Showing 85–96 of 136 results
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Waddesdon Rothschild Collection Pinot Noir, IGP Pays d’Oc, France
£12.75 – £72.00 Buy Sourced from a cool vineyard near Limoux which is planted on Marl from the Oligocene period. This is ideal soil for the production of great Pinot Noir. Just 20% of the wine has been aged in French oak which adds a toasty spicy depth. There's plenty of fruit and fairly muscular frame which leads to a spicy liquorice finish. This actually fairly full bodied, it's got a nice core of juicy red fruit and loads of sweet earthy spice. A powerful and confident Pinot. -
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Waddesdon Rothschild Collection Syrah, IGP Pays d’Oc, France
£12.75 – £72.00 Buy Sourced from southern facing vineyards on the edge of Montpellier, this Syrah has a wonderful balance of ripeness and freshness. A two week fermentation on the skins has draw a wonderful robe of garnet-red with shimmering highlights. There's plenty of spice that adds depth to the core of ripe fruit; yet this spice doesn't dominate, it just hovers in the background and is happy to let the fruit take the lead role. Unlike some of wines produced in the south of France, this doesn't have excessive levels of alcohol. This is more about approachable elegant fruit with balance and poise. One of favourites' from the range. A cracking wine at less than £10.00. -
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Waddesdon Rothschild Collection Sauvignon Blanc, IGP Pays d’Oc, France
£12.75 – £72.00 Buy Harvested at night to preserve the integrity of the grape skin and help retain natural purity of aroma. This fabulous Sauvignon Blanc has abundant varietal character with an alluring and classical nose of citrus peel, gun flint, chalk minerality mingled with white flowers and a herbaceous lift. Crisp and elegant with personality and verve. This Sauvignon does what so many don't at this price point; it delivers flavour and typicity with a good intensity of fruit. Great stuff. -
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Rimapere Sauvignon Blanc Plot 101 2020, Marlborough, New Zealand
£33.50 – £180.90 Buy The 2020 harvest marks the maiden vintage of this remarkable wine. Incredibly pronounced on the nose with notes of lime peel, grapefruit, steely minerality, oak, asparagus and toast. Richly textured with bags of acidity and tension to off-set the creamy complex fruit. Full of verve and richness in equal measure. If you like mass-produced supermarket Sauvignon Blanc that carries a trace of varietal character; then this is definitely not for you. -
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Les Légendes ‘R’ Saint Emilion 2018, A.C. Saint Emilion, France
£30.50 – £164.70 Buy A deep ruby with shimmering highlights, this vintage looks the part in the glass. The nose doesn't need much coaxing, a gentle swirl lifts toasted vanilla, morello cherry, blackberry, liquorice, cedar, toast and pepper. This exotic, sexy St Emilion is open and expressive from the off. Despite the accessibility, you could certainly cellar for a few years. But why wait when its this good now? -
Gustave Moreau: The Fables Postcard Pack
£5.00 Buy Moreau’s watercolours of the Fables of Jean de La Fontaine (1621-1695) were created between 1879 and 1885 for the art collector Antony Roux and their stylistic range encompasses historicism and the picturesque, orientalist fantasies and near-abstract chromatic experiments. They were exhibited to great acclaim in Paris in the 1880s and in London in 1886, where critics compared the artist to Edward Burne-Jones. One critic commented on Moreau’s ‘ keen apprehension of the weird.’ There were originally 64 works in the series, which was subsequently acquired by Miriam Alexandrine de Rothschild (1884-1965), but nearly half were lost during the Nazi era. The surviving works have not been exhibited since 1906 and they have only ever been published in black and white. This book is the first to reproduce them in colour – many shown actual size. Created at the height of the French 19th-century revival of watercolour, the variety of subject matter and technique, their colouristic effects and the sophistication of Moreau’s storytelling, will be a revelation to readers. Preparatory drawings for the Fables, including animal studies made from life in the Jardin des Plantes demonstrate the wide-ranging research that informed Moreau’s visions. Prints after Moreau’s Fables by Félix Bracquemond (1833-1914) translate the jewel-like colours into monochrome in some of the most innovative etchings of the age, while the most delicate effects of the watercolours were also transformed into vitreous enamels. In-depth accounts of each watercolour, explaining the story and exploring Moreau’s response to it. The introduction will place the series in the long history of illustrations of La Fontaine’s canonical work, whose sources include Aesop’s fables and traditional European and Asian tales, as well as considering Moreau in the context of his own, turbulent, times. -
Gustave Moreau: The Fables A4 Watercolour Notepad
£17.50 Buy Moreau’s watercolours of the Fables of Jean de La Fontaine (1621-1695) were created between 1879 and 1885 for the art collector Antony Roux and their stylistic range encompasses historicism and the picturesque, orientalist fantasies and near-abstract chromatic experiments. They were exhibited to great acclaim in Paris in the 1880s and in London in 1886, where critics compared the artist to Edward Burne-Jones. One critic commented on Moreau’s ‘ keen apprehension of the weird.’ There were originally 64 works in the series, which was subsequently acquired by Miriam Alexandrine de Rothschild (1884-1965), but nearly half were lost during the Nazi era. The surviving works have not been exhibited since 1906 and they have only ever been published in black and white. This book is the first to reproduce them in colour – many shown actual size. Created at the height of the French 19th-century revival of watercolour, the variety of subject matter and technique, their colouristic effects and the sophistication of Moreau’s storytelling, will be a revelation to readers. Preparatory drawings for the Fables, including animal studies made from life in the Jardin des Plantes demonstrate the wide-ranging research that informed Moreau’s visions. Prints after Moreau’s Fables by Félix Bracquemond (1833-1914) translate the jewel-like colours into monochrome in some of the most innovative etchings of the age, while the most delicate effects of the watercolours were also transformed into vitreous enamels. In-depth accounts of each watercolour, explaining the story and exploring Moreau’s response to it. The introduction will place the series in the long history of illustrations of La Fontaine’s canonical work, whose sources include Aesop’s fables and traditional European and Asian tales, as well as considering Moreau in the context of his own, turbulent, times. -
Gustave Moreau: The Fables A5 Lined Journal
£10.95 Buy Moreau’s watercolours of the Fables of Jean de La Fontaine (1621-1695) were created between 1879 and 1885 for the art collector Antony Roux and their stylistic range encompasses historicism and the picturesque, orientalist fantasies and near-abstract chromatic experiments. They were exhibited to great acclaim in Paris in the 1880s and in London in 1886, where critics compared the artist to Edward Burne-Jones. One critic commented on Moreau’s ‘ keen apprehension of the weird.’ There were originally 64 works in the series, which was subsequently acquired by Miriam Alexandrine de Rothschild (1884-1965), but nearly half were lost during the Nazi era. The surviving works have not been exhibited since 1906 and they have only ever been published in black and white. This book is the first to reproduce them in colour – many shown actual size. Created at the height of the French 19th-century revival of watercolour, the variety of subject matter and technique, their colouristic effects and the sophistication of Moreau’s storytelling, will be a revelation to readers. Preparatory drawings for the Fables, including animal studies made from life in the Jardin des Plantes demonstrate the wide-ranging research that informed Moreau’s visions. Prints after Moreau’s Fables by Félix Bracquemond (1833-1914) translate the jewel-like colours into monochrome in some of the most innovative etchings of the age, while the most delicate effects of the watercolours were also transformed into vitreous enamels. In-depth accounts of each watercolour, explaining the story and exploring Moreau’s response to it. The introduction will place the series in the long history of illustrations of La Fontaine’s canonical work, whose sources include Aesop’s fables and traditional European and Asian tales, as well as considering Moreau in the context of his own, turbulent, times.
