Albiera Antinori is the first woman to take the helm of the Antinori empire. And “empire” isn’t an exaggeration for a dynasty that rose to prominence in the late 13th century, making its fortune in the silk trade, and later banking. The family has been making wine since at least 1385, when Giovanni di Pietro Antinori registered with the winemakers’ guild in Florence. To put that in perspective, that was before the Gutenberg bible was printed, before the fall of Constantinople, before Christopher Columbus set sail for the Americas.   Now, over six centuries later, Marchesi Antinori owns almost 3,000 hectares of vines across 21 estates (plus additional land that is dedicated to forest, olive groves etc) spread across the globe, and is among the oldest family businesses in the world (sitting at number 10 globally). Once part of Italy’s aristocratic elite, the Medici family line may have faded into extinction, but the Antinoris – like the Ricasolis – still hold significant sway.  Looking at Albiera Antinori on my screen, however, it’s hard to tie this pedigree to the woman in front of me. Now aged 58, she – along with her two sisters – represents the 26th generation of the family. Olive-skinned, relaxed and with a gentle smile, she props her glasses back on her head once the inevitable technical issues are resolved, settling back into her chair for our Zoom call. She may be one of the most powerful figures in Italian wine, but you wouldn’t know it.   Harvest is just getting underway as we sit down to talk about her family and its legacy – a time that she remembers fondly as a child. She grew up in Florence, but spent weekends and holidays in Bolgheri or at Tenuta Tignanello in Chianti – and wine was simply part of life. Some of her earliest memories are of the harvest and sipping wine (diluted with a drop of water) over dinner at Tignanello, gathered around the table with her grandfather, Niccolò Antinori, and the rest of the family.  It was when Albiera finished school that wine moved into the foreground. She didn’t yet know what she wanted to do and – with harvest at Castello della Sala was set to start in a few weeks’ time – her father, Piero Antinori, suggested she work there, that way she’d at least be earning some money while she figured things out. “From then on, it’s been a kind of snowball,” she says, smiling. Once the fruit was in, the wines needed making, there were vineyards to be managed and planted, and soon she was travelling, telling the world about the wines her family made. She had fallen down the rabbit hole.  Has she ever wondered about the path not taken? No, is the short answer, she tells me – and she’s been able to combine her other passions with work for Antinori. Take architecture: she has overseen the construction of 12 wineries during her tenure, working closely with the team to develop the perfect building for each.   She officially took the reins of the business in 2017 – but, as the eldest, she almost fell into the role of CEO. She may be at the top of the figurative tree, but it’s a family business through and through. She works closely with her sisters, both of whom are Vice Presidents (Alessia oversees the winemaking and Allegra manages the company’s various restaurants). Their father Piero – now approaching 90 – is still in the office every day too.   The Antinori name has long been associated with boundary-pushing. Albiera’s grandfather Niccolò was one of the first to stir things up in Chianti. In 1924, he put Bordeaux varieties in the family’s Villa Antinori Chianti – a scandalous act at the time. Niccolò’s brother-in-law was Mario Incisa della Rocchetta, who planted Cabernet Sauvignon on his wife’s Tenuta San Guido estate in 1944. The wine was made for family and friends at first, but when Piero Antinori (Niccolò’s son and Albiera’s father) took over running the family business in 1966, he saw the potential. Giacomo Tachis, the Antinori winemaker, started making the wine and ageing it in new French oak. By 1971, Piero had persuaded his uncle to release the 1968 vintage commercially: Sassicaia – and the Super Tuscan movement – was born. It wasn’t long before Piero followed with his own offering, releasing the first vintage (1971) of Tignanello – a blend of Sangiovese and Cabernet from their eponymous estate in Chianti Classico – in 1978. Solaia soon followed (first made in 1978).  “The equilibrium between innovation and tradition is always something very delicate,” says Albiera. The family’s revolutionary spirit lives on, but she’s aware that their history, legacy and tradition is “a real asset” – one that shouldn’t be overlooked in today’s global wine market. While once they had to force the world to acknowledge the quality of Italian wine, now their focus on celebrating local varieties and creating wines that are true to their terroir. That remains true across their estates – no longer just in Tuscany, but from Puglia to Piedmont, as well as beyond – with properties in Chile and California (including Stag’s Leap Wine Cellars). At its core, however, their philosophy can be summed up in one word, she says: quality.  The next generation is already on board, with Albiera’s children Vittorio and Verdiana working alongside her. Their journey was totally different – going to university, taking master’s degrees and gaining experience at wineries around the world – a more conscious step into the family business. There was, however, no denying their fate.  Being an Antinori, Albiera says, “means a responsibility towards the people that work with us, towards the history that we have, and towards the land that we farm… a solid and constant commitment to doing things well, to doing things with intelligence, to do things that are long-lasting”. After six centuries in the business and a portfolio of estates around the world, that responsibility continues to grow – but it’s a duty the Antinoris seem uniquely suited to handling.  The new vintage of Solaia (2022) is now available  Explore all current Antinori listings or read more Editorial 

The Antinoris are one of Italy’s most famous families. As the new vintage of Solaia is released, we caught up with Albiera Antinori – the 26th-generation CEO and President of her family firm

Sitting down with Albiera Antinori – CEO of Marchesi Antinori, company that created Super Tuscan Tignanello to find out more about their wine dynasty 

Talking to Albiera Antinori about the family’s wine empire 

The Antinori empire 

Inspired by a Russian, first made by a Hungarian, who was succeeded by a Frenchman and then a German, the winemaking lineage at Masseto has been decidedly international – until now, that is. Since January 2024, the leading Super Tuscan and Ornellaia’s sibling estate has had its first native at the helm: Marco Balsimelli – born in Arezzo, not far from Siena, took the reins from longtime Production Director Axel Heinz.  Balsimelli comes with his own illustrious pedigree, having long been based in Bordeaux, working at Gruaud Larose and, since 2010, alongside the famous Eric Boissenot as a consultant winemaker to many of the region’s leading estates, but the chance to work at Ornellaia and Masseto – iconic names from his Tuscan homeland – was an opportunity he couldn’t turn down.  It was André Tchelistcheff (the Russian-born Napa winemaker) who first suggested to Lodovico Antinori that a particular hill on the Ornellaia estate would be perfect for Merlot. Tchelistcheff was consulting for Antinori, and recognised the potential of the parcel of blue clay – the same soil that is synonymous with Pétrus. Back then, in the 1980s, Merlot was barely planted in Tuscany and remained an unknown quantity in the region, with only Castello di Ama – based further inland in Chianti Classico – having some vines (today used for its flagship L’Apparita). Nevertheless, the Ornellaia team took a chance and planted most of the seven-hectare swathe of clay in 1984 (additional planting took place in 1995).  The first vintage of Merlot from the site was made in 1987: Masseto was born. The name comes from “masso”, Italian for rock, after the large boulder-like clumps of clay that dot the vineyard’s surface. It didn’t take long for the wine to earn international acclaim, with Wine Spectator giving the 2001 vintage 100 points, and its place was cemented in vinous history.  Although Tchelistcheff consulted until 1989, replaced by Michel Rolland from 1991, Hungarian Tibor Gál was the property’s first winemaker. Gál was succeeded by Thomas Duroux (now of Ch. Palmer), who in 2005 passed the baton to Axel Heinz, the German-born winemaker who preceded Balsimelli. The property has changed hands over the years too, with the Mondavi family taking a share in 1999 before buying it outright from Lodovico Antinori, and selling it onto the Frescobaldi family, who took full ownership of Ornellaia and Masseto from 2005.  Much might have changed, but the terroir hasn’t. “It’s a very special site,” Balsimelli tells me. The all-important clay dominates the topsoil, which is only about a metre deep. When it rains, the clay swells, making it near impossible for the vines’ roots to develop. High sodium levels in the soils only accentuate the problem. “For the roots, it’s a battle every day,” he says. It’s that struggle, he feels, that you can taste in the concentrated, high-acid fruit from the site.  The climate is key too, lying just 10 kilometres from the Tyrrhenian Sea. Fresh marine breezes mean the temperature is around 5°C lower than that in central Tuscany, with a drop of circa 15°C from day to night. Combine this with the light reflected off the sea, and you get a long growing season, preserving aromatics and acidity, yet encouraging phenolic ripeness – wines that combine perfume and power. Surrounded by forest, there is a reason that Masseto is run as an entirely separate project to Ornellaia, with its own unique identity – even if it has always shared a winemaker (and, until 2019, a winery) with its sibling estate.  For Balsimelli, the project has provided a fresh challenge. The shift away from a consultant role – no longer offering advice before moving on to the next project, but sitting with each and every decision – adds a new weight of responsibility. “I spend a lot of time thinking about the technical questions and the consequences,” he tells me. Since most of his work with Boissenot had been based on Bordeaux’s Left Bank, focused on Cabernet-driven blends from larger estates, working with a small property, focused on just one variety and various sub-plots is a different sort of jigsaw puzzle. The approach, for him, is much more Burgundian – all about expressing the purity of the site and its blue clay. “You have to be perfect with only one type of soil and one grape variety,” he explains.  The quest for perfection was started long ago at Masseto and today the vines average between 20 and 30 years in age. They’ve also been moving from cordon-trained to bush vines – first trialled in 2008 and something which they have found helps temper the effects of global warming (coping better in dry conditions and shading the fruit from the heat of the sun). Farmed organically since 2012, there has also been a significant focus on encouraging biodiversity across the site, including using cover crops to reduce soil compaction, increase organic matter and retain humidity in the soils.  Balsimelli’s first vintage was 2024, which won’t be released until 2027. But he’s clearly excited by the site, as well as how he can tweak and improve a wine that is already lauded by critics and consumers. “When you taste old vintages of Masseto, you can feel the legacy, taste the terroir,” he says – and that’s exactly what he wants to do moving forward, channelling the Boissenot philosophy: understanding a piece of land and finding the best solution to express it in the glass. For him, that solution will be all about accentuating the wine’s elegance.  He notes how there was – across the world of wine – a trend towards low yield and high levels of maturity in the early 2000s, but his preferred vintages are those that saw more balance. The 2006, for example, is his favourite at the moment – a year with more rainfall, more vigour, and – he feels – more energy as a result. It’s a vintage that he believes is “the key for the future”.  The site is one that can ripen quickly, and he plans to focus on freshness, maybe picking a little earlier, reducing extraction and lowering temperatures for maceration. The 2022 is the vintage set to be released this September – a wine that Balsimelli notes shows just how good the site is – performing even in tricky conditions such as 2022’s hot growing season. It is, he says, “the magic of Massseto”. Magic it may be, but Balsimelli is set on elevating this special estate even further.   Explore all current listings of Masseto or read more Editorial 

Often considered the Pétrus of Italy, Masseto is a wine like no other. Ahead of the new release, we sat down with Marco Balsimelli – the man at the helm today – to talk about the special site and what lies ahead for the Super Tuscan 

Talking to the Super Tuscan’s new Production Director Marco Balsimelli about Masseto, Ornellaia sibling estate and its unique Merlot wines

The magic of Masseto - Marco Balsimelli

The magic of Masseto

“It’s been an absolute pig of a year,” says Mark Gaskain. It’s September 2024 and we’re reaching the end of what has been a trying growing season across most of Europe – with seemingly never-ending rain. Fortunately, Gaskain knows that such challenges are just part of the job. He’s a farmer, born and bred, now at the helm of his family business, and responsible for growing 70 million apples a year. But in the last decade, he’s added a new strand to the business – after selling a swathe of land to none other than Champagne Taittinger in 2015. That land is now the home of Domaine Evremond – one of the most exciting English wine projects to date.  The story began almost a decade ago. Patrick McGrath – founder and CEO of Hatch Mansfield, which represents Champagne Taittinger in the UK – had been looking at adding an English sparkling wine to the company’s portfolio. It was the early 2010s, and he spied an opportunity with the burgeoning category – but Pierre-Emmanuel Taittinger suggested that, rather than taking on an existing estate, McGrath should create his own, working with Taittinger. Taittinger had embarked on a similar venture in California, creating Domaine Carneros with their US agent, Kobrand, under Pierre-Emmanuel’s uncle, Claude. Together, they decided to take the plunge.  They charged leading English wine specialist Stephen Skelton with helping them find the perfect site – determined to have chalk soils, south/southwest-facing slopes (for maximum sun exposure) at altitudes below 100 metres (with temperatures reducing by 1°C per 100m, anything above this would simply be too cold in England’s marginal climate). Kent – with easy access across to Champagne – was decided on, but it took them 18 months to find the right site. At the same time, the Gaskains were looking at selling some of their land (a foray into soft fruit had proven challenging, and were looking to get back to their core business of apples). The timing was fortuitous and the orchards at Stone Stile Farm – around the village of Chilham, southwest of Canterbury – were perfect. As Alexandre Ponnavoy (Chef de Cave for both Taittinger and Evremond) told me, if a site can grow good fruit – it’s a good indicator for its viticultural potential.  In 2015, the deal was signed and the project launched with great fanfare at Westminster Abbey. Domaine Evremond takes its name from Charles de Saint-Evremond (1614-1703), a Frenchman, essayist and early ambassador for the wines of Champagne – bringing them to the court of Charles II – who is buried in Poets’ Corner. Although Didier Pierson – a grower in Champagne – had made English wine under the Meon Hill label, Taittinger was one of the first major Champagne Houses to invest in England (Pommery had bought vineyards in Hampshire in 2014). Unsurprisingly, press coverage was extensive: the Champenois were coming to make sparkling wine on our home turf – the French naysayers set to eat their hats as the world started facing up to fine English fizz.  Evremond’s first vines went in the ground in 2017, with more added in 2020 (the team set up at the local Premier Inn to tackle the work mid-pandemic) and in 2024. The land here has a layer of alluvial clay over its chalk subsoil which is part of the Paris basin, shared with much of northern France (including Champagne). Around Canterbury, however, there’s more flint in the soil – something that Ponnavoy feels shines through in the wine, giving it a mineral, reductive character. There’s also a definite maritime influence – moderating temperatures, but also bringing ocean breezes from Whitstable, which is just six miles away. For Ponnavoy, it’s the combination of the site’s chalky soils, maritime softness and sea winds – a “contrasting climatology” – that defines the Evremond wines.   Gaskain is deeply involved in the project – his in-depth knowledge of the land an invaluable resource, knowing where potential frost pockets lie, for example, or where the soil might be overly rich for vines. He and his team manage the site day-to-day, guided by Christelle Rinvelle (Taittinger’s Vineyard Director). Currently, they have 62 hectares of vines, split between 45% Chardonnay, 45% Pinot Noir and 10% Meunier. They planted Chardonnay on areas with the thinnest topsoil, allowing its roots almost direct access to the chalky bedrock, while the Pinot Noir and Meunier sit on the more clay/gravel-rich plots.  The vines are widely spaced (5,000 vines per hectare – half the vine density Taittinger uses in Champagne) and trained higher than across the Channel, allowing for better airflow (helping manage disease pressure) and a larger canopy (to aid ripening). While herbicides have never been used on the site and there’s a concerted effort to be sustainable, Gaskain is clear on the limitations of viticulture in Kent: “Organics is madness in this climate,” he tells me – as, perhaps, 2024 proved. While the team has vine-specific sprayers, Gaskain can also draw on his team’s orchard equipment too – a boon when conditions are challenging – and spray the entire site in one (rather long) day.  They harvested tiny quantities of fruit in 2018 and 2019, with the first commercial-sized vintage coming from 2020 (conveniently the grape harvest falls neatly between that of Galas and Braeburns). Early wines were made at nearby Simpsons, and from 2020, they set up in an old concrete barn on the site – with the entire operation run on a generator. In June 2022, they broke ground on a new winery (“We were over budget four weeks after starting,” says McGrath, with a weary smile). The same company that worked on the Channel Tunnel dug out 83,000 tons of chalk (around 2,000 lorry loads) to make way for the three-storey building that stretches 20 metres below ground. Designed by Reims-based architect Giovanni Pace, the idea is for the winery to blend into the landscape – rather than stand on it. It has the capacity to cellar 1.5 million bottles – all without expending any additional energy on cooling, thanks to its natural subterranean chill.   Works were finished in time for the 2024 harvest – a relief undoubtedly for the team. There is something charmingly British, slightly ramshackle and underdog about the operation – despite the very serious money behind it (£17 million invested so far, reportedly). “Everybody’s had to muck in,” says McGrath. He might be Hatch’s CEO and one of the Evremond founders, but he’s also the first to pull on his wellies to help with harvest – and has spent more weekends in the vineyard than anyone else. Vitalie Taittinger has taken over from her father as President of Taittinger, and McGrath’s daughter India is running the commercial side of Evremond – meaning the operation really is a family business, even if it comes with some luxury, Champenois-esque swagger.  With the Taittinger association, of course, expectations are incredibly high – something McGrath is painfully aware of. Talking to Ponnavoy – who is in charge of the winemaking at both Taittinger and Evremond – there’s been something very exciting about creating a project from scratch, even if it has come with some challenges too. He argued to keep the small 2018 harvest for the property only, allowing them to follow the wines in tank over several years, and get to know the site. It was a huge cost, and delayed the first release, but something he felt was crucial.  “It was really important not to do a copy of another sparkling wine, not to produce a… ‘style’,” he says. Their goal, instead, was: “To identify the terroir, to identify the soil, to identify the climate, and reproduce all that in the bottle. To find the Evremond identity.” Inevitably, there’s a temptation to draw comparisons between Taittinger and Evremond, but the team is clear that they are totally separate projects with very different DNA.  Working with English fruit, Ponnavoy felt it was key to manage the potentially biting acidity (and the wine sees full malolactic as a result), but – for him – the greatest challenge was to avoid a bitterness that he finds common in some English wines. Managing the phenolics to avoid this was, for him, therefore essential, while he also focused particularly on the bubble texture – working to get a very fine mousse, something that he believes sets the wine apart from the competition.  In time, Evremond hopes to make 400,000 bottles a year, although there are only 120,000 of its first release. There are plans to add a vintage and rosé cuvée once the vines have matured and they’ve gotten to know the site, but for now they’re only producing the non-vintage Classic Cuvée. Now, a decade after they bought the land, Edition 1 of the Classic Cuvée is set to be released. For a début, it’s an incredible result – perhaps not surprising given the pedigree of the operation. Incredibly fine, taut and layered with oyster-shell, iodine and flint, it’s a wine full of the promise of what Evremond can do.  Domaine Evremond’s Classic Cuvée Edition 1 will be released on Thursday 3rd April: contact your Account Manager to register interest or sign up to be notified here 

A decade ago, Champagne Taittinger did something unexpected: they bought land in Kent. On the eve of the release of the project’s first wine, Sophie Thorpe caught up with the team behind Domaine Evremond about the challenges and triumphs of their English adventure 

Champagne Taittinger bought land in Kent 10 years ago. As the first wine from the project is released, we talk to the team behind Domaine Evremond

Diving into Domaine Evremond – Taittinger’s new English wine

Unearthing Evremond: Taittinger’s new English wine project 

After the elegance of 2018 and the power of 2019, the 2020 vintage in Montalcino had a lot to live up to.  As Cerbaiona’s Matthew Fioretti told me, “On paper, it looks like a good vintage.” Statistically speaking, the median temperature was good, the rainfall plentiful without being excessive – it looks perfect. But the year was much trickier than those numbers suggest, and one that tested producers.  For Castiglion del Bosco’s Cecilia Leoneschi, it was the first vintage where she really felt the effects of climate change in Montalcino – with 64 days without a drop of water over the summer, something she’d never seen before. It was, she emphasised, a vintage that varied significantly across the appellation – especially between lower and higher altitudes – as was reinforced by our conversations about the year.  Nicola Vaglini (Pieve Santa Restituta) emphasised how important rain in the preceding winter was, replenishing water reserves, which were topped up by additional spring showers. The season started with even budbreak in temperate conditions. Frost hit in late March – striking northern parts of the region most acutely (Vaglini reported losing 15% in some sites), although most escaped unscathed.  The season continued, satisfyingly uneventful, until July, when the weather shifted. It became very warm, with spikes of heat – reaching 38 and even 40°C. In these brief but powerful heatwaves, the vines shut down and development stalled. Fioretti noted how he saw base leaves drop, meaning the grapes were no longer shielded from the full force of the sun. Despite the heat, Poggio di Sotto’s Leonardo Berti commented how relieved he was that temperatures didn’t hit over 40-41°C, as has now become relatively normal in Castelnuovo dell’Abate – a mark of the changing climate.  In among these heatwaves were sudden downpours – rain that fell hard and fast, with up to 100mm falling over three hours, arriving too quickly for the soils to absorb meaningfully, and causing flooding issues (at Cerbaiona, they were left with 20cm of water in one of their cellars). This is one of the reasons why, Fioretti argues, the year’s statistics are so misleading. Although there was technically an average volume of rainfall, the conditions meant that it was – at Cerbaiona – effectively a drought year, because so little made it to the vines’ roots.  Leoneschi explained how at Castiglion del Bosco, they are increasingly using cover crops to help retain water in the vineyard. They generally have less rain – shielded by Mount Amiata on one side and coastal winds coming from the opposite direction – but didn’t see major water stress in 2020. At Poggio di Sotto, Leonardo Berti commented that 2020 provided just the right quantity and quality of rain, falling at times that didn’t disrupt work in the vineyard.   The weather cooled off in late August, with rain falling at the end of the month. At Poggio di Sotto, they’ve been using a clay spray (zeolite) for several years – spraying the canopy to help protect the leaves against rain in the run-up to harvest, something Berti noted was particularly helpful in 2020. Lower-altitude sites saw more rain versus those higher up the region’s slopes. Cecilia Leoneschi explained how the diurnal shift in the final stage of the growing season was key to the vintage for her, allowing the fruit to ripen fully.   Mid-September saw heavier rain – and this provides a divide in terms of harvest dates, with some choosing to pick before and others after. At Poggio di Sotto, where harvest is always early, they started bringing fruit in around 4th September – relatively late for them, Berti explained, as the cooler August weather had slowed ripening by around a week. Nicola Vaglini reported a wave of warmer weather from 5th to 15th September, with rapid sugar accumulation in the grapes, and they started to harvest on 15th. At both Cerbaiona and Castiglion del Bosco, the harvest commenced on 20th September, while some producers – such as Casanova di Neri – held out even longer.   Cerbaiona’s Fioretti emphasised how important it was to manage yields in 2020, with it being all too easy to over-crop and have green tannins. Most producers agreed that multiple passes were essential this year. At Castiglion del Bosco, Leoneschi explained how even within the same plot they were harvesting vines up to 12 days apart – reflecting the stress of the season.  By early October, all the fruit was in the winery, and most producers said sorting was key – whether by hand or machine, to remove any sunburnt or shrivelled grapes, especially those that also may not have ripened fully.   The risk was potentially high alcohol and hard tannins, from the heat of the year. Extraction was a focus of winemakers’ efforts in the winery – being careful not to overwork the must. At Cerbaiona, Fioretti emphasised how a three-day cold soak helped bring out “the exuberance of the fruit”, and he kept the fermentation at a cool maximum of 26°C, moving it as little as possible, and taking it off the skins as soon as it was dry (after just seven to 10 days).   By contrast, Leonardo Berti opted for a long but gentle extraction – allowing the wine to stay on its skins for 50-55 days, only wetting the cap as needed during that period; an opposite approach to 2019 where he could pump over as much as he wanted, such was the phenolic ripeness. At Castiglion del Bosco, Leoneschi noted how she used bâtonnage to build complexity (not structure), stirring the fine lees after malolactic to create a fine and elegant, but not full wine.  For Berti (Poggio di Sotto), he kept their 2020 Brunello in cask for three years (the norm for them, two years is the legal minimum), while a vintage like 2019 spent an additional 10 months in wood. Many producers seemed to stick to the minimum 24 months in oak, wanting to capture the wines’ fruit and freshness as much as possible. Some feel that even that is too long – a sentiment echoed in other parts of Italy when it comes to cask ageing (such as Barolo), with producers suggesting that these minimum requirements are no longer compatible with the climate and style of wines being produced today.  Despite the heat, the 2020s seem to have surprised producers – offering more freshness than they might have expected. It is clear that the best are open and approachable wines, with plenty of fruit and freshness – although this isn’t consistent across the region.  For Fioretti, the vintage doesn’t quite reach greatness – the phenolics limiting it, not quite having the finesse of the best years. That said, the resulting wine is open and fruit-forward, with moderate, sweet tannins, giving great pleasure already; it is, as he says, “good to go” – a modest appraisal of a fantastic wine this year.  Berti at Poggio di Sotto describes 2020 as “a compromise between the elegance of 2018 and the power of 2019” – and more approachable than either. He thinks perhaps it’s closest to the legendary 2016, not quite as structured, but with more elegance and immediacy. Both Vaglini and Giacomo Neri (Casanova di Neri) suggested the vintage is a blend of 2015 and 2016, with finesse, elegance and expressive bouquets, as well as good acidity. Leoneschi echoed this, emphasising the precision and density of aromatics, but added that 2020 is a particularly terroir-driven year – one where site speaks louder than the producer.  The 2020 vintage doesn’t reach the absolute heights of a year like 2016, and it’s important to be selective. The best wines, however, have an immediate charm and elegance that – as Fioretti said – should not be underestimated. These are still serious wines. Giacomo Neri perhaps put it best, describing 2020 as “an underdog vintage” – one that is set to surprise people over the next two decades.  Explore all current 2020 Brunello di Montalcino listings or read more about Italy 

The epitome of fine Sangiovese, Brunello di Montalcino has rapidly become a staple for collectors. As the latest vintage is released, Sophie Thorpe caught up with some of the region’s top producers to dive into the 2020 growing season and the wines it produced 

We talk to top producers about the 2020 vintage in Brunello di Montalcino and the elegant, open wines the year produced 

Discover the 2020 vintage in Brunello di Montalcino 

Brunello di Montalcino 2020: vintage overview 

Bordeaux’s white wines don’t often make it into the limelight and Ch. Margaux is one of the few top estates – beyond the borders of Graves and Pessac-Léognan – to make a white that is as highly rated, and collected, as its red.  Last year, lovers of its famous Pavillon Blanc were rewarded with the news of an addition to the First Growth’s range: a second white wine, known as Pavillon Blanc Second Vin.  From the 2004 vintage, the team became increasingly selective with the fruit that made it into Pavillon Blanc, and from 2008 only a third or maximum half of the Sauvignon Blanc they harvest was being bottled. The team started occasionally bottling a barrel or two of a possible second wine, with the final result often poured for the harvest team. They rapidly realised, however, that the quality was good enough to deserve much more than internal consumption.  The wine is a true second selection and therefore sees exactly the same winemaking and attention as Pavillon Blanc proper. Pure Sauvignon Blanc, it spends around nine months in barrel, with circa 25% new wood, and half the barrels larger demi-muids, and some bâtonnage at the start of the wine’s maturation. One of the most important stages is the pressing, which is done extremely gently, stopping as soon as the pH rises by 0.10, and meaning they only manage to get around 50cl of juice per kilo of grapes.  While the first release came from the smallest white vintage on record for the property (2022), the new release – set for Thursday 16th January – comes from the 2023 vintage, the highest yield on record since 1988 (although still an extremely modest 37hl/ha at Ch. Margaux).  We covered the conditions of 2023 extensively in our report on the year, but – as with 2023 in Burgundy – there was a heatwave as the harvest arrived. The team at Ch. Margaux stops picking as soon as the mercury hits 32°C – meaning that the pickers would start work as soon as it was light enough, but have to stop as early as 10.30am on some days. With the hot weather, the sugar levels started to creep up rapidly; but the Sauvignon Blanc was all picked between 23rd and 30th August – early enough to retain plenty of freshness.  More approachable than its big sibling Pavillon Blanc, Pavillon Blanc Second Vin is nevertheless a wine with serious ageing capacity – and one that offers a taste of the property’s masterful expression of Sauvignon Blanc at a very appealing price. It’s a stunning wine – a unique expression of Bordeaux Blanc from this top estate – and one that we can’t recommend highly enough. 2023 Pavillon Blanc Second Vin  The nose is beautifully expressive, with fresh pear, chalk, lime juice and grapefruit pith. On the palate, the wine is long and taut – yet with a waxy texture that might lead you to believe there’s some Semillon in the blend. This is pure Sauvignon Blanc, however – pure and vibrant, green-fruited yet not at all green. Forget cat’s pea and any grassy, herbaceous tones: this is a wine about tension and freshness, with hints of jasmine and honeysuckle. It’s vibrant and bright, with a satisfying bitterness to the long, mouth-watering finish. Already stunning now, this will only get better in bottle – with everything in place to allow it to evolve for 10-15 years. Sensational.  With 13% alcohol and a pH of 3.15, the wine was matured in around 25% new oak. Around 10,000 bottles were produced (versus just 8,000 in 2022).   The 2023 vintage of Pavillon Blanc Second Vin was released on Thursday 16th January 2025 and is available now

Last year saw Ch. Margaux launch the first vintage of a new wine in the First Growth’s line-up: Pavillon Blanc Second Vin. Ahead of the second release, here’s everything you need to know about the wine 

Everything you need to know about the second wine to Pavillon Blanc, Bordeaux First Growth Ch. Margaux’s new white wine, made for the first time in 2022 

Ch. Margaux’s Pavillon Blanc Second Vin 

The new release of Pavillon Blanc Second Vin

This week saw the release of the Wine Advocate’s first report on 2016 Brunello di Montalcino, written by Monica Larner. It’s only a first look rather than full review, as – with the current restrictions on travel, some producers have preferred to hold back their samples until early
next year – so the report doesn’t include the full line-up of releases. This is the third major report to be released on the vintage in the last few weeks, following on from the Vinous (courtesy of Eric Guido) and James Suckling reports earlier in the month. All are in agreement, 2016 is an exceptional vintage. Perhaps the most exciting thing about 2016 is the huge range of excellent wines. The sheer scope and variety between them could keep a collector very happy for a very long time. There is universal agreement that the younger generation of more open-minded Montalcinesi are bringing real excitement to the region. Their impact has only become more evident in the region’s most recent yet completely contrasting vintages. 2015 showing off the fantastic concentration and fruit purity. 2016 its precision, structure and elegance. With 2017 looking like a much more difficult vintage – it’s worth making hay while the sun shines, and it has never shined brighter in Montalcino than today. 
2016 versus 2015 
For Monica Larner and Eric Guido, 2016 eclipses the hugely successful 2015 vintage. For Guido, who was a lot less taken by the 2015 vintage, there is little comparison to be made – 2016 is by far the better vintage in terms of typicity, precision and aging potential. For James Suckling, 2015 and 2016 are the best vintages ever made in the region and he is well-equipped to make such a statement, having tasted Brunello extensively back to the early 1980s. For Suckling, the 2015 just pips the 2016s to the post, but largely due to their approachability, stating that the 2016’s “intense tannins” make then a lot less accessible at this early stage. Eric Guido’s views of the two vintages are more polarised. In his 2015 report, he felt the exuberance and warmth of the 2015 vintage in the wrong hands could produce wines that were made “simple” by their ripeness, questioning their potential for “serious evolution”. He states that the 2015s do not compare with the other great modern vintages of 2004, 2006, 2007 or 2010 – yet 2016 certainly does, stating, “They are like a well-muscled black stallion in its prime. They are dark yet radiant, expressive, nearly explosive at times, yet pure, poised and structured… I frankly cannot remember the last time I tasted young wines from Montalcino that possessed such symmetry from start to finish.” Monica Larner feels there is less between the two vintages when it comes to quality, although she admits a personal preference to the style of the 2016s, stating. “I prefer the classic purity and linearity of the slightly cooler 2016 vintage to the more exuberant and texturally generous wines from the warmer 2015.” She actually believes the 2015s generally are “more even keeled” than the 2016s, where the “transparency” of the vintage has exposed both the highs and lows of the vintage. Despite this, she believes the power and elegance is greater in 2016 overall. Although too early in the wines’ evolution to directly compare with the 2010s, she believes it certainly is up there in terms of quality in the best examples. For James Suckling, it is the consistency of quality that marks out a great vintage – and both 2016 and 2015 tick that box: “I learned a long time ago as a wine critic that great years are years when everything is outstanding from the lesser-known properties to the most prestigious ones. The 2016 and 2015 vintages certainly achieved this, making this pair of years the greatest ever for Brunello di Montalcino.” He concludes that 2016 Brunello is the ideal vintage for laying down and enjoying over the long term, whereas 2015’s open-knit style makes them already approachable and enjoyable now.  

 The rise of the crus Larner makes the points that 2016 has certainly been a vintage that has showcased the rise of the Crus in the region, with many of her favourite wines coming from single vineyards. Most notably, she awarded Il Maronetto’s Madonna delle Grazie 100 points, but also Casanova di Neri’s Cerretalto and Tenuta Nuova both featuring in her top 10. A winery that has championed the concept of single vineyards in Brunello since the early days, first releasing the Cerretalto with the 1981 vintage. Eric Guido believes that this is still early days for the region’s Crus and we should expect many more over the coming vintages, with many producers registering names for future releases. The fact that all the top Crus in 2016 – Ciacci Piccolomini d’Aragona’s Pianrosso from Castelnuevo dell’Abate, Casanova di Neri’s Crus from Canalicchio and Il Maronetto’s Madonna delle Grazie from central Montalcino – are situated in very different parts of
Montalcino bodes well for the potential and variety set to develop as more producers start producing single-vineyard wines. Eric Guido points out that to produce a Cru wine, by law producers must reduce their yields from Brunello’s nine tonnes per hectare to seven. This means that these single-vineyard wines are about more than just terroir, the lower yields adding more intensity and concentration to the wines. Larner says, “Over these past six years, there has been a significant shift to
single-vineyard and so-called “Selezione” wines. This signals an important change in perspective and illuminates the very way the ilcinesi see themselves: not as a monolithic wine region but as a complex and fluid assembly of various moving pieces and parts. This self-awareness is key to Montalcino’s future success in an increasingly competitive marketplace.” 
Top-rated wines There’s no shortage of high scores this year – and many are already on the market. Here’s a short-list those that are well worth looking out for. Casanova di Neri Few producers have been so universally well scored than the single vineyards of Cerretalto and Tentua Nuova from Casanova di Neri. The Cerretalto 2015 Riserva being awarded 100 points from Suckling and 98+ points from Larner. Their Tenuta Nuova 2016 awarded 97+ points from Larner, 96 points from Guido and 99 points from Suckling. Their wines remain some of the most seductive and complex and consistent of the region. Poggio Antico Poggio Antico in terms of price-to-quality ratio also seemed to fare very well across the critics. Although the Altero might not be for the traditionalists, it is an outstanding wine and both their 2015 Riserva and straight 2016 Brunello are exceptional. Altesino Altesino’s straight Brunello, priced at just £185 per case of six in bond and awarded 95+ points from Larner, seems an absolute steal. Giodo Carlo Ferrini’s Giodo was also a fantastic hit for both Suckling (100 points) and Larner (98 points). Larner described it as a “career-defining wine from this proud Sangiovista”. With just over 800 cases produced, it will be a rare find in years to come. Gianni Brunelli Gianni Brunelli’s wines have been remarkably successful in 2016 and remain well-priced for the quality, although availability will likely become difficult, particularly for their Le Chiuse di Sotto, which Larner awarded 100 points – the only 2016 wine other than Il Maronetto’s Madonna delle Grazie to receive a perfect score. Any wine from Brunelli including their 2015
Riserva is well worth seeking out. Other great-value buys include Baricci, Livio Sassetti, Il Poggione and Castiglion del Bosco – all of which received glowing reviews

The 2016 vintage in Montalcino is one of the best we’ve tasted – and the critics have now had their say. Here’s an overview of the Wine Advocate, Vinous and James Suckling's reviews – and the wines they rate most highly

Our round-up of the reports from Vinous, Wine Advocate and James Suckling on the 2016 wine vintage in Montalcino. And it is one of the best we’ve tasted

What the critics are saying about Brunello 2016

Brunello 2016: what the critics are saying

For the aperitif For Domaine Long-Depaquit’s Matthieu Mangenot it is the energy and power of Champagne Brut Nature Les Marnes Blanches from Jeaunaux-Robin, that makes it his choice at Christmas. “I can't say for sure if it is the 100% Chardonnay selection or the very elegant vinification in Burgundy barrel that is this Champagne’s (hidden) tribute to our region but there is absolutely no ‘make up‘ with this Champagne. With no dosage it is a true expression of Chardonnay and terroir. To me, it is the best sparkling to get you ready for Christmas dinner!”  Klaus-Peter Keller (Weingut Keller) and his family love Champagne Bérèche & Fils or Krug, “but we will definitely enjoy some sparkling wines from Germany too!” he adds. Gianlorenzo di Neri from Montalcino’s Casanova di Neri is also choosing something local, with a 2002 Trentodoc – Giulio Ferrari Riserva del Fondatore, as well as a family favourite, Champagne Egly-Ouriet’s Blanc de Noirs. Saskia de Rothschild (Ch. Lafite-Rothschild) breaks the mould and prefers to drink ice-cold Sauternes as an aperitif rather than sparkling wine. She is still toying on whether to go young or old, deciding between a 2017, an 2007 or 1989 from Ch. Rieussec. The whites White Burgundy seems the overwhelmingly popular choice for the Christmas table. Francisco Baettig (Viña Errázuriz, Viñedo Chadwick and Baettig wines) opting for a bottle of Pulingy-Montrachet Les Combettes from Etienne Sauzet. “I love the elegance and balance of this appellation, and the purity of the wines from this producer.” Neri is saving his last bottle of 2005 Bourgogne Blanc by Coche-Dury alongside a 1991 Terlano Rarita, a Pinot Bianco blend released 25 years after it was made, proving the incredible ageing potential of top whites from Alto Adige. Mangenot has also opted for a rarity for the special day – a magnum of 2012 Nuits-Saint-Georges Blanc from Château-Gris (Albert Bichot). Chardonnay accounts for just 2% of the Nuits-Saint-Georges appellation. “The wine has a lot of richness and a beautiful tension due to the altitude of the vineyards,” says Mangenot: he is pairing it with cod fillet and citrus cream. Keller is bucking the trend and unsurprisingly opting for dry Rieslings, specifically from the 1990s, along with an eagerly awaited bottle of 1959 Mosel Piesporter Schubertslay. In 2008, Keller (although based in Rheinhessen) took over 0.7 hectares of this incredibly steep slope in the Mosel and he is using his Christmas dinner to do some research on this Mosel site with some serious bottle age. The reds Keller is not holding back on the reds: he’s got a 1966 Ch. la Mission Haut-Brion and a 1991 Clos de la Roche Grand Cru from Hubert Lignier lined up. Gianlorenzo di Neri is also opting for a Clos de la Roche, although his is a 2006 from Armand Rousseau. At the Neri household they love to compare Grand Cru Burgundy with their Brunellos, “It should be amazing to taste our 2006 Tenuta Nuova alongside.” Beyond Brunello and Burgundy, they will also be enjoying some top Nebbiolo, but it’s not an easy choice. “For Barolo we love so many producers, Elio Grasso’s Runcot – 2008 should be delicious now – or possibly Giacosa’s 2007 Barbaresco Asili Riserva.” For Mangenot, “The middle of winter is a good period to open a bottle of sunshine like Cornas Vin Noir 2012 from Domaine du Tunnel (my wife loves it!) – concentration, density, beautiful complexity, silky tannins… And a bunch of aromas that turns your dinner into a summer journey in a convertible car with your nose in the wind!” Beattig is also opting for Northern Rhône Syrah from his favourite producer Pierre Gonon, a Saint-Joseph. “I love the complexity of aromas, the spiciness. The structure of the wine, but at the same time the polished tannins. The mix of freshness, complexity and depth... love it.” At the Rothschild household it will of course be Lafite: “1988 or/and 1996: two absolute favourites of mine these days,” Saskia explains. “The 1988 is pure Lafite, extremely complex and evolving and the ’96, thanks to its perfect balance, is just so easy to drink that you’ll finish the bottle without even noticing it.” Jean-Guillaume Prats (CEO of Domaines Barons de Rothschild Lafite) is staying pretty loyal too, opting for Pomerol’s Ch. l’Evangile 2010. To finish Finally the sweets and fortifieds: there is never a better time to open aged Ports to go with the cheese and desserts of Christmas. For Lafite’s Jean-Guillaume Prats it will be Dow’s 1977 – in his words, “perfection”. Mangenot is also going for Vintage Port: Graham’s Quinta dos Malvedos 2001, “to go with a homemade chocolate mousse, and the rest of the bottle definitely to enjoy slowly by the fire with the family… Fruits, flowers, creamy character, it is a treat for the nose and the palate I wouldn't miss it at any price.” Keller decides on the sweet wines more spontaneously: “One of our favorite combinations is matching 40 and 50-year-old Ausleses with game dishes. It can taste so great. The anticipation is already great.” If fortifieds are not your thing, then take Jean-Sébastien Philippe of Lafite’s recommendation: he’ll be having a glass (or two) of Cognac de Lafite Très Vieille Réserve. He believes it is one of the most astonishing selections of old eaux-de-vies in Cognac. Browse our full range

There’s no better time than Christmas to open a treasured bottle or two. Ahead of the big day, we asked a handful of our favourite winemakers – from Saskia de Rothschild to Klaus-Peter Keller – to tell us what they’ll be uncorking

We find out the special bottles some of our favourite winemakers and distillers are uncorking this Christmas

What winemakers are drinking this Christmas

The 2018 vintage in Montalcino is certainly one to get excited about – particularly for those who love fresh, floral vintages packed with tension. Vintages like this are becoming ever rarer in today’s warming climate, and therefore all the more precious. Despite the pleasing results, the growing season was far from easy. A very wet and then humid spring and summer made it very demanding for vignerons – but the results are much better than expected, with some stunning wines.  While it might not have the power of 2015 or the structural intensity of 2016, the wines have fantastic energy and elegance, and plenty of acidity making it a versatile vintage that can be enjoyed in its youth or will age well. “I will certainly be cellaring many bottles of 2018 myself,” says Canalicchio di Sopra’s Francesco Ripaccioli, a vigneron but also a Brunello collector, who always gives an insightful description of the vintage. Ripaccioli believes that this “fresh” vintage might be overlooked by critics looking for power, but he sees many similarities with 2008. That vintage passed with little fanfare on release but proved to mature into a stunning year that aficionados just can’t get enough of these days. Certainly, for Ripaccioli, the 2018s share 2008’s purity and, while it doesn’t have the structure of his favourite overlooked vintage 2013, it has many similarities to this year as well.
 For Riccardo Talenti, 2018 is “a classic year” reminiscent of the Brunello of the 1990s. “The wines have excellent acidity, well-built and persistent tannins with a very fresh base of fruit.” For Sabina Sassetti (Livio Sassetti), the vintage produced wines with “extremely soft, elegant tannins and great aromatic extraction”.
 There is a lovely transparency to the vintage and single-vineyard sites really prove their mettle – offering very distinct interpretations dictated by terroir. Argiano’s single-vineyard Vigna del Suolo, Canalicchio di Sopra’s Vigna Casaccia and Casanova di Neri’s Tenuta Nuova are all outstanding examples.
 Giacomo Neri was surprised by the 2018 Tenuta Nuova’s “quality of tannic texture, depth, persistence and the salinity”, something he believes “has been manifesting for some years in an increasingly intense way”, and really came to the fore in 2018. For him, the wines are “not wide but long, fresh, with great scents, complexity, elegance and have great ageing potential”. For Poggio di Sotto, the wines are “rich in aromas and structure, very recognisable and characterful with good acid and alcohol content”. 
 The season started with plenty of rain in the winter months which was much needed following the drought conditions of the blistering 2017 summer. This helped re-balance the water reserves in the soil and the cold winter allowed the vines to reach adequate dormancy. Budburst and flowering all happened with little mishap, and yields looked very healthy. Spring and summer remained moderate in temperature with just one heat spike in July where temperatures reached 35-36˚C. From mid-June to the end of August temperatures sat around, but rarely exceeded, 30˚C, keeping the vine in good health with no shutdown, encouraging the berries to reach full phenolic ripening and no scorching of berries.
 Cerbaiona’s Matthew Fioretti emphasised how the rainy spring and humid weather that followed resulted in downy mildew which would go on to cause difficulties in the vineyards right up until harvest. And there was a lot of rain. Poggio di Sotto’s Maarten Leereveld noted that by the end of May they had already exceeded the rainfall for the whole of 2017. Sabina Sassetti highlighted that great attention was required in the vineyard to maintain concentration. If there was any concern it was the combination of high yields and moderate temperatures that meant grapes could struggle to achieve full sugar ripeness – so most producers did a green harvest in August to offset this.  Ripaccioli is a firm believer that a vintage is best judged by the last 30 days prior to harvest and, despite ambient weather for much of the year, two significant rainstorms on 1st and 17th September impacted the harvest. Unlike in 2017 where the dehydration of the berries was a problem, the grapes swelled following the rain, with dilution of flavour and structure a danger. While it no doubt had some impact, it was heavily moderated by strong westerly winds that blew throughout September. In fact, Ripaccioli explained how the grapes lost 30% of their berry weight in the two weeks prior to harvest thanks to the wind’s dehydrating effect.  
For Giacomo Neri of Casanova di Neri, the distinct diurnal temperature shifts leading up to harvest resulted in a slow and constant ripening of the grapes. It meant the wines built up aromatic complexity and retained high levels of acidity, giving the wines a lovely freshness. 
With its high-altitude vineyards, the strong, warm, westerly winds in September were very welcome for Biondi Santi, really helping dry out the vines and grapes following the rain. Biondi Santi was able to start harvesting as early as 16th September. 
For many, harvest was typically delayed by around five days to encourage the grapes to reach full ripeness. Berry-by-berry selection was necessary to ensure optimum results for what was potentially a large crop with uneven levels of ripeness. Despite the potentially high yields, the final numbers in terms of production throughout Brunello saw 2018 volumes among the lowest of the last six years, around 25% below 2016 and 2017, and similar to 2019 (set to be released next year). Green harvesting and extensive selection at harvest was clearly adhered to. At Canalicchio di Sopra this meant 10% of grapes were removed at sorting – compared to just 1% in 2016.   
 Sassetti Livio Pertimali 
Sassetti delayed harvest until 10th October. They felt the mild September and later harvest enabled them to bring in very healthy grapes that had “finally” reached perfect ripeness.
With all the grapes in, the numbers were impressive – both alcohol and pH levels were the same at Canalicchio di Sopra as they were in 2016. It is a pH level that is one of the lowest in recent years – giving the wine a great level of freshness and huge ageing potential. The Canalicchio wines sit at 14.5% alcohol – as is typical – thanks to the removal of more dilute berries at sorting.  Tasting a wide range of 2018s, the wines generally have an immediate appeal. The texture is noticeably elegant and there is lovely clarity to the fruit. The wines are medium-bodied, making them immediately seductive and, in some, there are lovely floral, perfumed, almost Pinot-Noir-esque aromatics. The best wines are full of energy. This is certainly a vintage of sophistication, creating wines with transparency, fine textural elegance, plenty of tension and impressive length. Producer styles and picking dates (from fresh to raisined fruit) still tend to dominate over and above vintage influence. Those who managed to balance the freshness with concentration and keep the oak in the background, produced excellent wines. Very few were lacking concentration and the best have great length, a tensile, racy appeal and beautiful, lifted aromatics. The 2018s will bring lots of drinking pleasure.  Brunello di Montalcino 2018: the vintage in brief A reference vintage for high-quality, cooler, fresher Brunello Great aromatic flair with strong floral and spice notes Polished, elegant, resolved tannins make the wines approachable fairly young A versatile vintage with high acidities providing long ageing potential Riservas were typically not made, meaning the best fruit will be found in the normal Brunello bottlings The opposite in style to the riper, more powerful 2015 and 2019s (released next year) Similar in character to 2008 or 2013 Our favourite 2018 Brunello di Montalcino wines so far Poggio di Sotto, Poggio Antico, Canalicchio di Sopra, Altesino, San Polo, La Fiorita, Cortonesi, Talenti, le Potazzini, Argiano 
Browse all Brunello di Montalcino listings or read more Editorial

The 2018 vintage in Montalcino was challenging for producers, but the wines have exceeded all expectations. After extensive tastings of the wines and conversations with producers, we explore the growing season, what defines 2018 Brunello di Montalcino and share our favourite wines

Exploring the challenging 2018 vintage in Montalcino that produced wines that have exceeded all expectations

Vintage guide to 2018 Brunello di Montalcino

Brunello di Montalcino 2018: elegant and age-worthy

Nueva Aventura

United States

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Your catalogue item will be archived. Are you sure you want to continue?

Your catalogue items will be archived. Are you sure you want to continue?

Before you request delivery, you can adjust the quantity for each item in your selection below.

*Market price is dynamic and may change. At time of sale a 10% trading fee will be deducted from the final sale price.

Total market price*

The fixed custom price you wish to sell each item for.

Split into {caseSize} individual {bottleSize}cl bottles.

Title

shows all the items you currently store with us. These items can be sold.

Available for sale — items stored with {name} eligible to be listed on the marketplace.

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This item is at FINE+RARE, available for storage, transfer or delivery.
 Most UK deliveries can be made within 3-5 working days, with next day delivery for London;
 an exact date will be available when arranging delivery.
 International deliveries have longer lead-times, please contact us for details.

This item is at FINE+RARE HOME Hong Kong, available for delivery or local pickup. Most Hong Kong deliveries can be made within 3 working days, an exact date will be available when arranging delivery. International deliveries have longer lead-times, please contact us for details.

Wines sold en primeur will be released from the producer after bottling, typically 18 months after the so-called campaign ends. Your wine will then be stored by FINE+RARE in a bonded warehouse until you decide to take delivery.

We will source this item at the guaranteed price from our network of suppliers and arrange expedited shipment to FINE+RARE.
 The lead-time depends on many variables, but 2-4 weeks is typical for expedited sourcing.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

We will source this item at the guaranteed price from our network of suppliers and arrange shipment to FINE+RARE.
 The lead-time depends on many variables, but 6-12 weeks is an average estimate.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

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