Marco Simonit has become something of a celebrity in the world of wine, but his specialisation – pruning – is not normally considered glamorous. Pruning is often low-paid work left to contract crews. But with his childhood friend Pierpaolo Sirch, he set up the Simonit&Sirch pruning consultancy that now has a team of 20 experts operating all over the wine world.  Partly this is because of the rise in grapevine trunk diseases, which are considered a major threat to viticulture. Simonit’s pruning methods are suddenly in high demand because they have the potential to vastly reduce the risk of trunk diseases. Now, in conjunction with FINE+RARE, he has made his first wines from old vines in Collio. The origins of Marco’s interest in the vine began with his background. "I lived with my grandparents because my father died and my mother worked," he says. "They had a small farm with cows, horses, sheep and goats, and also a small vineyard to make wine for the family’s consumption."  He says that it was a good environment to grow up in, surrounded by nature with a gentle pace of life. His real passion was animals, though – not vines – and he had set his heart on becoming a vet. But after studying agriculture at the local college in Cividale in Friuli, he had to take a job. He began working as the technical adviser for the Consorzio of the Collio DOC in 1988, a role he was to fulfill for a decade, offering guidance to growers on viticulture. "I loved the landscapes, and I loved to observe the trees, plants and hills," he recalls.  Then one day, he started drawing vines. "After work, I would go to the fields, and I drew the vines," says Simonit. "I drew the trunk and the arms and the canes and leaves, and I met the wounds. There were a lot of wounds. I started to think about what it must be like for the vine." Observing the pruning wounds and their effects on the old vines made a big impression on him. He asked a viticulturist if he could pull out an ailing old vine, and when he got permission, he approached one of his friends who was a carpenter. "I asked him if it would be possible to help me make a section through an old vine," Simonit recalls. "He said, this is a strange request. Why do you want to do this? I said I wanted to see inside."  So with the aid of the carpenter, Simonit cut the vine in half. "It wasn’t completely dead but it wasn’t in good health," he says. "It had an extraordinary impact on me: when I saw inside, a big part of the vine was destroyed. A small part of the wood was white (alive), but most of the inside of the trunk and the arm was brown and black, and with fungi. I was shocked." At that time no one in the schools and universities had sectioned vines to look at the consequences of pruning. "I called my professors and I spoke about this, and the professors said, Marco, since the beginning people have always approached pruning the vines in same way, so why are you going crazy taking the trunk and making sections to see what is happening inside? Just do a normal pruning like everyone has always done." None of the professors he spoke to were interested in his ideas. But he decided to carry on.  His growing obsession with old vines led him to start travelling, initially around Italy, and then further afield. He saw a similar pattern everywhere. "In these years the viticulture was changing," he says. "A lot of local training systems, such as pergola in Trentino, tendone in Abruzzo and albarello in Sicilia, were being transformed."  People were turning to more ‘modern’ ways of training vines, such as vertical shoot positioning (VSP), and then after 20 years these new vineyards were starting to lose vines to trunk disease. "The spacing for growing the vines wasn’t enough," he says. "In its natural state, the vine is a creeper, a liana. For sure, it is not easy for the vine to remain in the same position for a lot of time, with domesticated demands, without consequences for its health and longevity." He came back to Collio. "I asked some viticulturists if it would be possible for me to try to change the approach of the pruning in modern vineyards. I wanted to change the approach to pruning because the consequences were terrible. The response was they said they didn’t really understand what I wanted to do, but they let me try. In the beginning of 1990 I started to introduce a new technical approach to pruning and shoot thinning by myself in different places in Friuli." Simonit didn’t have a program, and at the time hadn’t heard of Guyot-Poussard pruning, which is an old system that’s somewhat similar to the technique he developed himself. Over a ten-year period he tried to find new solutions, observing old vines and applying different approaches. After this period of experimentation, he thought he had something worthwhile, and he began to approach professors and viticulturists, only to meet with disinterest. Attilio Scienza, professor of viticulture at Milan University, was the exception, though. "Scienza said to me, it is interesting what you do," he recalls.   "Scienza was impressed with my work and started to speak about it with important producers in Italy, such as Bellavista and Ferrari," says Simonit. "And in Schiopetto we built our campus, our laboratory. In Schiopetto today it is possible to see and touch the last 30 years of my work." This was the early 2000s, and although Simonit was starting to get his first consulting gigs, he wasn’t sure that pruning was going to be his professional future.  "But I thought: I believe in this. I had a passion for vines and wanted to help reduce the risks from bad pruning. And I thought, maybe the top wineries in Italy might be interested in my new approach for pruning and shoot thinning. I tried to call these guys and show them what I was doing in the campus of Schiopetto. One day I was in my car, and I looked up Angelo Gaja’s number. I thought this guy might be interested because the wines are expensive and high quality. Maybe he would be interested to keep his heritage vines." "I called and asked the secretary whether I could speak with Angelo." He was stunned to be put through to him. "I told him that I’d worked in a lot of vineyards over the last five years to find a new solution for pruning and shoot thinning, and I asked him if he was interested in coming to Friuli to see it in action.  He said yes, and two weeks later he came along with his entire team from Piemonte and Tuscany to Friuli. They were really impressed, and a few weeks later I had contracts with Angelo Gaja, Ferrari and Bellavista." This was in 2003, and Simonit finally began to see that this was going to be his future. He took his approach all over Italy, working with some of the top estates, including Frescobaldi, Planeta, Tasca d’Almerita, Feudo di San Gregorio and Ornellaia.  What is different about the Simonit approach?  There is no recipe because vineyards, regions and training systems are all different. But there are two main principles. The first is that the sap flow of the vine has to be respected, and pruning cuts are made with this in mind. The second is what Simonit describes as ‘ramification’. "One of the big principles for respecting vines is independent of the training system you use, or the variety," he says.  "It is ramification. You first build the trunk (the first structure), then the arms (the second structure). It is like a chronology. You need to build a chronology of wood." He points out that the vine is naturally a creeper, and that pruning should respect this as much as possible. "Our principle rule is ramification. Build a chronology of live wood: first floor, second floor, third floor and so on."  So, for example, with a double Guyot, the canes chosen on each side of the vine should be furthest from the head each time, with the replacement spur the outside cane, and the cuts should always be made on the upper branch. When a cut is made, it should be of young wood only – one or two years old. And the cut should not be made flush to the trunk, because there is always what is called a ‘cone of dessication’, roughly equal to one-and-a-half times the diameter of the cut, where the wood left dies back. This can interfere with the sap flow and make the vine susceptible to trunk disease.  But respecting the sap flow isn’t always key. "Not all the varieties suffer if you don’t respect the sap flow," says Simonit. "Some varieties are very sensitive, like Sauvignon Blanc, Cabernet Sauvignon, Cabernet Franc and Sangiovese. Others don’t suffer a lot. For example, Nebbiolo and Semillon. I work for Château d’Yquem. They called me because the Sauvignon Blanc is being destroyed by trunk disease after 20 years. The Semillon is not: it has super energy and lives a long time, because the genetics are different." "But always respect the ramification. If you think about the albarello in Primitivo in Puglia, they grow up vertically. The arms of the Primitivo grow up vertically. It isn’t possible to respect the sap flow. For other examples of alberello training with different varieties, such as Moscato d’Alexandria, to follow the sap flow is necessary. We need to find solutions for each variety in each terroir: it’s not always possible to take the same approach." Bordeaux came calling A big moment for Simonit was when he was contacted by the late Denis Dubourdieu in 2011. "Denis called me from Bordeaux, because with the Guyot Médocaine, after years and years, there wasn’t enough space for the canes. They wanted to know what to do." If canes are taken from the outside each time, after a while the vines grow out along the row, and when the planting is close, they run out of space.  In Bordeaux, their solution was to take a shoot from inside, close to the head, and then lay that down after cutting the old arm off. Often, this would result in fatal trunk disease. "They destroyed a lot of vines this way, trying to regain the space and reduce the risk of congestion of canes overlapping," says Simonit. "This was a disaster for the Médoc and all the double Guyots in the world, because the big wounds destroyed the vines." "We started with a new approach in the Médoc, introducing the spur in the sap flow, building the chronology, preparing new exits for two or three years in the way of the sap flow, and then cutting the big arm, far away from the position of the new spur. This is one of the smart solutions when you have lost a lot of spacing. But this problem is particularly present when the distance between the vines was not enough in the first place when they were planted." Simonit now has many prestigious clients in Bordeaux. The dangers of high-density planting High-density planting is very popular these days, but it is causing problems because the vines are planted too close to allow for sustainable pruning approaches. "The risk is that if you don’t have the idea of the vine architecture at the beginning for the next 50 or 60 years, it becomes a problem. I see this problem all over the world, not only in the double Guyot, but also in Bourgogne and Champagne and Provence: everywhere. The big problem is people and space: people are scared to leave space for vines. Then to create space they use pruning, and it is a disaster." "In the past in Bordeaux, particularly in the Médoc, the Cabernet Sauvignon was planted further apart. Now we find Cabernet Sauvignon vines planted 80cm apart. We need to think about this for the future sustainability of vines and vineyards. We need to speak about the space. If we build vineyards for the next generation we need to think about the spacing." One idea that Simonit has adopted from Dubourdieu was ‘curetage’. Dubourdieu gifted Simonit with a book: this was René Lafon’s 1921 title Modifications à apporter à la taille de la vigne des Charentes, taille Guyot-Poussart mixte et double: l'apoplexie, traitement préventif (méthode Poussard), traitement curative.  This book described the experiments on pruning carried out by Eugène Poussard, a viticulturist in the Charentes area. Poussard is responsible for the vine pruning system called ‘Guyot Poussard’, which is very similar to Simonit’s system. But he also treated affected vines using ‘curetage’, cutting away affected wood. "More than 150 years ago this man was trying to do some surgery on the vines with rudimentary tools," says Simonit. "Denis asked me to go to Sancerre, because he knew that a lot of older viticulturists had used small chainsaws to open the vines and clean the wood affected by fungi, and the vines survived." They headed to the Loire and visited different vineyards. Sancerre has been particularly badly hit because Sauvignon Blanc is very susceptible. "We shared experiences with François Dal [another pruning expert who works for Sicavac, the regional technical body], and he was also interested in working with chainsaws. We tried doing this surgery in the wineries of Denis Dubourdieu, like Château Reynon, Doisy-Daëne and Floridène. In 2014 we began teaching others how to do this." As soon as the first foliar symptoms are seen, then any soft wood that has been infected by the fungi is cut out of the trunk. The infected wood produces toxins, and once it is taken out, the vine usually recovers.   FINE+RARE x Simonit&Sirch Now, for the first time, Simonit has begun making wine from old vines, in conjunction with FINE+RARE. "On my trips and jobs around the world, I met a lot of old vines, and sometimes these vines are not vinified separately," he says. Making small parcels of wine appeals to him. "It is a ways of speaking to people about the importance of old vines for increasing the identity of wines, speaking about vineyard sustainability, and thinking about the relation between humans and vines." He adds, "I wanted to make wines that speak about this philosophy." "Patrick O’Connor [of FINE+RARE] and I share a mutual friend, and he knew about my idea," says Simonit. "One day Patrick called me to ask me if it’s possible to organise a meeting because he was interested in this old vines project. He was very excited about the idea, and he proposed starting this project in Friuli, where my heart is." "He asked me which varieties were most interesting for me. I chose Sauvignon because I love it, and it is very difficult to have old vine Sauvignon because of trunk disease. Many of the vineyards have vines of different ages, because after 25 years the original vines often begin dying, and people co-plant with new vines. Then they make wine with all the vines – young and old – together. Also, I chose Chardonnay: in Colli Orientali we have the oldest Chardonnay in Friuli, 80 years old. And after I chose Friulano, which is 50 years old." Winemaking is in the hands of Christian Patat, an old friend of Simonit’s. "Twenty years ago we started with a small project but it stopped because we were both so busy. So when FINE+RARE and I began working, I spoke to Christian seeing if he could make the wines. He married the owner of Ronco de Gnemiz, and he makes the wines there. This guy has an approach to wine that’s close to mine – we like the same sort of wines. Our goal was to make two or three barrels of each variety." This is Marco’s first wine project. "I have never thought about making wine before. Now I’d like to expand this project to other Italian regions, and also other countries, with a small production focusing only on old vines." "It is a unique approach because we try to vinify with just the oldest vines. In the Chardonnay project, for example, we don’t use all the vines. Part of the vineyard is 80 years old. We pick only the grapes from the original old vines to make this wine from. These wines speak about the relationship between humans and vines, sustainability, the importance of the age of the vine, the importance of terroir." Tasting notes The wines are called L’Età Più Bella (With Age Comes Beauty), and will be released as a mixed case of three separate cuvées – a Chardonnay, a Friuliano and a Sauvignon Blanc. L’Età Più Bella Sauvignon 2018 - Collio, Italy "13% alcohol. Lean, taut and chiselled, this is a bright lemony Sauvignon with good acidity and some fine herbal hints. It’s quite compact and mineral with precision and focus, finishing quite taut. Stylish stuff." L’Età Più Bella Friulano 2018 - Friuli Colli Orientali, Italy "14% alcohol. There’s good density here with taut pear, apple and lemon fruit, as well as a touch of richness on the mid-palate. This has a lovely focus, combining some richer notes with good acidity and a long, mineral, subtly nutty finish. Beguiling and elegant. " L’Età Più Bella Chardonnay 2018 - Friuli Colli Orientali, Italy "13% alcohol. Hazelnut, spice, honey and citrus on the nose. The palate has fresh fruit with an appealing cedary, woody, spicy undercurrent. Citrus, pear and white peach, with a warm spicy finish. Lovely intensity here, with good fruit purity." Explore more Editorial 

Self-confessed wine anorak Jamie Goode explores Marco Simonit’s rise to fame – from his formative years with his grandparents in Friuli, to the establishment of his successful pruning consultancy Simonit&Sirch – and the ideologies that have influenced his first wines made from old vines in Collio

Wine anorak Jamie Goode explores Marco Simonit’s rise to fame with his Friuli wine estate and tastes L’Età Più Bella Chardonnay, Sauvignon and Fruiliano  

'Wine Anorak' Jamie Goode speaks to Marco Simonit

'Wine Anorak' Jamie Goode meets Marco Simonit

Christian Patat is one of Italy’s busiest and most successful vignerons working with his wife at top Friuli estate, Ronco del Gnemiz, as well as working with Enzo Pontoni, vigneron extraordinaire, at the legendary Miani estate. He also works as a consultant winemaker for many properties producing wines from all over Italy. Most recently he has been involved in an old vine project with long-term friend and fellow Friulian, Marco Simonit – famed for his work protecting old vines all over the world most particularly at the legendary estates of Yquem, Leroy and Louis Roederer.

We caught up with Christian to talk more about L’Età Più Bella (With Age Comes Beauty), which is set to release its first collection of wines from top sites in Friuli next month. His insight into the Friuli region is a great starting point to understanding Italy’s mecca for white wine.
 Can you describe what you think is so special about the Friuli region for wine production?  "Friuli is one of the most complex scenarios in the wine world given the unheard of combination of grape varietals, soil identities and climatic challenges. I’ll try to explain from the inside. The wide number of varietals is provided by different waves of invasion, such as
the French (at the time of Napoleon) and the Austrians (in the same period of Napoleon
but they stayed for much longer); these invasions explain why we have so many 
Bordeaux varietals (Merlot, Cab Franc, Cab Sauvignon, Carmenere) and others of
French origin such as Pinot Blanc, Pinot Gris, Chardonnay and Sauvignon. "The arrival of these 'imported' wines did not cancel out the presence of local varietals such as Ribolla Gialla, Refosco, Schioppettino, Pignolo and Tocai Friulano. The Austrians also did their part leaving some Traminer and Riesling so that the picture is composed as it is today.  "Until the ‘60s, Friuli was a poor region and the vineyards were in the hands of small growers selling locally and with no real commercial plan and having the ability to offer a wide range of wines gave more options to sell to occasional customers. For this reason, the Friulians never gave up any of these varietals and when the DOC was finally in place they were all included.  "In terms of soils there is a significant difference between the flat appellations (Grave del Friuli, Isonzo, Aquileia) and the hillside appellations (Collio, Friuli Colli Orientali, Carso). The flat area is basically made of gravelly soils, the hillside is basically marl (locally called PONCA and geologically called FLYSH), obtained by the sea pushing in the direction of the mountains and creating slates of chalk, limestone and clay, all of which are agglomerated in various percentages and sometimes within the same vineyard, providing an incredibly complex subsoil.  "This complexity is augmented by the fragility of the structure which is very prone to erosion and obliges the growers to cultivate on terraces in order to minimize the impact of the water. This way of growing the plants generates very high costs and consequently low yields given the limited density of plantation (i.e. the average density on a modern planting in hillside Friuli can reach about 6.500 plants/ha which is much less than what can be achieved in Burgundy with an average of 10.000 plants/ha), and makes virtually impossible machine harvesting and other mechanical intervention.  "To complicate this picture, Friuli has the highest amount of rain in Italy which means that growing grapes can be a real challenge, but the ponca soil has a high degree of draining, so to avoid issues and diseases caused by excessive water close to the roots. All this being said, the real peculiarity comes from the soil itself which can be a magical balance of minerally driven characters, with enough structure to provide full-bodied wines and that’s the
reason why white and red varietals are grown in the same place." What varieties do you think perform the best in Friuli and why?  "You may have different answers if you ask different growers but personally I think that among white wines I would go for Friulano (Tocai) because it expresses very well the different sites and shows better than any other varietal the balance of richness and saltiness.  "Apart from Friulano I would pick Sauvignon Blanc because I see it as a possible third way
between Loire and New Zealand. More aromatic than in France with richer body
and more minerally driven than in New Zealand.  "And finally, if you are lucky enough to have well-aged vines Chardonnay can also do surprisingly well in cold sites. Among reds I would pick Merlot and Cabernet Franc given their tendency to ripen on the late side (same timing as Pomerol and Saint Emilion) and to
provide low yields and concentration without losing freshness and spice. Also, Refosco can do very well bringing a Syrah-like spiciness and a full body but it needs to be grown in very well-suited spots. Can you describe the last few vintages and qualify them?  
"2018 was a very sunny and dry vintage, driving to early ripening of some of the whites such as Sauvignon (starting date of harvest 23rd of August) but quite interesting for reds given that the month of September was quite fresh and dry so to give a larger window to pick the reds at the right level of ripening. 2019 was much cooler (starting date of harvest 1st of September) but quite ideal for whites with lively acidities and good concentration. Reds were also fine but some later rain in September affected a bit the possibility of fully ripe tannins so I would consider it as quite average." 
10 DOCs, 4 DOCGs, 30 different varieties, it can be difficult to know where to start exploring the wines of the region. Can you advise?  "Diversity can be fascinating but it can also turn into a nightmare given that you have to add also the wide difference of styles available (stainless steel crisp white wines, barrel fermented Burgundy oriented, orange wines with maceration on the skins…). I cannot really advise on this as I find all this diversity as a real limit to communicate the character of the region, but on the other hand I have to admit that there are very few wine regions in the world (maybe none) where you can find so many reasons of interest. That’s why more and more wine enthusiasts are travelling this way and fall in love with the complexity of these terroirs and
wines." 
Are all the fine wines of the region concentrated in one area or are they dotted all around?  
"90% of what we can call fine wines are made on the hillsides of Collio, Friuli Colli Orientali and Carso and very few are made in flat appellations such as Isonzo." 
Friuli-Venezia Giulia comes across as quite independent from the rest of Italy, why is this?  "I think a whole history of invasions (Romans, Longobardians, Venetians, Austrians, French) has created a sense of self protection. More than this after the Second World War Friuli has turned from a poor region into one of the very wealthy and productive areas of Italy, due to
the silent and consistent attitude for hard work of the Friulians. They have been able to turn it into a well-kept secret and make a pride of it." How long have you worked at Miani?  "I started in 1991 helping him in decision-making at the time of the final blending and taking on my shoulders all the commercial aspects that he did not want to manage." What makes the wines from these top wineries stand out?  "I don’t know if they stand out but what I can surely say that we both apply a tireless dedication and passion to what we do. We both consider single sites and soils more important than varietals and we have the ambition to 'bottle a place' more than a wine." Who has been your biggest inspiration in life and as a vigneron and why?  "My father, a real bon vivant, who put me in contact with great wines since I was still very young and created in my mind the quest for quality in every aspect of my life. My fascination for great wines came from him, just watching his excitement when receiving his annual allocation of Champagne Salon or Monte Vertine (to name a few) and the pleasure he used to take in sharing with friends.  "Then my wife who despite challenges, family issues, economical limitations never gave up looking for the best possible wine here at Gnemiz, loving this place and respecting it as a living treasure and not just as an instrument. Finally Enzo Pontoni at Miani who showed me how you can achieve your goals only with hard work and passion and how you can be the happiest man on earth just for the fact that you are doing exactly the work you want to do in the way you want to do it." How did you first get involved in L’Età Più Bella (With Age Comes Beauty), the old vine project?  "That was Marco Simonit's idea to involve me as we had experimented in the past and in some ways we started the project in the mid ‘90s, but at that time we were all too busy to follow up and we did not have a well-formed concept of what we could do… we were just youngsters…" What is so unique about the wines that have been produced under the L’Età Più Bella label?  "The goal was to explore the identity of various plots of very old vines, all of which were well placed with very good exposition and with an excellent quality of soil. The character which comes out from an old vineyard has a different kind of balance and texture, as we use to say, it is more a “wine of roots” than a “wine of sun”. That’s quite evident by the fact that old vines tend to ripen later than neighbouring young vines and suffer much less from potential water stress, producing more consistent wines of complexity and finesse. We were not looking for fruit bombs to impress but for refined and subtle characters and ageing potential."
 You are a philosopher and a jazz musician as well as a winemaker. Can you tell us more about these passions?  "That’s all too generous, in fact, I have none of these titles. I did not complete my studies in philosophy due to the sudden death of my father so I cannot call myself a philosopher. My passion for philosophy is due to my classics studies and when it was time to chose the University, my father suggested to go for philosophy because, he said, 'when you will
finish your study you will not find a job and can come to help me to sell some
wine!'  "That’s exactly what happened, just with the wrong circumstances. About jazz, I always wanted to become a piano player and I’ve studied a lot for this but in the end, I was not good enough to make a career and I quickly understood there was no point in dreaming of being the new Keith Jarrett, so I became a well trained amateur and I gave up playing in public.  "As for winemaking, I don’t have a formal education given that I had to work and did not have time to study at University, so I started a process of self-education in a kind of backwards process, from my instinctive ability to be a good taster, moving gradually to all the
knowledge which drives the production of wine, from the vineyards to the cellar.  "It took me years and the support of many friends who allowed me to verify my skills in their cellars. The results of my 'experiments' were very promising and convinced me to go deeper in my studies until the point of being able to take full responsibility for wine production as I’ve been doing for the last 20 years." Read more Editorial 

We caught up with Christian Patat to talk about his old-vine project with Marco Simonit – L’Età Più Bella – which will include its first collection of wines from top sites in Friuli this summer

Christian Patat on his old-vine project with Marco Simonit – L’Età Più Bella – which expands to include top sites in Friuli this summer

The wines of Friuli-Venezia Giuli

Christian Patat on the wines of Friuli-Venezia Giuli

We have unearthed an absolute gem in the guise of Rosso della Centa, a 100% Merlot wine grown on just one hectare of a distinct marl clay hillside in Friuli, Italy. The wine is the creation of one of Italy’s top winemakers Nicola Manferrari who first produced the wine in 1985 and has gone on to release it only in top vintages, producing just 1200 bottles per vintage. 

As we have managed to source a small parcel of Rosso della Centa 2010, we explore the history of this incredible and rare wine.  Friuli ranks highly among Italy’s finest regions for white wine production, producing some of the most vibrant, mineral, saline whites on the planet. The global reputation of the top wines of Friuli continues to grow, gaining fans throughout the world and firmly positioning it on the global fine wine map.   Whilst more famous for their white wines, top grower Nicola Manferrari has a very special one-hectare plot dedicated to red wine. On taking over the family vineyards in 1982, Nicola was not happy with the quality of wine coming from this Merlot site. So much so he took to studying French and French winemaking to learn the secrets of Bordeaux and then apply these techniques to his own wine, to get the best out of this unique site. He states that François Champagnol’s Elements de physiologie de la vigne was one of the most intellectually stimulating reads of his life. Nicola Manferrari is one of Friuli’s original trailblazers. Along with Mario Schiopetto, Josko Gravner and Silvio Jermann, Manferrari was just one of a handful of producers in the 1980s who had the vision and courage to follow his convictions.

He experimented with the 1982,’83 and '84 vintages before he was happy with the techniques he had adopted and, matched with the perfect weather, managed to produce something exceptional, releasing the inaugural Rosso della Centa in the 1985 vintage. Nicola was confident that he could create the first world-class red wine from the region and was not swayed by his neighbouring premium sites opting to plant Cabernet Sauvignon rather than Merlot. But for Nicola he believed the Merlot was perfect for the clay and collio marl soils in which Cabernet Sauvignon struggled.   The ’85 was a critical success, described by the critics as the "First Great Friuli Red". Other greats of the region include Enzo Pontoni of Miani fame and Christian Patat from Ronco del Gnemiz have followed in his footsteps making incredible Merlots from the Friuli region.
Nicola Manferrari continued to improve the wine buoyed by its critical acclaim, further reducing the yield, increasing the vine density (more than 7000 hectares per hectare), introducing shorter pruning techniques, using no fertiliser and complete grassing in the vineyards to improve the soil health. The wine is fermented in small 12 hl wooden vats and are matured in small oak barriques for four years. Only the finest vintages are released as Rosso della Centa. 
In the summer of last year Monica Larner (Wine Advocate) had the opportunity to taste some more recent vintages of Rosso della Centa. “Looking over my scores, I can't help but notice how consistent they are across vintages and varieties. Results like these are hard to achieve, but not at Borgo del Tiglio. She goes on to describe the ’06 as “musical and operatic in character… there is complete harmony and silkiness here in another gem from Borgo del Tiglio’s cellar”.

"Nicola Manferrari and his family have been working tirelessly since the 1982 vintage to become a benchmark for winemaking in Friuli Venezia Giulia." Monica Larner, Wine Advocate 

Larner did not have the opportunity to taste the mythical 2010 but we pulled a cork on it this week to find out how the wine has developed and we were blown away by the quality. This is a superb rendition retaining everything that is great about Italian wine – the acidity, freshness, dried floral notes and herbal spice along with all the greatest assets of fine Merlot – the rich expansive multi-layered tannins that provide tremendous depth on the palate and the rich mid-palate juiciness full of black fruits and now with age a beguiling leather and earthy savoury notes. The wine has tremendous energy whilst showing handsome tertiary development and to retain so much acidity in a grape that often lacks it underscores just how fantastic this wine is. 

Nicola believes this steep southwest slope of marl and sandstone is perfectly adapted for his old vine Merlot providing a marked elegance and complexity in his Rosso della Centa. The 2010 certainly reflects this and with only 1200 bottles produced virtually impossible to find. This is a unique parcel unlikely to be seen again and is entering into a beautiful drinking window. This wine is a piece of Italian winemaking history and one for any afficionado not to miss. 

It is always difficult to put fine wine into words but Nicola Manferrari’s philosophy outlined on his website gives possibly the greatest insight into this pioneering spirit of Friuli:
“I believe that in effect, the path I have followed has left its mark on the character of my wines which have, according to many, their own maker’s trademark. Over the last twenty years, I have transformed, studied and debunked certain common beliefs and have also overcome - while allowing plenty of room for the sacrilegious power of empirical observation – some of my own personal taboos. I have observed, researched and innovated in the face of hypocrisy and prejudice. 

"Often, however, while doing this I have unwittingly renewed ties with ways of the past which were interrupted by a modernity which had lost all sense and memory. It was probably my unorthodox approach to the world of wine that has guided my choices, meaning this also includes my checkered educational history; I was at the same time a child of scientific teachings and an orphan of technology. This has taught me to take absolutely nothing for granted, and the words of Galileo, which accompany me wherever I go, have taught me to be humble when facing all situations, and to be dignified when dealing with people.” 

Explore more Editorial

Whilst more famous for their white wines, one of Friuli's top growers, Nicola Manferrari, has a very special one-hectare plot dedicated to an incredible and rare world-class Merlot, Rosso della Centa Friuli 

We explore the history of the incredible and rare world-class Merlot Rosso della Centa Friuli 

Rosso della Centa, the first great Friuli red

Rosso della Centa: The first great Friuli red

From humble beginnings in Beaujolais in the 1980s, the natural wine movement has become a global force. But what influence has it had just north in Burgundy’s long-established, terroir-focused appellations? Simon J Woolf explores the blurred line between classical and natural winegrowing

From Beaujolais to Burgundy, how has the natural wine movement shaped a terroir-driven region? For FONDATA Simon J Woolf explores the changing landscape.

Natural Wine’s Influence on Burgundy

Nature vs. Nurture: The quest for Burgundy’s true identity

Sitting plum in the middle of the Côte d’Or, the hill of Corton is hard to miss. Its wines, especially the whites, however, are all too often overlooked. We sat down with some of the region’s leading producers to explore the pedigree and potential of this site and its powerful, long-lasting wines

Discover the pedigree and potential of the hill of Corton’s whites – the fine Chardonnay from Corton-Charlemagne, Charlemagne and Corton Blanc 

Exploring Corton-Charlemagne, Charlemagne and Corton Blanc 

Corton-Charlemagne: the Grand Cru of the future?  

Xiao-Li Meng, Whipple V. N. Jones Professor of Statistics at Harvard and Founding Editor-in-Chief of Harvard Data Science Review, was inspired by a student to combine wine and statistics—leading to insights far beyond what they ever expected.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

Seeking simplicity in statistics, complexity in wine, and everything else in fortune cookies 

Earlier this month, I returned to Auxey Duresses to spend time at the Domaine and taste the 2026 Maison Leroy release in full. This was a significant visit.

We tasted more than 25 wines across vintages, appellations and styles, which allowed for a level of depth and comparative understanding that is rarely possible with Maison Leroy. It is a way of tasting that strips away hierarchy and focuses entirely on expression, timing and intent.

Having visited consistently for more than 12 years, and multiple times each year, I have seen many releases in different forms. I can say with confidence that this is the most complete and compelling Maison Leroy selection I have encountered. It is an exceptional release. The 2026 Maison Leroy collection tasted as a modern collection in the fullest sense. What gives it its shape every year are wines drawn from different years, now brought together at a point where Madame believes the wines have something extraordinary to say. However, this felt like the first Maison collection to begin to mirror, with real conviction, the superlative character of Domaine Leroy.

There is range here, certainly, across appellation, level and vintage. Each feels released at precisely the point where evolution had hardened rather than softened its definition.

That is what gives the release its outright drinkability — an unflattering expression to many, and perhaps one not preferred at the Maison, but these were wines of serious joy and poise.

What makes the 2026 release especially significant is that it presents Maison Leroy in a form that feels entirely of the present, while carrying the same gravitas, refinement and inner control that have come to define the Domaine at its highest level. The result is a Maison collection of unusual stature: one that stands on its own terms, yet also comes closer than any previous release to reflecting the authority and brilliance associated with the Domaine’s dominant era. Process and Élevage To understand Maison Leroy, one must first understand the process. Every wine is tasted blind by Madame Lalou Bize Leroy before any decision is made. Hundreds of wines are assessed each year, with producer, appellation and reputation set aside. Rarely do new wines make the cut. Only when a wine meets her standard does it carry the Leroy name. That responsibility remains directly hers. It is only the beginning. Once secured, the wines are transferred to the cellars, where they enter a long and closely controlled élevage. For the reds, with Bourgogne Rouge the sole exception, every wine completes its élevage in used Domaine Leroy barrels, regardless of appellation. Village or premier cru, classification gives way to quality. Each wine is handled according to its potential, allowing a level of refinement and integration that rises above hierarchy. The same philosophy applies to the whites. With Bourgogne Blanc the exception, the wines complete their élevage in used Domaine d’Auvenay oak barrels. The foundation of Maison Leroy Maison Leroy is the original cornerstone of one of Burgundy's most influential and enduring families. Founded in 1868 by François Leroy in Auxey-Duresses, the business began as a négociant operation with access to vineyards across the Côte d'Or, including Auxey-Duresses, Meursault, Pommard, Chambertin, Musigny, Clos Vougeot and Richebourg. At the time, the wines were not bottled under the Leroy name, instead being sold through the Comptoir des Propriétaires de la Côte d'Or. Under Joseph Leroy, the Maison expanded commercially, before Henri Leroy fundamentally reshaped its trajectory. In 1942, during a period of uncertainty in Burgundy, Henri acquired a 50% stake in Domaine de la Romanée-Conti. His stewardship was instrumental in restoring and elevating the estate to its modern standing at the very pinnacle of fine wine. While the négociant arm continued, it was under Lalou Bize-Leroy that Maison Leroy assumed its modern identity. Joining the family business in 1955 and taking control in 1971, Lalou transformed the Maison into something far more exacting: a house defined by independence, absolute selection and long-term vision. Maison Leroy sits at the centre of a wider Leroy ecosystem, alongside Domaine Leroy and Domaine d'Auvenay – each representing distinct, yet complementary, expressions of the same uncompromising philosophy — wines that consistently transcend AOC convention. The forthcoming Domaine Leroy release will offer a contrasting perspective – rooted in vineyard ownership and production, yet entirely equivalent in rarity, prestige and ultimate quality.  The 2026 Maison Leroy collection will be released soon. Read more about Maison Leroy and browse all current listings 

Managing Director Craig Norton returns to Auxey-Duresses for a tasting unlike any other – the 2026 Maison Leroy collection in full, and what it reveals about one of Burgundy's most singular houses.

The 2026 Maison Leroy collection in full — selected by Madame Lalou Bize-Leroy, released only when ready. 


The 2026 Maison Leroy Collection

The Reynaud wines are the stuff of legend. Utter “Rayas” to a certain crowd and they will swoon. The singular style of this iconic Châteauneuf-du-Pape estate – pale, hauntingly aromatic, almost Burgundian in texture and incredibly long-lived – has a fervent following, a clan of Reynaud obsessives keen to seek out everything that Emmanuel Reynaud touched.  The property’s rustic charm – a far cry from the grandiose buildings of many famous estates – combined with the family’s inclination to shy away from their fame, happier quietly farming their vines, has only fanned the flames. Tucked away in the northern reaches of Châteauneuf-du-Pape, Ch. Rayas and its owners are elusive – only making them more sought-after.   There is no shortage of praise for these rare and special wines – whose appeal, given the Reynaud’s minimal-intervention approach, broaches the worlds of fine and natural wine. William Kelley is a loyalist, and is one of several to note how well the property performs in “off-vintages” – where the property’s distinctive profile shines through, above and beyond the vintage and region, revealing their “captivating perfume, sensual textures and eternal youthfulness”. Robert Parker described the 1990 Rayas as “one of the greatest young red wines I have ever tasted”. For Nicolas Grainacher (Vinous), “The substance, finesse and intensity packed into these wines make it hard not to fall in love with them.” Neal Martin (Vinous) perhaps put it most concisely: “God invented wine to drink wines like this.”    The history of the Reynaud empire  In 1880, Albert Reynaud, a notary from Avignon, lost his hearing aged just 45. No longer able to work as a lawyer, he bought an estate in Châteauneuf-du-Pape, in an area called Rayas, where he saw out his days farming vines, apricots and olives. In 1910, his son Louis Reynaud took over running the estate. Louis had studied agriculture in Angers and was particularly interested in viticulture. He uprooted trees to plant new vineyards and bottled the property’s first wine in 1920 – using the name “Rayas”, the name of the forest on their parcel of land. It was the beginning of Rayas as we know it today.  Louis famously added the wording “Premier Grand Cru” to the Rayas labels, a self-pronounced classification of the wine – and notoriously defying the appellation rules (introduced in 1936). Building the property’s reputation and sales, he started expanding the business. Between 1935 and 1938 he bought Ch. des Tours in Vacqueyras, entrusting his son Bertrand with the larger 58-hectare property northeast of Châteauneuf-du-Pape, not far from the town of Orange. Around the same time, he built a new cellar and winery at Rayas, bringing the buildings within the appellation’s boundaries. After the Second World War in 1945, Louis purchased Ch. de Fonsalette, an estate further north of Orange, in Lagarde-Paréol – and, with that, the full suite of Reynaud properties was in place.  By the time Louis passed away in 1978, the Reynaud wines were some of the Rhône’s most famous.  
After his death, his youngest son Jacques took over Rayas and Fonsalette, while Bertrand continued to run Ch. des Tours. With the shift in ownership at Rayas and Fonsalette, quality dipped a little – but soon Jacques was making wines that lived up to the Reynaud name.  The old vines at Rayas, planted on sandy soils, facing north/northeast, surrounded by pine forest, produce wines of exceptional elegance and aromatic finesse, wines with haunting perfume, pale colour and almost Pinot-like delicacy, yet phenomenal persistence and ageability.   Jacques was renowned for being eccentric. A recluse, happiest in the vines and never keen to welcome visitors, he was rumoured to, on occasion, lie in a ditch to avoid journalists or other members of the trade. His aversion to the limelight surely only added to the wines’ allure. He died rather suddenly in 1997, while shoe shopping in Courthézon. Having no children of his own, his nephew Emmanuel – Bertrand’s son, who had been running Ch. des Tours since 1989 – inherited both Rayas and Fonsalette, taking the reins across all three properties.  The transition between Jacques and Emmanuel wasn’t seamless, as Emmanuel renovated the estate and replanted parts of the site, but by the early 2000s quality was once more living up to the Reynaud name. The style has shifted between generations, and while Jacques’s wines were more structured and solid, Emmanuel favoured more sensual, perfumed expressions. Over the last two decades, little has changed across the Reynaud properties – the wines’ mythical status only confirmed with each release. The new generation – Emmanuel’s sons Louis Damien and Benoît – are now continuing the family’s legacy.    The Reynaud philosophy  The approach at Reynaud is old-school – here, tradition reigns. Modern monoculture is not the method – with various crops across the estates, and biodiversity nurtured with swathes of woodland. The vines – all bush vined, many with significant age – are farmed in exactly the way as they’ve always been, organically with minimal inputs, ploughed by horse.  The fruit is all hand-harvested, whole-bunch fermented with indigenous yeast in cement tanks. Since Emmanuel took over, parcels have all been vinified separately. Macerations are gentle, generally under two weeks with a single pump-over a day. Ageing is in large, old oak, with no new wood used anywhere across the properties – indeed the youngest demi-muid or foudre at the estate may well be 30 years in age. Sulphur additions are minimal, with only a small amount at fermentation and a final addition at bottling, with the wines bottled unfined and unfiltered. The method is simplicity at its finest, focused on expressing each site – and the results speak for themselves. The wineries are rustic farm buildings, offering only the basic requirements, with no modern technology employed – and, given the wines produced, not needed.  Grenache is the core of all the Reynaud wines – the grape that thrives in their terroir and is the magic behind Rayas. Beyond Rayas, Cinsault is used to bring elegance and suppleness, while Syrah was long avoided – used only at Ch. de Fonsalette. Louis Reynaud believed the variety belonged in the Northern Rhône, and other than the small portion that made it into the Côtes du Rhône, the rest of the Syrah was sold off in bulk under his reign (often to local restaurants, who used it in their sauces). The Côtes du Rhône Syrah cuvée only introduced under Jacques Reynaud’s tenure, at first sold to the restaurants who had seen its quality in their sauces. There is no Mourvèdre at any of the estates, as Emmanuel Reynaud believed that their soils are too dry for the grape.  The Reynaud wines and estates  The Reynaud family comprises three distinct estates – Rayas, Fonsalette and Ch. des Tours, although Fonsalette doesn’t have its own winery.   Ch. Rayas  Rayas is the original Reynaud estate, purchased in 1880, and takes its name from the climat. In the northern reaches of Châteauneuf-du-Pape lie the 12 hectares of vines, surrounded by 11 hectares of forest. Forget the region’s stereotypical galets roulés or pudding stones, known for their ability to hold heat, Rayas sits on red, iron-rich, sandy soils, over richer clay. The soils are poor and the bush vines planted at low density, with a mere 2,500 vines per hectare – yielding just 10 to 20hl/ha. Significant replanting took place in the 1980s, meaning the vines now average 40 years in age, although there are still some survivors from the 1940s.  The site’s northern exposition combines with the influence of the wooded areas, offering shade and humidity, making for an extended growing season and preserving freshness in the wines. The Reynauds are among the last to harvest, often only picking in October/November, as much as two months after their neighbours. The resulting wines, however, do not speak of intense ripeness – but are all about elegance and finesse.  While Châteauneuf permits 13 red varieties, at Rayas you’ll find only Grenache Noir, with two hectares dedicated to white grapes – Grenache Blanc and Clairette. The Grenache vineyards can be divided into three section: Le Levant, Le Coeur and Le Couchant, each taking its name from its exposure to the sun – respectively as it rises, at its peak and as it sets. Writing for The World of Fine Wine, William Kelley describes the three components of the vineyard thus: “Le Levant is the most floral and ethereal, contributing the wine’s spine; Le Coeur is the most complete, contributing Rayas’s skeleton; and Le Couchant, with its richer, more compote-like fruit tones, brings the fat.”  The fruit is all hand-picked. The Grenache is kept on its stems, the whole bunches crushed before a gentle maceration for maximum two weeks (one pumpover a day) and indigenous-yeast fermentation. The wine is pressed off and aged in old foudre for a little under two years.  The delicacy and finesse of the resulting wine is reminiscent of top Burgundy. Pale in colour, Rayas is deeply aromatic, with haunting floral notes and an ethereal, silken texture that balances the wine’s earthy, savoury intensity. Between 1,200 and 1,500 cases of the flagship Châteauneuf-du-Pape are produced each year. The wines age beautifully and Emmanuel himself recommended waiting 20-25 years before opening a bottle of Rayas to fully experience its evolution.  The white grapes are planted across three parcels in Le Levant, comprising two hectares. The Grenache Blanc was planted in the 1940s, ’50s and ’95, with the Clairette planted in 1986. Fermented in old (80 to 100 years old) foudre, purchased second-hand by Louis Reynaud (Emmanuel’s grandfather), Rayas Blanc is a 50:50 blend of Grenache Blanc and Clairette, aged in old oak for around 11 months. The wine is made in extremely limited volumes, with only 400 or so cases produced each vintage. Rich yet poised, this rare white is immensely fragrant with notes of almond and white flowers, intensely mineral and textured, and can age for at least a decade.  Pignan is sometimes considered a “second wine” at Rayas, but it in fact comes from it own, specific site on the estate, a single two-hectare block surrounded by pine trees on the northern edge of the property with less sandy soils. Also pure Grenache, made in exactly the same way at Rayas, it offers a more immediate and approachable expression of the Rayas style, yet similar perfume, purity and structure – and is still capable of extended ageing. It can, on occasion – and especially in cooler vintages, rival its older sibling, Rayas. Around 650 cases are produced each year.  The Rayas wines are all only released when entering their drinking window, with the reds often only emerging from the estate over a decade after the harvest.  Ch. de Fonsalette  The “latest” addition to the Reynaud galaxy, Ch. de Fonsalette was purchased by Louis Reynaud in 1945. The property is large, covering 120 hectares in total, but with 12 hectares of vines in amongst woodland, farmland and olive groves, north of Orange in Lagarde-Paréol. Today it sits largely within the Côtes du Rhône Villages Massif d’Uchaux appellation (established in 2005), however the wines are all labelled just as Côtes du Rhône. Further north, the microclimate is cooler than at Rayas, and stylistically the wines are more restrained than those of Ch. des Tours, for example, but not as ethereal as those of Rayas.  The soils here are very different to those at Rayas with gravel, sand and red pudding stones. The vineyards are planted to Grenache, Cinsault and Syrah for red grapes, and Grenache Blanc, Clairette and Marsanne for whites. The vines are generally old, with the oldest planted in 1929.  The philosophy in the vineyard and winery is exactly the same as at Rayas – and, as the property doesn’t have a winery of its own, the wines are even made at Rayas. The reds are whole-bunch fermented, with a maximum two-week maceration and one pump-over a day. The wines are aged in a combination of enamel-lined tanks and large, old oak, bottled around a year or so later.   There are three wines in the range at Ch. de Fonsalette. The Côtes du Rhône Rouge is a blend of 50% Grenache, 35% Cinsault and 15% Syrah, the notably high percentage of Cinsault giving the wine particular lift and aromatic finesse – a wine that whispers and draws you in. There is a second red, a Côtes du Rhône Syrah which is 100% Syrah – a structured, dark-fruited wine that offers restrained power and quiet depth. Under Louis Reynaud, this was sold off in bulk, only first bottled under Jacques Reynaud (from 1978) and sold locally, largely to restaurants, before being offered more widely under Emmanuel. The Côtes du Rhône Blanc is a blend of 80% Grenache Blanc, 10% Clairette and 10% Marsanne, producing a textural and complex white with notes of stone fruit and herbs, and a saline undertow.  La Pialade  This wine is a slight anomaly in the Reynaud line-up. Only made in certain vintages, La Pialade Côtes du Rhône is vinified and aged at Rayas, made with declassified parcels from either Rayas or Ch. de Fonsalette. The blend is typically 85% Grenache, 15% Cinsault and 5% Syrah. Produced in tiny volumes, and even rarer given it isn’t made every year, it is often described as an “everyday Rayas” – more open in style, but can match Rayas for its subtlety and delicacy, even if it does not have the same depth.  Ch. des Tours   Purchased by Louis Reynaud in the late 1930s, Ch. des Tours was Emmanuel Reynaud’s home estate – having taken over running the property from his father Bertrand in 1989. As it was entrusted to Bertrand from the beginning, and never managed by Jacques Reynaud, the estate has always stood apart from Ch. Rayas and Ch. de Fonsalette – however all three have fallen under Emmanuel since 1997. Benoît – Emmanuel’s son, who studied oenology in Switzerland – has recently taken the lead at Ch. des Tours, having worked closely alongside his father.  The property gets its name from the towers or tours that frame the château building. Located in Vacqueyras, not far from Orange and northeast of Châteauneuf, it covers 40 hectares, with grains and olives as well as grapes. As it was long run separately, the property has its own winery.  Although the Reynaud philosophy runs through all three estates, the wines at Ch. des Tours are stylistically distinctive, offering more structure, muscle and intensity versus the more subtle, high-toned, perfumed style of Rayas and Fonsalette. The winemaking is largely similar to at Rayas and Fonsalette, with fermentation is concrete and maturation in old oak. Although the red grapes are mostly whole-bunch fermented, this is the only property where small portions are destemmed. The range is more complex at Ch. des Tours with a selection of wines bottled under Ch. des Tours, some under Domaine des Tours and a rosé made under the Parisy label.  There are five wines under the Ch. des Tours label:  Vacqueyras: A blend of 80% Grenache and 20% Syrah, this is a structured and powerful wine made exclusively from the oldest vines on the estate.  Côtes du Rhône Rouge: A blend of 65% Grenache, 20% Syrah and 15% Cinsault, this is a supple, juicy red packed with fruit and spice.   Côtes du Rhône Rouge Grande Réserve: Only made in specific vintages, this is effectively the Vacqueyras declassified when there isn’t sufficient colour – made in 2002, 2014 and 2015.  Côtes du Rhône Blanc: Made in very limited volumes, this white is 100% Grenache Blanc – a floral, textural wine that is worth seeking out.  Côtes du Rhône Blanc Grande Réserve: Only made in certain vintages, this is not a declassified bottling (like its red sibling), but a special bottling of the property’s best Clairette and Grenache Blanc. The 50% Grenache Blanc, 50% Clairette wine was produced in 2003, 2014 and 2015.  The Domaine des Tours label is all sourced from Ch. des Tours however is a slightly separate project, generally offering more accessible wines, almost all labelled as IGP or Vin de Pays. There are four wines under the label:  Vin de Pays de Vaucluse Rouge: This is a deeply expressive field blend of Grenache, Counoise, Syrah, Cinsault, Merlot and a host of other varieties.  Vin de Pays de Vaucluse Merlot: This 100% Merlot comes from the richest, clay soils on the property, producing amore opulent and exuberant wine.  Vin de Pays de Vaucluse Merlot-Syrah: A blend of Merlot and Syrah, which shifts according to the vintage, is a concentrated wine that combines the generosity of Merlot with the spice of Syrah.  Vin de Pays de Vaucluse Clairette: This 100% Clairette is pure and fresh, driven by minerality.  Under its own label is Les Tours Grenache Blanc – a rich, ripe and generous 100% Grenache Blanc full of stone fruit, bottled under the Vaucluse appellation. The last wine from Ch. des Tours is the Parisy rosé, a dry, delicate Grenache/Cinsault Vin de Table designed for everyday drinking. The labels themselves don’t detail the vintage, with this information only visible on the cardboard case.  Which Reynaud wines are made where? Ch. Rayas, Pignan, Ch. de Fonsalette and Pialade are all made at Rayas Ch. des Tours, Domaine des Tours, Les Tours Grenache Blanc and Parisy are all made at Ch. des Tours  Explore all current listings of the Reynaud wines or read more Editorial 

Few wines have the cult status of Rayas – a wine that stands alone in Châteauneuf-du-Pape. Here, we offer an essential guide to the wines crafted by the Reynaud family in the Rhône – Rayas, of course, but also those of Ch. de Fonsalette and Ch. des Tours 

Everything you need to know about the wines made by Emmanuel Reynaud – Rayas, Pignan, Chateau de Fonsalette, Chateau and Domaine des Tours, and Parisy  

Guide to Rayas, Fonsalette and Des Tours – the Reynaud wines

Everything you need to know about Rayas

Colli Orientali del Friuli

Friuli

Italy

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The number of cases you wish to place on sale

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

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).

Colli Orientali del Friuli

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