FEATURES ARCHIVE

Wine Specialist, Tim Triptree and Prints Specialist, Tim Schmelcher, discuss the key qualities of their own specialist areas and discover there are more similarities than may meet the eye.

Tim and Tim meet in the South Kensington wine cellar. Tim Schmelcher with Albrecht Dürer’s engraving of Saint Eustace, and Tim Triptree with a bottle of Imperial Gran Reserva Rioja, Vintage 1956. Their shared enthusiasm for craftsmanship, rarity and condition sparks a fascinating and enlightening conversation.

Tim Schmelcher: What do you expect from a great wine?

Tim Triptree: You want something memorable, something that amazes and surprises you. You want depth and complexity. Each sip should bring you back for more. You are looking for different flavours and components such as tannin which create structure.

TS: Structure is vital with prints too – depth, clarity and balance are key. You want a balance of light and darkness, subtle areas and bold.

TT: The same with wine, balance is crucial. We talk about the ‘harmony’: the alcohol shouldn’t be excessive; the intensity of the fruit has got to be just right and the acidity has got to be sufficient to keep it refreshing.

TS: The most obvious similarity between Prints and Wine must be that we deal in multiples – very rarely is there just one impression or just one bottle of a particular print or wine. Yet, although they are not unique, they are not all the same either. Let’s say you have three or four impressions of Saint Eustace: they could vary enormously in quality, depending on when they were printed. But even if you are lucky enough to see several fine, early impressions side by side, they would all differ slightly in character and condition. Certainly, if you had two wines from different vintages they would be different. But would they be different from bottle to bottle within the same year?

TT: Yes, you get bottle variations, especially with older wines. Until relatively recently bottling wasn’t an exact science. Take, for example this 1956 Imperial Gran Reserva, one of the many highlights from Rioja that are in the sale, there are going to be some subtle variations in different bottles; it is what maintains the interest.

TS: And as with prints, the more you see or taste, the more you appreciate the subtle nuances. You refine your own perception and taste. This Dürer is quite black and dramatic, another might be printed in brownish ink, which gives it a different atmosphere, making it warmer, sunnier in a way. Others are more silvery, which gives the image a more wintery feel. Do you find such variations in wine, even if it is from the same vineyard or château?

TT: The wonderful thing about wine is that it is a never-ending quest! There is a myriad of factors which influence it: the grape varieties, the soil, the micro-climate, the vintage and the weather, the methods used in the cellar, the barrels, and so on. It’s all quite intricate and technical. And then every bottle evolves and changes as it matures. But tell me about the technique behind this print.

TS: Well, the image is created by engraving lines into a copperplate. Then you rub ink onto the plate and into the lines, and wipe the plate surface clean, lay the plate onto wet paper and put it through the press. The ink that remains in the recesses is transferred onto the paper and creates the image. With each printing, the plate wears a little and the lines become less deep and distinct. So, the earlier the printing, the better the impression. Later impressions lack depth and clarity. It then depends on the inking, the wiping and the paper. This Saint Eustace is wonderfully black and strong, yet very sharp and detailed. Look through a magnifying glass and every line is clearly defined.

TT: So it comes down to craftsmanship?

TS: Craftsmanship and talent, yes! And as I suspect with wine, there are only a few great masters. They make the backbone of a sale. Around those you have others, but the finest examples by the most important printmakers will always be the most desirable, just like the famous Burgundies or Bordeaux!

TT: I completely agree, the most sought-after wines tend to be celebrated classics. Rarity or age alone doesn’t make for a great wine. A good château has to build a reputation for itself, and there needs to be enough of it around to generate momentum and demand. And then there’s the question of condition and provenance! In May in Hong Kong we sold a selection of wines from the private cellars of Château Latour which had never before been moved from the château. The storage conditions had been impeccable, which adds great value for our buyers. It resulted in a record breaking sale.

TS: Yes, provenance can be a major selling point. With prints we have collector’s marks, little inscriptions or stamps which tell us some of the history of that particular impression. Dürer’s Saint Eustace here has a famous provenance: it comes from the collection of Edmé Durand, one of the great connoisseurs of the early 19^th century. He put a little stamp of his initials ED just above the artist’s monogram AD at the bottom of the image, which seems a little arrogant! But collectors like prints with famous provenances, they ennoble the piece.

TT: How about condition? Is that an issue?

TS: Absolutely! Although the paper quality around 1500 was much higher than it is today, old master prints are fragile and most have suffered in one way or another. As to keeping them safe today, acid-free mounts are crucial. The rest comes down to temperature and humidity. If it’s too hot and dry the paper might get brittle; too humid and you get condensation, resulting in waterstains or foxmarks – which is some kind of mould in the paper.

TT: Fluctuations in temperature are a disaster! Wine must be kept in a cool and in a dark area, if it’s too warm the wine can cook, affecting the taste. It should also be stored at around 70% humidity. However, you are always looking for a balance, as if it’s too dry the cork will dry out, too wet and the label will disintegrate.

TS: Do you think one has to have had lots of experience with wine to really appreciate it?

TT: You need a little knowledge to appreciate the subtleties. On the other hand, a lot of people I speak to have been attracted to wine by being amazed by one delicious bottle, without knowing much about wine before.

TS: I guess a truly great wine or a superb impression of a print can be enjoyed by anyone. You just have to give it some attention and time – to smell and taste it, to look and see. But beyond that, a seasoned print collector will register and compare the slightest nuances and variations between one print and another, and remember them – just like tasting notes, really.

TT: I think that is part of the attraction: there is a secret language, an exclusive club – to have tasted it and to have understood it.