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Sworders
Los 19

Charles F A Voysey (1857-1941), an oak 'Essex' armchair, c.1900, designed for the Essex & Suffolk Equitable Insurance Society Office, partly constructed,66.5cm wide54cm deep139.5cm high, seat 42cm highProvenance: From the collection of John Brandon-Jones, who worked with Charles Cowles-Voysey, son of CFA Voysey. Now sold by the daughter of John Brandon-Jones.Condition ReportThe left arm rest and front horizontal wooden supports to the bottom of the chair are broken and unattach - they are currently held in place with string. Wear, marks, and light scratches to the leather which appears to be original. Some scuffs, marks, an loses to the wooden frame.

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Sworders
Los 18

Charles F A Voysey (1857-1941), a pair of oak 'Essex' armchairs, c.1900, designed for the Essex & Suffolk Equitable Insurance Society Office,66.5cm wide54cm deep139.5cm high, seat 42cm high (2)Provenance: From the collection of John Brandon-Jones, who worked with Charles Cowles-Voysey, son of CFA. Voysey. Now sold by the daughter of John Brandon-Jones.Condition ReportStructurally sound. The left arm to one of the chairs has been broken and subsequently restored. Marks, wear, and light scratches to the leather which appears to be original. Some cracks, chips and loses to the wood. Surface wear and marks to the wood.

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Lyon & Turnbull
Los 15

Cartier: A 'Trinity' ring The three interconnecting 18 carat tri-coloured gold bands, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, Cartier size 50Accompanied by a Cartier case. Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.

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Lyon & Turnbull
Los 1

Cartier: An aquamarine and diamond brooch circa 1935 Designed as two demi-lunes, composed of oval-cut aquamarines and brilliant-cut diamonds, connected by a rectangular step-cut aquamarine, diamonds approx. 0.60 carat total, signed Cartier London, numbered, width 3.5cm By repute, purchased in the 1930s from Cartier. The original owner was an English socialite who had a home in Kent and was good friends with Lady Vita Sackville-West, the well regarded author, who lived nearby at Knole House. Hence by descent.   Following the US Stock Market Crash in 1929, the global economy felt the shockwaves. Although disproportionally affecting those in lower economic classes, the jewellery industry was not untouched. As prices, supply and demand for top coloured stones, such a rubies, sapphires and emeralds felt the repercussions, so to did the spending power of clients. Jacques Cartier chose to make a unique strategic move. For several years the three Cartier brothers subtly bought up the best quality aquamarines (as well as topaz) on the wholesale market. Jacques Cartier was particularly drawn to aquamarines, as well as topaz, as those stones lent themselves to the rectangular cuts which complimented the architectural style of Art Deco jewels. In order not to alert their competitors that they were planning new ranges of jewels featuring these “semi-precious” gemstones, they would acquire the best gems available, but never so much as to draw attention to themselves.Cartier’s aquamarine jewellery appears to have been predominantly produced from the London workshop starting in 1932. Several American clients ordered aquamarine jewellery specifically through the New Bond Street London premises. One of the most notable advocates for Cartier’s aquamarine collections was the famed American interior designer Elsie de Wolfe. She commissioned a striking aquamarine spiral halo tiara in 1935, and to complete the look, had her hair tinted blue to match. Due to their strategic gemstone buying in both London and Paris, when the Cartier store windows were filled with aquamarine and platinum jewels as well as topaz and yellow gold creations, their competitors found it almost impossible to find premium gemstones. If they were offered any, the gemstones would cost substantially more than the Cartier brothers had paid.See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, page 263 and Cartier Brickell, Francesca, The Cartiers, Ballantine Books, New York, 2019, pages 323-325.

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Lyon & Turnbull
Los 58

Cartier: A 5.08 carat diamond single-stone ring circa 1925 Set with a cut cornered, step-cut diamond, weighing 5.08 carats, in a four-claw setting, signed Cartier, numbered, ring size PAccompanied a later Cartier case as well as a Letter of Expertise from IAJA Expertise stating that the ring is a genuine Cartier New York item from circa 1925. Letter numbered XP2197-290125, dated 29th January 2025.The diamond has been assessed unmounted by GCS and a verbal result given that the diamond is L colour, VS1 clarity. It is rarely discussed in jewellery history who actually cut the diamonds and gemstones which find themselves adoring fabulous jewels. The role of the lapidary is even further removed from the limelight than that of the goldsmith.However one name in diamond cutting has managed to carve out a well deserved reputation. The Amsterdam based firm of I J Asscher Diamond Company has cut some of the most famous diamonds in history, including the 3,106 carat Cullinan Diamond.Founded in 1854 by Joseph Asscher, its global headquarters are still located on the original site Tolstraat 127, Amsterdam, The Netherlands. In 1904 they patented a cut of diamond unlike anything else at the time. The Asscher-cut is almost square and was composed of 50 or 58 facets. The geometric style meant that it perfectly suited the Art Deco jewels made in the coming decades.Asscher was well known to be a preferred diamond supplier to Cartier. A diamond of similar appearance to this one, appears central in the Patiala necklace made by Cartier in 1928.Sadly a large amount of the Asscher firm’s archives was lost in the Nazi occupation during WWII. Like the vast majority of other diamonds, it is not possible to know for sure who cut this particular diamond but the style and angular facet arrangement are indicative of the firm’s output.

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Lyon & Turnbull
Los 35

Cartier: A diamond 'Love' bangle The polished bangle accented at intervals with alternating screwhead motif and brilliant-cut diamonds, signed Cartier, maker's mark, numbered, Cartier size 19Accompanied by a Cartier case, box and screwdriver as well as a certificate of authenticity dated 2016. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw.  Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.

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Lyon & Turnbull
Los 34

Cartier: A platinum "Love" ring Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59  Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw.  Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.

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Lyon & Turnbull
Los 18

Cartier: A seven-band 'Trinity' ring The seven interlocking tri-coloured bands, signed Cartier, ring size M  Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.

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Lyon & Turnbull
Los 19

Cartier: A gold necklace by Georges Lenfant with a detachable Imperial topaz and diamond cluster 1960 The 18 carat gold necklace of polished and matte woven design in a herringbone pattern, featuring a detachable spacer that converts into a brooch, centrally set with a step-cut topaz, each of the four claws buttressed by a baguette-cut diamond, within an oval angled surround pavé-set with brilliant-cut diamonds, diamonds approx. 4.50 carats total, topaz approx. 24.50 carats, necklace signed Cartier, partial maker's mark GL for Georges Lenfant, numbered, maker's mark JC and London import mark, French export marks, brooch unsigned, lengths: necklace 37.3cm, brooch 3.3cmAccompanied by a fitted Cartier case.Please note this lot will be subject to VAT of 5% on the hammer price. The design of this brooch is identical to two which featured in a Cartier necklace previously sold at Christie's sentinel auction “Jewellery and Objects by Cartier” held in Geneva on the 25 May 1993, lot 799. As with this example, that necklace was unsigned but was presented with a catalogue footnote “Although not signed, this necklace was purchased by the present owner at Cartier, London in July 1962”.Georges Lenfant (sometimes seen as "L’Enfant") and his son Jacques Lenfant are regarded as some of the most skilled goldsmiths of the 20th century. Their distinctive work is now highly sought after by collectors. However, throughout their careers they operated behind the scenes, making exquisite jewellery for the famous Parisian jewellers of the Place Vendôme and Rue de la Paix. He was a workmaster for Cartier, as well as making creations for Mellerio, Hermès, and Van Cleef & Arpels amongst others. Born into the jewellery trade, Georges Lenfant set up his own workshop around the turn of the last century. In 1903 he was listed in the ‘Revue de la Bijouterie, Joaillerie, Orfèvrerie’. By 1909 he had registered his distinctive maker's mark. In 1915 Jacques Lenfant began helping in his father's workshop at just 11 years old. He continued his education studying in France, Germany, Austria and England before formerly joining the company in 1927. Following the Second World War, Jacques took over control of the company. It was Jacques who in the late 1950s pioneered the now iconic woven and textured goldsmithing techniques for which the house became world famous. Jacques Lenfant died in 1996 and the company was subsequently purchased by Benjamin Leneman in 1998, thereafter becoming the Bouder workshop. Jacques teaching roles at the Chambre Syndicale de la Joaillerie, Bijouterie et Orfèvrerie were testament to his dedication to goldsmithing education. In 1980 he created an award to celebrate top students, which is still awarded today. He also wrote the book Le Livre de la Chaîne, which was commissioned by the Chambre Syndicale, but was sadly only published posthumously in 1996.The pattern of this necklace is identified in Le Livre du Chaine as "Tissu Polonais Presse Empire Relief" or Polish Press Empire Relief Fabric, see page 90. This was a term Lenfant used to describe a distinct type of woven gold chain designed as an homage to patterns in traditional Polish and Milanese fabric.

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Lyon & Turnbull
Los 16

Cartier: A 'Trinity' bangle Designed as three interconnecting tri-coloured gold bands, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, inner diameter 6.0cmAccompanied by a Cartier case. Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.

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Lyon & Turnbull
Los 33

Cartier: A 'Love' Bracelet The polished bangle, decorated throughout with screwhead motifs, signed Cartier, numbered, Cartier size 16Accompanied by a Cartier case and screwdriver. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw.  Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.

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Lyon & Turnbull
Los 37

Cartier: A gold tie pin 1978 Designed as a 9 carat gold safety pin, signed Cartier, maker's mark C&F; for Cropp & Farr, London hallmark, length 4.5cmAccompanied by a Cartier case. Croop & Farr were known suppliers to Cartier’s London store beginning in the 1920-30s. Jacques Cartier set up English Art Works in 1922 to train goldsmiths and craftsmen in London who could work to the exacting standards set by the Pairs workshops. However, they still relied on a variety of local suppliers thereafter for certain items. Each supplier had a speciality, such as Wright & Davis on Rosebery Avenue who supplied Cartier with cigarette cases and lighters. Cropp & Farr were known to supply studs and links. See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, page 43.

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Dreweatts 1759
Los 22

1975 Taylor's, Vintage Port 2x75cl 1975 Cockburn's Vintage Port Labels soiled and scuffed, capsules corroded, cork not exposed. 3x75clTotal 5x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 38

1932 Harveys, Vintage, Petite Champagne Cognac Landed and bottled in 1977 1x70cl 24floz, 70 degrees Proof. Label soiled and torn.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 29

1950 Rutherford & Miles, Sercial, Madeira 2x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 171

1957 Chateau Pontet-Canet 5eme Cru Classe, Pauillac Level HS 1x75cl 1966 Chateau Cantemerle 5eme Cru Classe, Haut-Medoc Level MS 1x75cl 1970 Chateau Montrose 2eme Cru Classe, Saint-Estephe Level TS 1x75cl 1970 Domaine de Chevalier Cru Classe, Pessac-Leognan Level MS 1x75cl 1970 Les Forts de Latour, Pauillac Level TS 1x75cl 1971 Chateau Giscours 3eme Cru Classe, Margaux Level TS 1x75cl 1975 Chateau Leoville Barton 2eme Cru Classe, Saint-Julien Level HS 2x75cl 1976 Chateau Pichon Longueville Comtesse de Lalande 2eme Cru Classe, Pauillac Level BN 1x75cl Total 9x75cl Labels soiled and damaged.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 6

1970 Taylor's, Vintage Port 3x75cl Labels soiled and torn, 1 capsule corroded, cork not exposed. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 36

1969 Blandy's, Terrantez Madeira Label soiled and torn. 1x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 78

1961 Chateau Beychevelle 4eme Cru Classe, Saint-Julien 1x75cl Level HS, label soiled and torn, capsule damaged, cork exposed.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 75

1957 Chateau Lynch Bages 5eme Cru Classe, Pauillac 2x75cl Levels 1 BN, 1 HS, labels soiled, 1 torn. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 193

1997 Tollot Beaut, Corton Grand Cru, Les Bressandes 2x75cl Labels soiled, 1 label scuffed and peeling off.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 76

1961 Ducru-Beaucaillou 2eme Cru Classe, Saint-Julien 1x75cl Level HS, label soiled.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 23

1820 Lomelino, TTC Bual Solera, Madeira 150th Anniversary 1820-1970 1x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 269

1967 Chateau de Beaucastel Rouge, Chateauneuf-du-Pape 1x75cl Label damaged.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 280

1994 Chateau de Beaucastel Rouge, Chateauneuf-du-Pape 8x75cl Labels soiled and damaged. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 80

1961 Chateau Lynch Bages 5eme Cru Classe, Pauillac 1x75cl Label damaged.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 35

1964 Blandy's, Bual Madeira Label soiled and torn. 1x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 153

1959 Chateau Petit-Village, Pomerol 1x75cl Capsule missing, cork exposed, label soiled and peeling from corners.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 150

1959 Cos d'Estournel 2eme Cru Classe, Saint-Estephe Level H/MS, label soiled. 1x75cl 1985 Cos d'Estournel 2eme Cru Classe, Saint-Estephe Level BN, label soiled and torn. 1x75cl Total 2x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 32

1954 Rutherford & Miles, Malmsey, Madeira 1x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 7

1975 Graham's Vintage Port 3x75cl Labels severely soiled, torn and damp-affected, 1 capsule slightly corroded, cork not exposed. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 187

1971 Jules Regnier & Co, Musigny Grand Cru 3x75cl Labels soiled and scuffed, 1 damaged.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 37

1978 Blandy's, Malmsey Madeira Label soiled and torn. 1x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 84

1973 Chateau Haut-Brion Premier Cru Classe, Pessac-Leognan 1x75cl Label soiled and torn.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 47

1961 Pol Roger, Brut Vintage 1x75cl Label soiled, and torn, foil slightly torn, cork slightly exposed.Who know's what lies beneath the cork ? but combined with the provenance - the brightness, clarity and noticeable sparkle of this old Champagne suggest it is the correct condition for its age. Mark Robertson 2025This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 151

1966 Chateau Haut-Bailly Cru Classe, Pessac-Leognan Label soiled. 1x75cl 1966 Chateau La Mission Haut-Brion Cru Classe, Pessac-Leognan Label soiled and scuffed. 1x75cl Total 2x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 54

1966 Charles Heidsieck, Extra Dry 1x 37.5cl 1969 Bollinger, Brut 2x37.5cl 1971 Moet & Chandon, Dry Imperial 2x37.5cl Total 4x37.5cl Labels soiled.Who know's what lies beneath the cork ? but combined with the provenance - the brightness, clarity and noticeable sparkle of this old Champagne suggest it is the correct condition for its age.  These half bottles look in wonderful condition, clear with a little fizz and have been stored in a cool dark Edgebaston cellar since release and untouched.Dreweatts have no control of what is inside the bottle. These are Historical Champagnes and we very much doubt there are half bottles in this condition anywhere else on earth so please bid with caution .....and hope for fireworks !. With wines this age , The buyer will be the only person to have that sensation if they are wonderful. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 63

1957 Tokaji Aszu 6 puttonyos 1x50cl 1959 Tokaji Aszu 6 puttonyos 1x50cl Total 2x50cl Produced by the state owned winery in Tolcsva. The winery remained under state control until 2003 when it was privatised and became Tokaj Kereskedohaz. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era. 

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Dreweatts 1759
Los 74

1957 Chateau Haut-Brion Premier Cru Classe, Pessac-Leognan 1x75cl Level T/HS, label soiled,Bottled at the Chateau and sold by negociant label F. Ginestet, Bordeaux This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 61

1947 Tokaji Essencia, Koronauradalmi 1x50cl Koronauradalmi translates as Royal therefore from the Kingdom of Hungary. 1947 marked the year the country fell under Soviet control and the label appears to show the word 'Koronauradalmi' crossed out in type. It is likely that this bottle was hidden to save it from being seized at a time when all independent companies were being nationalised. It was acquired by the present owner covered in a thick layer of what is believed to be volcanic dust which Dreweatts has carefully removed in areas to confirm the vintage and type. The label underneath appears in good condition and the level and colour are excellent for the age. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 8

1977 Taylor's, Vintage Port 3x75cl Labels torn, soiled and damaged, 1 wax capsule corroded, cork not exposed. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 30

1950 Rutherford & Miles, Sercial, Madeira 2x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 48

1966 Joseph Perrier, Brut 1x150cl Label soiled and torn.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 79

1961 Chateau Talbot 4eme Cru Classe, Saint-Julien 2x75cl Levels 1 TS, 1 MS, labels soiled.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 53

1943 Pommery, Brut 1x37.5cl 1947 Pommery, Brut 1x37.5cl Total 2x37.5cl Labels soiled. Who know's what lies beneath the cork ? but combined with the provenance - the brightness, clarity and noticeable sparkle of this old Champagne suggest it is the correct condition for its age. Mark RobertsonThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 244

1971 Remy Gauthier, Echezeaux Grand Cru Labels soiled and torn. 2x75cl 1971 Maison Louis Latour, Romanee-Saint-Vivant Grand Cru, Quatre Journaux Label soiled and scuffed. 1x75cl 1976 Charles Vienot, Richebourg Grand Cru Label scuffed. 1x75cl Remoissenet Pere & Fils, Bonnes Mares Grand Cru (known as 1971) Label soiled and torn, capsule showing signs of corrosion, cork not exposed, foil capsule cut for cork inspection, known to be 1971 1x75cl Total 5x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 174

1966 Ducru-Beaucaillou 2eme Cru Classe, Saint-Julien VTS, label slightly soiled. 1x75cl 1966 Chateau Haut-Bailly Cru Classe, Pessac-Leognan BN, label slightly soiled. 1x75cl 1966 Chateau Figeac Premier Grand Cru Classe B, Saint-Emilion Grand Cru VTS, label soiled. 1x75cl 1966 Chateau Lynch Bages 5eme Cru Classe, Pauillac [UK bottled] T/HS, El Vino Co. Ltd. label soiled and damaged. 1x75cl 1966 Chateau Cantemerle 5eme Cru Classe, Haut-Medoc TS, label soiled. 1x75cl 1966 Chateau de Pez, Saint-Estephe VTS, label soiled. 1x75cl Total 6x75cl This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era. 

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Dreweatts 1759
Los 4

1963 Warre's, Vintage Port 6x75cl Labels soiled and damaged, 1 label peeling off, 1 wax capsule cracked with cork slightly exposed, 2 wax capsules slightly corroded on sides, cork not exposed. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 172

1961 Chateau du Domaine de L'Eglise, Pomerol [Army & Navy] VTS, Army & Navy label soiled. 1x75cl 1961 Chateau Ferriere 3eme Cru Classe, Margaux [Morgan Furze] IN, Morgan Furze label soiled. 1x75cl 1961 Chateau Tertre Daugay Grand Cru Classe, Saint-Emilion Grand Cru [Justerini & Brooks] IN, Justerini & Brooks label soiled and slightly damaged. 1x75cl 1961 Chateau Pape Clement Cru Classe, Pessac-Leognan TS, label soiled. 1x75cl Total 4x75cl This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 243

1971 Charles Noellat, Vosne-Romanee Premier Cru, Les Beaux Monts Label detached, torn and soiled, wax capsule cracked, cork slightly exposed. 1x75cl Charles Noellat, Clos de Vougeot Grand Cru (known to be 1971) Label damaged, wax capsule slightly cracked, cork not exposed. 1x75cl Total 2x75cl This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 83

1970 Chateau Lafite Rothschild Premier Cru Classe, Pauillac 3x75cl Levels 3 BN, labels lightly soiled. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 20

1970 Dow's, Vintage Port Labels missing, capsules stating producer and vintage. 2x75cl 1975 Warre's, Vintage Port Labels soiled and scuffed, 1 detached, 1 capsule corroded, cork not exposed. 2x75cl Total 4x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 268

1966 Paul Jaboulet Aine, Hermitage, La Chapelle Rouge 2x75cl Labels soiled and damaged. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 240

1966 Bachey Deslandes, Mazis-Chambertin 1x75cl 1971 Jules Regnier & Co, Chambertin 2x75cl 1976 Thomas Bassot, Griotte-Chambertin Grand Cru 1x75cl Total 4x75cl 3 capsules showing signs of corrosion, cork not exposed, labels soiled, 2 labels torn. This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 241

1966 Justerini & Brooks, Savigny-les-Beaune Premier Cru, Aux Guettes Rouge Label soiled and scuffed. 1x75cl 1970 Mommessin, Clos de Tart Grand Cru Capsule corroded, cork not exposed, label soiled and torn. 1x75cl 1976 Doudet-Naudin, Savigny-les-Beaune Premier Cru, Aux Guettes Rouge Label soiled and scuffed. 1x75cl 1976 Jaboulet-Vercherre, Beaune Premier Cru, A l'Ecu 1 capsule corroded, cork not exposed, labels soiled, 1 torn. 2x75cl 1997 Domaine Bruno Clair, Gevrey-Chambertin Premier Cru, Les Cazetiers Label soiled and torn. 1x75cl Total 6x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 43

Vincent Jacoulet, Fine Bourgogne 45% ABV Signs of slight corrosion on capsule, cork not exposed, label soiled. 1x70cl Vincent Jacoulet, Marc de Bourgogne Extra Egrappe 45% ABV Signs of slight corrosion on capsule, cork not exposed, label lightly soiled. 1x70cl Veuve Clicquot, Marc de Champagne 42% ABV Signs of slight corrosion on foil and label, cork not exposed, label soiled. 1x70cl Total 3x70cl This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 33

1954 Rutherford & Miles, Malmsey, Madeira 1x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 154

1970 Chateau La Fleur-Petrus, Pomerol 3x75cl Levels IN, 2 labels soiled and scuffed, 1 damaged.This lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 41

1974 Berry Bros. & Rudd, Vintage, Grande Champagne Cognac 24floz, 70 degrees Proof, landed 1964, bottled in 1974 for Berry Bros. & Rudd Ltd, London. Label detached, soiled and torn, capsule with signs of corrosion. 1x70cl 1978 Denis Mounie, Vintage, Grande Champagne Cognac 24floz, 70 degrees Proof, landed 1963, bottled for Grierson Blumenthal Ltd, London. Label soiled and torn, capsule with signs of corrosion. 1x70cl Total 2x70clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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Dreweatts 1759
Los 152

1970 Ducru-Beaucaillou 2eme Cru Classe, Saint-Julien Label soiled and scuffed. 1x75cl 1971 Ducru-Beaucaillou 2eme Cru Classe, Saint-Julien 1 label missing, 1 label soiled and scuffed. 2x75cl Total 3x75clThis lot forms part of a private collection amassed mainly in the 1970s and 1980s by a discerning and knowledgeable wine enthusiast who began collecting in his student days. The wines were meticulously stored in a traditional cellar and have lain undisturbed for decades. This offering presents a unique opportunity to acquire rare and historical bottles from a bygone era.

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