flute at a restaurant, ask to enjoy it from a regular wine glass. Only then will you get your money's worth. 209 C O L U M N Fi n e Av e l l a n

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vintages Text: Essi Avellan MW Photos: Makiko Takehara Perrier-Jouët I was amongst the very privileged and extremely lucky who were invited to the Perrier-Jouët cellars for a once-in-a-lifetime tasting. To celebrate one of the finest vintages, 2002, and Perrier-Jouët's launch of its new Belle Epoque vintage from it, we were given a chance to literally taste champagne history. 177 years of Liquid History Book To commemorate unique 177 vintages of Perrier-Jouët tasting the House assigned a Japanese artist Makiko Takehara to produce a collection of art work, a painting for each vintage. Each painting has the bottle pictured in it and the styles are borrowed from famous artists of the time from Emile Gallé to Victor Vasarély and Pedro Almodovar. 211 P e r r i e r - J o u e t Fi n e C h a m p a g n e

T he memorable task of the day was to taste 24 of the best wines from the past 177 vintages. This event had gathered together wine and champagne specialists of the highest rank from Serena Sutcliffe MW to Richard Juhlin and Michel Bettane, all eager to enrich their understanding of Champagne with this historical tasting. Not only were there to be four vintages from the 19th century, but we were even going to taste the oldest existing bottle in Champagne, the 1825. With old and rare bottles, unpleasant surprises are commonplace. However, this tasting amazed me with the consistently great condition of the bottles. Only one vintage, 1892, was corked and 1971 suffered from slight premature oxidation. Other than that the experience was perfect. This tasting convinced me further of champagne's ageing capacity and, furthermore, brought my belief in Perrier-Jouët's longevity to another level. But a word of caution much be noted at this point. Mainly magnum-sized bottles, with their perfect cellaring history of never leaving the premises, enabled this superb experience. Going through the decades, it was fascinating to follow the evolution of PJ house style alongside the general shifts in champagne style. The oldest bottles from the 19th century were very different in profile; much sweeter and richer with a clear impact from added spirits. Most vintages from 1980s to 1950s were drinking marvelously but I was amazed when we got down to 1928 and 1911. Both are legendary champagne vintages, but still their condition, energy and complexity was breathtaking. The 1911 was impressively powerful whereas the 1928 showed more reservation, but possibly the most elegant and fine-tuned balance I have ever sensed in a wine. It rendered me speechless. 1874 Perrier-Jouët Grand Brut 2009/Now 93p Deep orange colour. Minuscule beads left. Stylish, clear toast and apricot nose. Butter and cream. Mouth-filling, slightly sweet, weighty but fresh. Long and concentrated burnt sugar and orange marmalade taste. Complex with woody cognac notes on the finish. 212 F I N E 1874

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214 F I N E 1906 Perrier-Jouët Grand Brut 2009/now 94p Deep orange-hued golden colour. Mature, rich, slightly oxidised and toasted bread autolytic nose. Powerful and wide, smooth and velvety. No bubbles left but otherwise in good condition. Sweet and honeyed, apple marmalade and raisin aromatics. Long taste. Turned toasty but held impressively well in the glass. 1906

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1952 Perrier-Jouët Grand Brut MGM 2009/2015 95p Developed, orange-hued medium-deep colour. Fresh, lively bead. Smooth, round, roasted coffee nose. Honey and dried fruit complexity. Rich and wide with a firming spine. Harmonious and balanced. Peaking now but will keep. 1952 P e r r i e r - J o u ë t 217 Fi n e C h a m p a g n e

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1955 Perrier-Jouët Grand Brut MGM 2009/2020 97p 1955 Youthful deep lemony-gold colour. Fine energetic mousse. Smooth, ripe pineapple and vanilla toasty nose. Not very powerful but superbly integrated and fine-tuned. Fresh and energetic, pure, no hurry here. Complete fresh and long. Seems immortal. P e r r i e r - J o u e t 219 Fi n e C h a m p a g n e

Tasting 2002 Perrier-Jouët Belle Epoque 2009/2025 Perrier-Jouët vintages 177 years of 92p 1990 Perrier-Jouët Grand Brut MGM Liquid History Book 2009/2020 93p Pale delicate lemony colour. Subtle, soft white fruit and floral nose. Some delicate lactic complexity over the red apple and grape fruit nose. Mid-weight palate with creamy mousse. Short and dry finish. Very youthful will still gain in charm over time. Developing, deep lemony colour. The ripe fruity and sensuous nose has a fine coffee and toasty nuance beyond fresh apples and cream. Wide and rounded with enough acidity to hold the rich fruit together. Long, soft and concentrated. 1998 Perrier-Jouët Belle Epoque 2009/2018 92p MGM 1985 Perrier-Jouët Belle Epoque MGM 2009/2015 97p Deep, developing lemony-golden colour. Rich, toasty nose, deep red fruit, brioche, coffee and spiciness. Overt, energetic and charming, with lots of layers. Toasty and developed yet still with a fruity and fresh palate with smooth, perfectly integrated mousse. Full, rich and round with complexity and freshness. Perfect now but there is no hurry. Pale youthful colour. A fragrant young stone fruit and floral nose. Delicate and feminine on the palate with hidden intensity and a great balanced freshness. A lovely elegant vintage for mid-term consumption. Starts to drink wonderfully. 1996 Perrier-Jouët Belle Epoque MGM 2009/2025 94p Developing medium-deep colour. Toasty and minerally nose with gun powder, hazelnuts and chalky notes. Wonderful balance of fresh lemony fruit and developed smoothness. Elegant high acidity on the palate but wonderful maturing creaminess of aroma and texture. Stating to show its full character. Still highly reductive in style. Lovely lemony length. 1982 Perrier-Jouët Belle Epoque MGM 2009/2020 95p Deep developing lemony-golden colour. More restrained and feminine on the nose than the richer 1985. Nice toasty, nutty, coffee shop and pastry under notes with lemony complexity. Linear, pure and fresh on the balance. Tightly-knit and long with a longer life ahead than for the 1985. 1995 Perrier-Jouët Belle Epoque 2009/2018 93p 1979 Perrier-Jouët Grand Brut MGM 2009/2015 Rich, developing lemony colour. Soft ripe apple and patisserie nose. Harmonious and smooth on the nose. Powerful and rich on the palate. Fine mousse and more width. Smooth and ripe but not the backbone or power of the greatest vintages. Wonderful for mid-term consumption and delicious already. 96p Wonderful, rich roasted coffee and ripe fruit. Not as expressive on the palate, more on the restrained side with an attractive, gunflint minerality taking over at the end. Long, linear and lively. 220 F I N E

1978 Perrier-Jouët Grand Brut MGM 2009/now 93p 1928 Perrier-Jouët Grand Brut 2009/2015 99p Developing orange-hued colour. Toasty, soft ripe fruit nose, creme brûlée, pastry and candied fruit. Completely ready now with developed aromatics and fruit that is starting to fade. Long and soft. 1976 Perrier-Jouët Grand Brut MGM 2009/2015 91p Deep golden colour. Smooth rounded red fruit and coffee nose. Plump mid palate, rich and velvety. Wonderfully full and sweet fruity finish. Deep golden colour and a gentle mousse. Pure and clean nose, se, very fresh with dried fruit and honey, gentle coffee and aromatic atic wood-like perfumy tones. Mouth-watering citric, and even floral, fruit depth. Intense and concentrated with just enough sparkle to lift it up. Wonderful weight and depth. Liquid silk. Long, seamless and s astonishingly youthful, with no signs of oxidation. The balance is ce perhaps the most beautiful I have ever seen in a wine. 1911 Perrier-Jouët Grand Brut 2009/2015 98p 1975 Perrier-Jouët Grand Brut MGM 2009/2015 94p Deep golden colour. Smooth, coffee bean, lemon and floral nose. Some sweet vanilla and confectionary on the nose. Elegant, feminine and fine. Not impressive but fine-tuned and with a tightly-knit palate. Nice integration and completeness. Deep golden colour with a peach hue. Some tiny beads left. Pure, ure, gently toasty dried fruit nose. Palate more lineral, just the tiniest est refreshment left. Even a light warmth from alcohol left detectable. ble. Ripe and sweet fruit. Not hugely complex but very concentrated and d impressively powerful. Vinous, with nice palate weight and linear fresh r persistency. Lots of life left here. 1971 Perrier-Jouët Belle Epoque MGM 2009/now 90p 1906 Perrier-Jouët Grand Brut 2009/now 94p Not a perfect cork. Deep golden colour with orange hints. Toasty smooth but oxidising nose. Pleasant but not very complex. Some mousse left but fruit is oxidised on the palate, some old mushroomy notes. Not a perfect bottle. Deep orange-hued golden colour. Mature, rich, slightly oxidised and d toasted bread autolytic nose. Powerful and wide, smooth and velvety. vety. No bubbles left but otherwise in good condition. Sweet and honeyed, yed, apple marmalade and raisin aromatics. Long taste. Turned toasty but held impressively well in the glass. 1964 Perrier-Jouët Belle Epoque MGM 2009/2015 97p 1874 Perrier-Jouët Grand Brut 2009/Now Very deep orange-golden colour. Caramel, vanilla and nutty nose. Bright apricot fruit, honey and flower. Complex and vinous with a fine mousse left. Starting to show its age in the slightly drying finish. Minerally complexity and creamy broad mouthfeel. First vintage of Belle Epoque. Only one Blanc de Blancs before 1993. 93p Deep orange colour. Minuscule beads left. Stylish, clear toast and apricot nose. Butter and cream. Mouth-filling, slightly sweet, weighty y but fresh. Long and concentrated burnt sugar and orange marmalade taste. Complex with woody cognac notes on the finish. 1959 Perrier-Jouët Grand Brut MGM 2009/2015 94p 1858 Perrier-Jouët Grand Brut 2009/Now 87p Deep orange-hued colour. Fine fresh bead remaining. Toasty soft coffee nose. Not as expressive as many before. Less on fruity side, more woody and nutty. Wide and round. Age shows in the back palate. Some drying tobacco notes. Citric acidity lines the finish. Deep golden-orange colour. Strong orange liquour and mushroomy omy nose. Syrupy, concentrated and sweet. Pungent volatility. Higher her alcohol. Glue-like volatility and saltiness. Liquor-like profile. Very different in style to what we expect of champagne today. 1955 Perrier-Jouët Grand Brut MGM 2009/2020 97p 1846 Perrier-Jouët Grand Brut 2009/Now 82p Youthful deep lemony-gold colour. Fine energetic mousse. Smooth, ripe pineapple and vanilla toasty nose. Not very powerful but superbly integrated and fine-tuned. Fresh and energetic, pure, no hurry here. Complete fresh and long. Seems immortal. Deep orange colour. No bubbles. Highly mushroomy, oxidised nose. Woody notes and virtually no fruit left. Pungent. Tar and spiciness ness with high alcohol feel. A lot of sweetness. 1825 Perrier-Jouët Grand Brut 1952 Perrier-Jouët Grand Brut MGM (2009/2015) 95p Developed, orange-hued medium-deep colour. Fresh, lively bead. Smooth, round, roasted coffee nose. Honey and dried fruit complexity. Rich and wide with a firming spine. Harmonious and balanced. Peaking now but will keep. 2009/Now 90p Deep orange colour. Toasty, smooth fudge and vanilla nose with spicy touches. Slight mushroomy note. Vinous and wide. Sweet with clearly early lot of cognac added. Persistent, with no bubbles left but enough fresh spine to keep it alive. This old bottle has miraculously resisted time and e there are no signs it will deteriorate shortly. 221 P e r r i e r - J o u ë t Fi n e C h a m p a g n e

Recommends Worldwide In this section, the editorial team of FINE Magazines recommends the places where they have enjoyed and experienced special wine and champagne moments. ______________________________ Address: Behrenstrasse 72 10117 Berlin, Germany Tel. +49 30 3011 1725 0 Email: concierge@adlon-wein.de Website: www.adlon-wein.de LORENZ ADLON WINE SHOP -- BERLIN, GERMANY Berlin's most exclusive address for wine connoisseurs. A formidable selection of rarities, a great love of wine, tradition and an obligation to the Adlon name define the concept of the Lorenz Adlon Wine Shop. It is located only a few metres away from what was formerly the world's biggest and most important wine store, in Berlin. The name of the store refers to Lorenz Adlon ­ founder of the legendary Hotel Adlon, in 1907, who also managed its famous wine store, which boasted a selection of more than one million bottles, on the Wilhelmstraße, in Berlin. The Lorenz Adlon Wine Shop now continues this tradition and offers not only a fine selection of wines, but also exceptional service. The wine shop sells mainly wines from "old Europe" ­ notably Germany, Italy and France. The special thing about the wines here, besides the diversity of more than half a million bottles, is the exclusiveness and the bottle sizes. Customers will not only find rarities like a bottle of vintage 1945 MoutonRothschild, but also one of the biggest selections of half bottles of 0.375 litres. The Lorenz Adlon Wine Shop is open Monday to Saturday, from noon until 8.00 pm and is located in the Behrenstraße 72, at the back of the Hotel Adlon. Further information, as well as an extensive wine offers in the online shop, are available at www.adlon-wein.de AUSTRALIA Chateau Yering Historic House Hotel 42 Melba Highway, Yering, Yarra Valley Victoria 3770, Australia Tel. +61 3 9237 3333 www.chateauyering.com.au Situated on an old vineyard site, this five-star hotel treats visitors to luxury accommodation, service and dining. The hotel's two restaurants offer fine local produce, complemented by outstanding Yarra Valley wines from an historic cellar built in 1840. Number 8 Restaurant & Wine Bar Riverside at Crown 8 Whiteman Street Southbank VIC 3006 Tel. +61 3 9292 7899 www.number8atcrown.com.au Recognised several times for having one of the best wine selections in the world. Sommelier David Nichols has build a list with broad selection of the best champagnes in magnums and older vintages. Top of the list is Heidsieck & Co Monopole Goût Américan 1907, lifted from the Jönköping shipwreck off the coast of Finland. Sheraton Mirage Port Douglas Davidson Street Port Douglas Queensland 4877 Tel. +61 7 4099 5888 www.starwood.com A beautiful resort next to the cosy Port Douglas town, surrounded by rain forests, the great barrier reef, blue lagoons, beaches, and a golf course. The champagne list is not extensive but serves some of the top champagnes at attractive prices. AUSTRIA DO & CO Hotel Vienna Stephansplatz 12 1010 Vienna Tel. +43 1 24188 www.doco.com A most sophisticated hotel in the heart of Vienna. The DO & CO Restaurant serves the best of the world's cuisines, while The Onyx Bar takes your breath away with its panoramic views. FRANCE Hotel de Vigny 9/11 rue Balzac 75008 Paris Tel. +33 1 4299 8080 www.hoteldevigny.com A luxury Paris boutique hotel, Hotel de Vigny offers elegant simplicity and the best in boutique hotel service in this most famous of city centres. Remi & Marie Ariston Champagne Ariston Fils 4 & 8 Grande Rue 51170 Brouillet, Marne Tel. +33 3 2697 4346 A wonderful place to stay overnight. The Aristons have just three guest rooms and take great delight in showing you around their cellar and vineyards. La Maison de Rhodes 20 rue Linard-Gonthier 10000 Troyes, Aube An exceptional find to stay overnight. This 16th century mansion once belonged to the Templar and is located in the middle of the Champagne region. 11 guest rooms. L'ASSIETTE CHAMPENOISE -- CHAMPAGNE, FRANCE This place is not only a awarded restaurant in the heart of Champagne, it is a destination to experience modern cuisine champenoise, created by the youngest ever chef with two Michelin stars, Arnaud Lallement. Despite the young age of 34, Lallement runs his family restaurant with great charisma, passion and a progressive mind. The five-course creative menus (130­155 euros), with delicate flavours from local products in focus, form the core of the offering. The food is complimented with a fascinating selection of wines. The list of over 200 champagnes is overwhelming and fulfills the needs of even the most demanding champagne lover. The milieu in the bar and lounge is very chic, with its retro style giving a nice twist to the classically decorated dining room. The terrace with garden view is as a nice place to start the gastronomic journey as it is to finish it with a glass of your favourite champagne. The generous staff and the cosy atmosphere make one feel as if dining in a members only club rather than in a restaurant open to the public. Visitors should also note the facilities next door. The hotel, with its 55 rooms and pool, makes this place an oasis in Champagne. _______________________________________ Address: 40, avenue Paul-Vaillant-Couturier, 51430 Tinqueux, Champagne, France Tel: +33 3 2684 6464 Website: www.assiettechampenoise.com Open: Closed on Tuesdays (lunch & dinner), Wednesday (lunch) all the year 222 F I N E

Recommends Worldwide CHÂTEAU LES CRAYÈRES -- CHAMPAGNE, FRANCE Château Les Crayères is an icon of the Champagne region. It has been the festive centre of Reims for over a century and was originally built as a residence for Madame Pommery. Since 1983, it has served the whole region as the most prestigious restaurant. It has become a pilgrimage destination for gourmands and a showcase of the champagne producers. The château stands on the edge of Reims in a resplendent seven-hectare garden with serene views. It also has 20 luxurious rooms reflecting the glorious Belle Epoque style. The hotel's two Michelin star restaurant is run by the highly esteemed chef, Didier Elena, who has gained his experience in Alain Ducasse restaurants. He and hotel director Fabrice Mercier have built, together with the head sommelier Philippe Jamesse, a fascinating concept of seasonal champagne menus made exclusively for different champagne houses. To gain the ultimate Champagne experience at Les Crayères, one should book a package of Dom Pérignon Discovery (¤2090 for two). This package includes the accommodation in glorious garden-view rooms, a VIP welcome and a visit to Moët & Chandon's Dom Pérignon cellars. The highlight of the all-inclusive package is the Dom Pérignon dinner created by Didier Elena. Les Crayères is the epicentre of the spirit of Champagne. ____________________________________ Address: Tel: Website: 64, bd Hanry Vasnier 51685 Reims, France +33 3 2682 8080 www.lescrayeres.com Weinhaus Zum Krug Hauptstrasse 34 65347 Hattenheim King Kamehameha Club Hanauer Landstr. 192 60314 Frankfurt am Main www.king-kamehameha.de Chic champagne bar and tasting rooms. Restaurant Burg Sonnerberg Am Schlossberg 20 65191 Wiesbaden Great wine list and a superb view. ACG Bar and Lounge Kurfürstendamm 171 10707 Berlin www.artandchampagne.de Great mix of champagne and art. Long winelist and cosy atmosphere. Kronenschloesschen Hotel & Restaurant Rheinallee 3 65347 Eltville-Hattenheim Tel. +49 6723 640 www.kronenschloesschen.de The home of Rheingau Wine & Gourmet Festival. GREAT BRITAIN The Ritz London 150 Piccadilly London W1J 9BR Tel. +44 21 7493 8181 www.theritzlondon.com A London landmark, The Ritz has been the benchmark by which other hotels are measured. Afternoon tea at The Ritz is an institution in itself. Don't forget to book well in advance, and take notice of the formal dress code. Tom Aikens Restaurant 43 Elystan Street London SW3 3NT Tel. +44 20 7584 2003 www.tomaikens.co.uk Menu includes the delicious Tom's Classic, and the wine list is a treat for French wine lovers. Texture Restaurant 34 Portman Street London W1H 7BY Tel. +44 20 7224 0028 www.texture-restaurant.co.uk Texture pampers its clients with modern European style cuisine, and regards wine and GERMANY Hotel de Buci 22 rue de Buci 75006 Paris Tel. +33 1 5542 7474 A refined champagne bar in the heart of Saint Germain. www.champagneclub.com Do you wish to enjoy the luxurious and euphoric feeling a glass of champagne can provide? Do you love champagne? If the answer is yes, this is the club for you! Villa Kennedy Kennedyallee 70 60596 Frankfurt Tel. +49 69 717120 Excellent hotel with a great winter garden champagne bar. Hotel Trüffel Webergasse 6-8 65183 Wiesbaden Fine truffle shop and champagne bar. food as equally important. The restaurant also offers the chance to enjoy champagne in its beautiful and light Champagne Bar. Langtry's Restaurant 21 Pont Street London SW1X 9SG Tel. +44 20 7201 6619 www.langtrysrestaurant.com Langtry's, in the heart of Knightsbridge, offers British dishes with unique and inventive flavour combinations. The set of rooms was, in the late 19th century, a part of actress Lillie Langtry's home. PALAIS COBURG -- VIENNA, AUSTRIA With six wine cellars on three floors, combining 60,000 bottles of the finest wines, the Palais Coburg is no. 1 wine hotel in the world. The billionaire owner, Mr Pühringer, has taken his passion for wines to depths that should delight fine and rare wine lovers the world over. He has created a luxurious 5-star hotel of 35 suites and serves the rarest wines in its top class restaurants. Grounded on the defence wall of the emperor's city, this palace's architecture spans six centuries. The patriachal rooms of the 19th century Coburg-Gotha residence house the Michelin star restaurant. Restaurant Coburg. With a marvellous champagne brunch served every Sunday at the Garden Pavillion and a Philip Starck­designed Dom Pérignon Lounge hidden in the cellars, it is no wonder the FINE team is always thoroughly content at Palais Coburg. ______________________________________ Address: Coburgbastei 4 A-1010 Innere Stadt Vienna, Austria Tel. +43 1 51818 Web: www.palais-coburg.com 223 R Vc n o m on d s e i o m p e l i Fi n e R e c o m m e n d s

BERN'S STEAKHOUSE TAMPA, FLORIDA, USA If there is a nirvana for all wine lovers, it has to be in Tampa, Florida. It is here, in Bern's Steak House, that the world's largest wine cellar is located. The wine collection, numbering more than half a million, is breathtaking. The selection covers almost 7000 different table wines and a thousand different dessert wines. Regarding noble spirits one can choose from 240 scotch whiskies produced over 55 different years, around 270 armagnacs and cognacs dating back to 1800s, 300 different ports Madeiras and sherries from as far back as the 1890s. The oldest wine is the 1790 Vin de Constantia and the most valuable, Château Gruaud-Larose 1851, is worth 10 000 dollars. The exquisite wine selection is combined with juicy steaks and delicious cheeses from the huge storage cellars and caves of the restaurant. The whole experience is perfect and one can wile away many a happy hour in this sublime establishment. _______________________________ Address: Bern's Steak House 1208 South Howard Ave. Tampa, FL 33606, USA Tel. +1 813 251 2421 Website: www.bernssteakhouse.com Kettner's Restaurant & Champagne Bar 29 Romilly Street W1D 5HP London Tel. + 44 20 7734 6112 www.kettners.com This legendary restaurant was first opened by Napoleon III's chef, Auguste Kettner, in 1867. In addition to contemporary brasserie food you'll find in Kettner's a Champagne Bar with probably the most extensive champagne list in London. Texture 34 Portman Square, W1H 7BY London Tel. +44 20 7224 0028 www.texture-restaurant.co.uk Krug and Pol Roger Winston Churchill by the class. The Champagne Bar at St Pancras St Pancras International Pancras Rd NW1 2QP London Tel.+44 20 7843 4250 The longest champagne bar in London. ITALY Cristallo Palace Hotel & Spa Via Menardi 42 32043 Cortina d'Ampezzo Tel. +39 436 881111 www.cristallo.it The winner of Europe's Leading Ski Resort Award in 2007, Cristallo offers impeccable service, with its restaurant and bar located on a 90-metre veranda overlooking the Ampezzo valley. SPAIN SOUTH AFRICA Mount Nelson Hotel 76 Orange Street 8001 Cape Town www.mountnelson.co.za 100-year-old Mount Nelson Planet Champagne Bar and its terrace gives visitors an excuse to dress up and enjoy a glass of bubbly. Order caviar or oysters to complement your drink. Majestic Hotel & Spa Barcelona P. de Gracia, 68 Barcelona, Spain Tel. +34 93 488 1717 www.hotelmajestic.es Majestic has offered luxury in the centre of Barcelona since 1918 and here you will find the ultimate and most exclusive penthouse in the city. It offers 300 square metres (3230 square feet) of luxury accommodation and exclusive comfort, as well as the most impressive panoramic views of the city. SWEDEN Bollinger Champagnebar Hotel Stureplan Birger Jarlsgatan 24 10216 Stockholm Tel. +46 8 440 6600 www.hotelstureplan.se Great selection of Bollinger. ENOTECA PINCHIORRI FLORENCE, TOSCANA, ITALY If one had to name a wine restaurant in the world that meets the highest standards of any wine loving gourmand, it ought to be Enoteca Pinchiorri. In the heart of Florence, the three Michelin star restaurant Enoteca Pinchiorri has collections that are truly unique. The owner of the restaurant, Giorgio Pinchiorri, has built one of the most ambitious wine selections over the past thirty years. A wine cellar consisting of more than 150 000 bottles is filled with treasures including verticals of Henri Jayer and Romanée-Conti in various bottle sizes, with most of the wines available for tasting by the glass. The most fascinating feature of the restaurant, apart from the great dinner itself of course, is the unique wine flight packages Co-owner and chef, Annie Féolde, along with her accomplished team, have created classic, pure and delicious Italian dishes that have been reinvented in a modern way. The four-hour feast, filled with thrills, culminates with a broad coffee selection, where you can choose from more than twenty different tea or coffee brands. Enoteca Pinchiorri is always worth experiencing when in Florence. _______________________________________ Address: Enoteca Pinchiorri Via Ghibellina 87 I-50122 Firenze Toscana, Italy Tel: + 39 055 24 27 77 Website: enoteca@relaischateaux.com 224 F I N E

Recommends Worldwide THE FRENCH LAUNDRY NAPA VALLEY, CALIFORNIA, USA When visiting this restaurant it is easy to fall in love with it. This cozy establishment, located in an old laundrette in the small, tranquil town of Yountville, Napa Valley, serves one of the world's most soughtafter dining experiences. America's most accredited chef, Thomas Keller, along with his team, has created charming dishes by combining modern American food with a classic French kitchen. Classics such as Oceans and Pearls with oyster and caviar and the egg flan made into bouillon and spiced with truffles served in an eggshell, are simply mind-blowing. Keller's innovative food is combined with the fine wines of Napa Valley in a friendly surrounding and with impeccable service, it would be a shame to visit area without experiencing The French Laundry. _______________________________ Address: The French Laundry 6640 Washington Street Yountville CA 94599 +1 707 944 2380 www.frenchlaundry.com Tel: Website: USA SWITZERLAND Park Hotel Weggis Hertensteinstrasse 34 6353 Weggis, Switzerland Tel. +41 41 392 0505 www.phw.ch Switzerland's leading holiday hotel, Park Hotel Weggis offers extraordinary accommodation, multiple activities and an abundance of catering services. Its wine cellar, with approximately 2600 entries, is one of the most assorted and extensive wine lists in Switzerland, and it compliments the light and fresh cuisine perfectly. Clo Time Warner Center 10 Columbus Circle, 4th Floor New York, NY 10019 Tel. +1 212 823 9898 www.clowines.com A wine bar and shop, that offers the latest in high-end design. An edgy, sleek, and vibrant space combining cutting-edge 21st century style with the intimacy and inviting ambiance of a wine cellar. Clo presents an enotasting system that provides an opportunity to sample 4 oz. tasting pours of a broad spectrum of wines from around the world, as well as a multi-touch projection menu, making it easy to explore and find information on the wines. The New York Palace 455 Madison Avenue New York Tel. +1 212 888 7000 www.newyorkpalace.com This iconic hotel in the heart of Midtown Manhattan offers a prime location, gracious accommodation and unrivalled service, together with innovative cuisine at GILT, Istana and the newly opened Palace Gate. The Bubble Lounge San Francisco 714 Montgomery Street San Francisco, CA 94111 www.bubblelounge.com The Bubble Lounge is an elegant lounge serving over 300 champagnes. San Francisco Champagne Brunch Cruise San Francisco, CA www.viator.com This two-hour San Francisco Champagne Brunch Cruise offers the perfect mix of gourmet dining and champagne. Departs from Pier 3 on the Embarcadero. Flûte Gramercy 40 East 20th Street New York Tel. +1 212 529 7870 Champagne Happy Hours and live music Meadowood 900 Meadowood Lane St Helena, CA 94574 Tel. +1 707 963 3646 www.meadowood.com House champagne is Krug Clos du Mesnil 1996. Death and Co East Village 433 E 6th St New York, NY 10079 Tel. +1 212 3880882 www.deathandcompany.com They make everything here from champagne. Napoleon's Lounge At Paris 3655 S. Las Vegas Blvd. Las Vegas, NV 89109 Tel. +1 702 946 7000 Napoleon´s Lounge offers a mind-boggling variety of more than 100 champagnes. MEADOWOOD RESORT NAPA VALLEY, CALIFORNIA, USA Meadowood Napa Valley is well-known to many wine enthusiasts as the home of Auction Napa Valley each June. But throughout the year it serves as a second home for discerning travellers in search of a private, beautiful setting, as well as wine and food experiences that are second to none. The Restaurant at Meadowood is Napa Valley's only Michelin two-star dining venue; and Chef Christopher Kostow has just been named one of the Best New Chefs for 2009 by Food & Wine Magazine. The Restaurant wine list is overseen by Sommelier Rom Toulon and offers a profound selection of Napa's best wines. Meadowood's commitment to wine education and enjoyment is further enhanced by Master Sommelier Gilles de Chambure, who is always in available to arrange wine experiences for those seeking a deeper level of knowledge and access. The property also features championship croquet lawns, seven tennis courts, a nine-hole golf course, hiking trails, swimming pool and a full-service health spa. This five-star retreat is ideally located to use as base when visiting the region's wineries. _________________________________ Address: Meadowood Napa Valley 900 Meadowood Lane St Helena, California 94574 707-967-1216 www.meadowood.com Tel: Website: 225 R Vc n o m on d s e i o m p e l i Fi n e R e c o m m e n d s

EUROPEAN FINE WINE MAGAZINE AMERICAN FINE WINE MAGAZINE CHAMPAGNE MAGAZINE FINE magazines are available at selected premium outlets around the world. Become a FINE subscriber! Subscribe at: www.fine-magazines.com Or by e-mail: subs@fine-magazines.com Subscription for FINE American or European four issues: Europe 75,00 / Rest of the World 105. Includes shipping costs. w w w. f i n e - m ag a z i n e s .c o m

THE MOST PRESTIGIOUS WINE MAGAZINES IN THE WORLD A uniquely visual and captivating way to experience, enjoy and learn about the FINEst wines of the world. Each quarterly issue of over 152 pages is packed with information, passionate talk and tasting notes exclusively of fine and rare wines. The breathtaking wine photography by Pekka Nuikki brings it all together as the most enjoyable fine wine magazines ever made. FINE is all about the greatest wines, fascinating stories, intriguing wine personalities and up-to-date tasting notes of the world's most sought after wines. This new generation wine magazine makes up for essential reading for all fine wine lovers and collectors. FINE Champagne magazine is available at selected premium outlets all over the world. Become a FINE Champagne subscriber! Subscribe at: www.fine-magazines.com Or by e-mail: subs@fine-magazines.com Subscription FINE Champagne four issues (published three times a year): Europe 75,00 / Rest of the World 105. Includes shipping costs. New website coming soon! As many of our subscribers will have read in our last newsletter, FINE is currently in the process of creating a new, improved website. Our new interactive service will offer all the features of our present site but will be equipped with the latest technology, allowing readers a more interactive and rewarding experience. We are pleased to announce that the new website will be up and running during the month of September. We are very excited by this project and believe you will be too once you log on and surf your way to our new home. The web address will still be the same, so all you have to do is enter www.fine-magazines.com and begin the adventure! w w w. f i n e - m ag a z i n e s .c o m

REGULATOR Montres Perrelet SA, Rue Bubenberg 7, 2502 Bienne, Switzerland, T +41 32 346 26 26 www.perrelet.com

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FLY. WITHOUT EVER LEAVING THE GROUND. THE CONTINENTAL GTC SPEED. The most powerful Bentley convertible ever created. Enhanced styling, stunning in every detail. Its 600bhp (449kW/610PS) heart propelling you to 60mph in just 4.5 seconds (0-100 km/h in 4.8 seconds). An experience added to by the Continental GTC, the very height of individuality ­ a world of exhilaration and relaxation. But which soul is right for you? Bentley Stockholm, Vendevägen 14, 182 69 Djursholm, Sweden Tel 08/755 15 15 info@bentley-stockholm.com www.bentley-stockholm.com Fuel economy figures for the Bentley Continental range in mpg (l/100km): Urban 11.2 (25.3); Extra Urban 24.3 (11.6); Combined 17.0 (16.6). CO2 emissions (g/km): 396. The name `Bentley' and the `B' in wings device are registered trademarks. © 2009 Bentley Motors Limited. Model shown: Bentley Continental GTC Speed.

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FINELife Award 2009 FINELife Award Handmade Timepiece by Sarpaneva The recipient of the inaugural FINELife Award, for outstanding contribution to the world of fine wine, will be unveiled in the next issue of FINE.