by Wine Owners
Posted on 2013-05-03
Wine is a classic collectible asset.
Fine wine differs from stocks and shares in that it does not produce an income and it is not fungible. In this it shares common characteristics with other collectible classes such as art, stamps, coins, cigars and classic cars.
Fungible is another way of saying ‘interchangeable’. Cash is fungible; one £20 note having equivalence with any other note of the same value. Pure gold is also fungible, a gram being interchangeable with any other gram.
In contrast, diamonds are not perfectly fungible because varying cuts, colors, grades, and sizes make it difficult to find many diamonds that are exactly alike. Diamonds illustrate the point that fungibility is not the same as liquidity or scarcity. A global market can nonetheless exist and thrive irrespective of whether an asset class is perfectly fungible or not.
Neither is fine wine perfectly fungible, notwithstanding the contrary views of Joe Roseman, the investment economist who coined the phrase SWAG for Silver, Wine, Art and Gold.
Similarly, typically over time, one case of a particular wine of the same vintage loses its ability to be treated as interchangeable with another, due to variables such as storage location (and implied quality of condition), tax status (held under bond or duty paid), back or strip labels (denoting its original export destination e.g. China) and packaging (e.g. original wooden case or a repack).
Non-fungibility creates market pricing variability. To illustrate the point from another collectible segment, cigars stored at Dunhill in Mayfair are thought to carry a premium at auction houses; such is the excellent reputation of their humidor.
The growing globalisation of the fine wine market over the last decade, with the opening up of the Far East and Russian markets, and the future potential influence of Brazil, India and other emerging regions, has shone a spotlight on the importance of wine provenance – being the term used to describe history and current condition.
The question of how good is a wine’s provenance arises directly from the fact that wine is not fungible. The top estates (typified by the Bordeaux First Growths) are gradually adopting technological innovations that could help in future. Everyone agrees that provenance can only become increasingly important.
Where the wine is stored, how long it’s been kept there undisturbed, where it’s been and the distance it’s had to travel; are all more pertinent questions than ever before.
A new system of building and tracking provenance is surely needed, where older stocks can be traced back, through transfer of title, movements, location changes and inspections.
Traceability and reliability of source will increasingly justify higher prices for the best stock, and lead to a disparity of value or market liquidity between two bottles or cases of the same wine.
There is already a widening gap between older wines sourced direct from the producer compared with secondary market stocks in those cases where history cannot be proved.
It is well worth the investment in time to seek out secondary market stock with good provenance, in order to assure your fine wine purchases can serve as an effective store of value. Greater market transparency is surely the key to giving private buyers the confidence and information they need.
by Wine Owners
Posted on 2013-04-05
With updated prices released on Wine Owners' - the world's first full service, independent asset management and trading exchange - it's an opportune time to check on the market price of Chateau Latour 1995.
Why? Because having withdrawn from the en primeur release system in April 2012, Latour director Frederic Engerer had announced that each year a vintage of Chateau Latour and the second wine, Les Forts de Latour, would be released at the start of their perfect drinking window.On March 19th 2013 the first of the 'library' releases, 1995, was offered at a UK retail price of (GBP) £4,950.Each bottle comes with a prooftag (a security product guaranteeing traceability and authenticity) and sports a back label stating the date of shipment from the chateau.1995 was a great vintage for Latour, as evidenced by the following wine critic reviews:
Robert Parker 96 points (June 2000)
A beauty, the opaque dense purple-coloured 1995 exhibits jammy cassis, vanillin, and minerals in its fragrant but still youthful aromatics. Medium to full-bodied, with exceptional purity, superb concentration, and a long, intense, ripe, 40-second finish, this is a magnificent example of Latour. As the wine sat in the glass, scents of roasted espresso and toasty new oak emerged. This classic will require considerable cellaring. Anticipated maturity: to 2050.
Jancis Robinson 18.5 points (2011)
Lustrous deep crimson almost right out to the rim still. Hint of mint on the nose – quite aromatic. Pretty. Charming for a Latour grand vin! Though there is a strong undertow of graphite. More intense than 1996. Drink to 2035
Lisa Perrotti-Brown 96 points (Nov 2012)
Deep garnet-brick in colour, the nose is well developed, displaying dried berry, leather, vanilla pod and anise notes with a faint whiff of potpourri. The palate is wonderfully fleshy and opulent with velvety, approachable tannins and a long finish.
Latour took criticism for their release price from some quarters arguing that that it was too high compared to market prices for previously released-en-primeur bottles of 1995.
Our analysis (Wine Owners Market Level calculation: base data sourced from Wine Searcher) shows the current market price per bottle is £351, or the rounded equivalent of £4,200 for a 12x75cl case.
As the chart shows this is down from £433 per bottle in April 2012, or the rounded equivalent of £5,200 for a 12x75cl case, showing the prolonged tough time first growths have endured since hitting their giddy heights in the summer of 2011.
So is a £700 case market premium for an ex chateau release with perfect provenance and a prooftag worth it?
Yes, according to Lisa Perrotti-Brown MW who believes a 15% premium is worth paying to source that perfectly stored and shipped wine.
And that, funnily enough, is precisely the premium that Latour decided to place on the 1995 library release.
by Wine Owners
Posted on 2013-04-04
Fine wine is a multi-million dollar industry and is fraught with peril. From fake bottles to fraudulent contents, from mislabelled wine to misled consumers, wine has been faked, forged, and used for fraud for as long as it has been consumed.
This eBook provides a brief history of forgery and fraud in the fine wine world, including case studies on Rudy Kurniawan and Hardy Rodenstock, and is available from Amazon for just £1.53, or free to borrow and read on the Kindle for 'Prime' users.
The Wine Forger’s Handbook also functions as a guide, both on how fraudsters have been found out, and tips on how to avoid being fooled in your own wine purchases.
Written by a pair of award-winning writers, wine expert Stuart George and best-selling art crime expert Dr. Noah Charney, The Wine Forger’s Handbook is a fun, informative, engaging read, and one which could potentially save you from making costly purchases of fake wine.
The Wine Forger’s Handbook is ideal for anyone from wine collectors to casual drinkers, or those who enjoy true crime stories of forgery, deception, and detection set against the vivid backdrop of the world of wine.
ABOUT THE AUTHORS
Noah Charney
Noah Charney is a professor of art history specialising in art crime and a best-selling author of fiction and non-fiction.
His books include the international best-seller novel The Art Thief; the best-selling Stealing the Mystic Lamb: The True Story of the World’s Most Coveted Masterpiece; The Thefts of the Mona Lisa: On Stealing the World’s Most Famous Painting; and the guidebook series Museum Time. He is editor of Art & Crime: Exploring the Dark Side of the Art World and editor-in-chief of The Journal of Art Crime, the first peer-reviewed academic journal in its field.
He is the founder of ARCA, the Association for Research into Crimes against Art, an international non-profit research group on art crime and cultural heritage protection (http://www.artcrimeresearch.org/). He teaches art history and art crime on the ARCA Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection at American University of Rome and for Brown University.
He is a popular speaker and recently gave a TED talk on art crime, which can be viewed at http://www.youtube.com/watch?v=T897Foh5s0g. He is an award-winning columnist for numerous magazines, with regular columns in The Daily Beast (http://www.thedailybeast.com/features/how-i-write.html), Tendencias del Mercado del Arte, and ArtInfo (http://blogs.artinfo.com/secrethistoryofart/).
He encourages readers to join him on Facebook (https://www.facebook.com/NoahCharney) or through his website http://www.noahcharney.com/.
Stuart George
Stuart George is an independent wine consultant in London.
In 2003 he was awarded the UK Young Wine Writer of the Year. Stuart was co-author of The Wine Box (2005), picture editor and leading contributor to 1001 Wines You Must Try Before You Die (2008), and editor of the award-winning The Finest Wines of Tuscany and Central Italy(2009) and The Finest Wines of Champagne (2009).
Stuart has contributed to publications on five continents, including The Daily Telegraph, Fine Wine International, Fine Wine & Liquor, Meininger’s Wine Business Monthly, Sommelier Journal, The Tasting Panel Magazine and the Times Literary Supplement.
He is a sought-after show judge and has been a jury member at wine competitions in Austria, Brazil, Chile, China, France, Luxembourg, Portugal and Spain. He has worked harvests in France, Italy and Australia.
His website and blog is at http://www.StuartGeorge.net/. He can be followed on Twitter at @sdgeorge1974.
