He had made London into the center of the international auction market for fine wine, and his dominance was undisputed. As befitted a top auctioneer, he effortlessly melded the hustle of a barrow boy and the self-deprecating charm of a courtier. He delighted in rummaging through the Christie’s archives and reading aloud from leather-bound catalogs of its earliest auctions, like the sale on March 18, 1771, which featured “upwards of 100 loads of Good Hay, 6 stacks of Beans…a quantity of Dung…Four Heffers, two cows, a Ram, Swan, Poultry,” and, in the wine department, “a Cask of Elderwine” and “a Firkin with some old Verjuice.” In his own writing, he rendered the dross of wine description into something wicked, marshaling one randy image after another to describe the fermented grape juice he was selling: “a sexy demi-mondaine of uncertain age but opulent charm”…“a light, easy, charming middle-aged lady with her slip showing”…and, of course, those “schoolgirls’ uniforms.” Normally his wife typed up his tasting notes, but when he had written an especially salacious one, he would give the job to his secretary instead.
Broadbent was intensely competitive, and he could be defensive and catty on the topic of the rival auction house. The old saw held that Christie’s was made up of gentlemen trying to be auctioneers, and Sotheby’s of auctioneers trying to be gentlemen, yet there was nothing particularly genteel about Broadbent’s approach to competition. “Despite the strenuous efforts of our competitors,” Broadbent crowed to Christie’s clients in 1979, “we continue to dominate the international fine wine market.” Another time, he denounced Sotheby’s “extravagant claims and misleading statements” as “pure propaganda.”
The largely one-sided feud became strident in 1984, when Sotheby’s wine department introduced a 10-percent buyer’s commission. Broadbent was instantly scornful. “It is not a very healthy step,” he told Decanter. “We have always strenuously opposed any buyer’s premium on wine.” His counterpart at Sotheby’s, Patrick Grubb, retorted that Sotheby’s catalogs were “of infinitely better quality than those of our rivals!” Broadbent came back with, “Maybe his buyers are happy for part of their extra 10 percent to be devoted to the glamorization of what is essentially a piece of ephemera? The Bible has a phrase for this: ‘a whited sepulchre’!” Two years later, Broadbent had to eat crow as Christie’s followed Sotheby’s lead, adopting a buyer’s premium and revamping its catalogs. Grubb then published a mocking poem, which included the lines “Sepulchral hollow laughter is heard in King Street now / Despite all protestations they’ve killed a sacred cow.”
A few years after that, Broadbent said of Sotheby’s wine department, “The lack of enthusiasm shows.” Sotheby’s wine department, for its part, claimed that while Christie’s did a volume business, Sotheby’s was the quality auctioneer. Sotheby’s competed nearly as avidly in the record-chasing arena, touting, during one season in the early 1980s, its sale of “the largest quantity [of cases of Port] ever sold in any season of wine auctions this century.”
BROADBENT WAS GETTING wine from his fellow countrymen, but he was selling it to Americans. By the mid-seventies, the spike in prices for first growths seen between 1966 and 1971 had become more dramatic, and the really old bottles had been priced out of reach of many connoisseurs. A magnum of 1864 Lafite that had sold for $225 at the Rosebery sale in 1967 went for $10,000 in 1981. American demand was the chief reason. The strength of the auction market had come to depend on the strength of the dollar.
American colonists had preferred fortified wines from Spain and Portugal, such as Madeira and Port, and it was Thomas Jefferson who introduced a number of his peers to the less alcoholic pleasures of table wine. Before leaving France in 1789, Jefferson shipped Sauternes, Burgundy, and still Champagne to New York for the cellars of newly elected President George Washington. As secretary of state, Jefferson placed another large order for Washington and himself. He subsequently advised three other presidents—Adams, Madison, and Monroe—on what wines to serve at state dinners. When Monroe was elected, Jefferson’s congratulatory letter spent three sentences on the election and the remainder on what wines the White House cellar should stock.
Jefferson was steadfast in promoting his favorite beverage. He lobbied for lower tariffs on wine not only for selfish reasons, but ostensibly because he believed in its healthful and even moderating qualities. “No nation is drunken where wine is cheap,” he wrote once, alluding to the rampant abuse of whiskey he saw around him, “and none sober, where the dearness of wine substitutes ardent spirits as the common beverage.” He made little headway in this campaign with Secretary of the Treasury Alexander Hamilton, who regarded Jefferson as a fop and wine as a luxury.
Still bent on cultivating wine grapes, Jefferson tried growing them at Monticello after he returned from Europe. Again he didn’t succeed, but he corresponded with John Adlum, father of American viticulture, and remained optimistic that America could rival France as a winemaking country. “We could, in the United States,” Jefferson wrote, “make as great a variety of wines as are made in Europe, not exactly of the same kinds, but doubtless as good.”
Jefferson claimed, patriotically if not altogether convincingly, that he had tasted wine made in Maryland that rivaled the very best Burgundy. He felt North Carolina had come the furthest in developing as a wine producer, and that its Scuppernong grape had yielded America’s first “exquisite wine, produced in quantity.”
He was also a proselytizer at the table, and seems to have flirted with the wine enthusiast’s avocational hazard of overestimating others’ interest in the topic. “There was, as usual, the dissertation upon wines, not very edifying,” John Quincy Adams yawned to his diary after one White House dinner hosted by Jefferson. Through his entertaining at Monticello, Jefferson seemed to want to convert Americans, one palate at a time, to wine (as well as to a more broadly defined good life). He drank three to four and a half glasses of wine a day, and he designed a pair of dumbwaiters, flanking the fireplace, that brought bottles directly up from the wine cellar to the dining room. His sizable library included volumes treating of the most up-to-date science on winemaking. Because of trade disruptions during the War of 1812, he suffered from the depletion of his cellar, writing that “wine from long habit has become an indispensable for my health, which is now suffering by its disuse.”
After Jefferson, another prominent American champion of wine would not appear for a long time. By the turn of the twentieth century, Gilded Age families like the Du Ponts and the Morgans owned substantial quantities of wine, and some of the new apartment buildings then going up in Manhattan were constructed with private cellars in the basement for each tenant. But in general, Americans didn’t drink wine. The temperance movement, together with distractions like Prohibition, didn’t help.
In the late 1930s and the 1940s, despite Repeal, Americans were slow to rediscover a taste for wine. Postwar prosperity, and cheap air fares to Europe, began to change this, pushing American consumption of wine to twice what it had been before the war. It was the 1959 vintage in Bordeaux, however, that tipped the balance of power in the wine-buying market from England to America. Dubbed the “vintage of the century” by the French, the 1959s received widespread press coverage—including in Time, Newsweek, and an influential article by Art Buchwald—and American interest. By the time Broadbent founded the Christie’s wine department in 1966, the choosiest American collectors had pent-up demand, which they unleashed both in Christie’s sale rooms in London and at an annual auction Broadbent soon launched in the United States, under the aegis of the Heublein drinks conglomerate.
The debut Heublein auction, which occasioned Broadbent’s first trip across the Atlantic, took place at the Continental Plaza Hotel in Chicago in May of 1969. Broadbent’s over-the-top Englishness played well in America, and he hammed it up, wearing a tailcoat with a red carnation in the lapel. When opening sample bottles for the slack-jawed North American rubes, he stagily took his time with the mechanics of wine service: skimming the capsule, drawing the cork, a
nd decanting the liquid contents. The knockdown totals (the sum of an auction’s winning bids) climbed quickly, from $56,000 the first year to $106,000 the second to $231,000 the third. These were huge sums for a single auction, compared with London results. The power and scale of the American market was obvious.
Peter Morrell, a twenty-six-year-old wine retailer in New York who felt that he needed experience with pre-phylloxera Bordeaux, made news around the world in 1970 when he bid £220 (at the time about $500) for a double magnum of 1865 Lafite originally from the Rosebery cellar. When he was interviewed for television, the reporter was incredulous at how much he had paid, and quipped to viewers that even if it was vinegar, Morrell would have “the world’s most expensive salad dressing.” A record wine bid was newsworthy. Five hundred dollars for a bottle was still shocking.
The whole thing was a flack’s dream—for Heublein, for Christie’s, and for those shrewd retailers and restaurateurs who had discerned a media loophole: making a record bid for a bottle of wine guaranteed press coverage, and it was much cheaper and more impressive than a quarter-page ad. The trend really took off at the third Heublein auction, when Broadbent sold an 1846 Lafite for $5,000, a new record by a long shot. Soon the numbers went much higher, way beyond the records Christie’s was setting in London. A Memphis restaurant owner paid $31,000 for an 1822 Lafite. A Dallas wine merchant topped that with a $38,000 bid for a Jéroboam of 1870 Mouton.
Broadbent sewed up the American market. In addition to the Christie’s sales in London, which drew lots of American bidders, and Heublein, which was the dominant U.S. auction and which Broadbent ran through 1982, he also was brought in to run the annual Napa Valley charity auction, which began in 1981. The first year, the temperature reached 110 degrees Fahrenheit, and up on the dais, Broadbent cooled his feet, unseen by the auctiongoers, in a bucket of ice water. In 1981, in Chicago, Christie’s started running its own auctions in the United States.
The wine-collecting boom was limited to a tiny slice of Americans, but there was already a palpable unease, manifest as snobbery, among British wine veterans who could see their primacy being usurped. “As a group,” Decanter noted in 1986, “American doctors seem to have the world’s greatest interest in great Bordeaux.” The record-chasing was offered up as further evidence of American puerility. And while the California wine industry was nudging American awareness of its product forward, as of 1980 a national poll found that 23 percent of wine drunk in the United States was on the rocks.
The high end of the market, however, was coming to be dominated by Americans, and the high end of the high end had given itself a name: “the Group.” They owned huge collections of wine. Marvin Overton III, a Texas neurosurgeon who sometimes wore a bolo tie combined with a fur coat, had 10,000 bottles in his cellar. Lloyd Flatt, an eye-patch-wearing Tennessean of shadowy occupation, owned two townhomes in New Orleans; one housed him, the other his 30,000-bottle wine collection. Tawfiq Khoury, a San Diego shopping-mall developer, owned 65,000 bottles, thought to be the largest private collection of wine in America at the time. As wine became detached from its traditional role as a table beverage—as it became a fetish or a trophy or an investment—it became more common to find private collections of wine that far exceeded their owners’ abilities to drink them.
“Wine became the soloist,” Broadbent said later.
The Group pioneered a new type of event known as a mega-tasting, which could take either of two forms: horizontal (many wines from one vintage) and vertical (many vintages of one wine). Broadbent dated the very first horizontal tasting to 1968, when a Dutch physician named John Taams brought together several wines of the 1961 vintage, but it was in the late 1970s, in the hands of these new American supercollectors, that the format gained traction. Overton hosted a forty-seven-vintage vertical tasting of Latour in Fort Worth in 1976, and followed that up three years later with a thirty-six-vintage vertical of Lafite going back to 1799. Broadbent presided, alongside Baron Elie de Rothschild.
“If it hadn’t been for my time in the U.S., I wouldn’t be so involved in this hobby,” Wolfgang Grünewald, a German-born businessman whose 32,000-bottle collection is among the world’s largest, and who before retiring to Switzerland owned a Los Angeles steel company and was a partner in the Melrose Avenue restaurant Patina, said later. “Americans have a curiosity, for special and rare things, that I haven’t met elsewhere.”
Not everyone in the wine world was thrilled by these events. The most common criticism was that great wines that, in isolation, would be once-in-a-lifetime experiences, were lost amid the hypercritical, side-by-side comparisons of a mega-tasting (what one commentator termed “the crushing proximity of the giants”). What should have been pleasurable was reduced to an arid and world-weary intellectual exercise. At big tastings, great wines were spat out rather than drunk, and when served without food, they were stripped of their natural context.
The events favored “big” wines—those with lots of fruit and concentration. In such a clinical setting, these were the wines that tended to show best. And after twenty or thirty or forty wines, palate fatigue set in for most tasters, and only the biggest wines would make a taster sit up and notice. There could be dental side effects as well: an Australian study of wine judges’ teeth found instances of severe damage and recommended not brushing one’s teeth on the morning of a tasting, in order to leave protective plaque in place.
A low-grade dishonesty often permeated the Group’s events, diplomatic euphemism taking the place of candor when a bottle brought by a fellow guest wasn’t quite up to snuff. Outside of the Group, events weren’t cheap; most of the mega-tastings cost thousands of dollars to attend. Some participants couldn’t help feeling a bit queasy over the sheer decadence and extravagance. “I feel a genuine sadness about vertical tastings that has always left me feeling as if I needed a soul-cleansing afterwards,” wrote the Los Angeles wine journalist Dan Berger.
THE MEGA-TASTINGS ALSO, of course, depleted the rarities unearthed and sold by Broadbent. Edmund Penning-Rowsell, a whiskery socialist and claret scholar who covered wine auctions for the Financial Times, observed that as early as 1973 there had been a lull in the discovery of English cellars. But in 1976 there was a resurgence of finds, most in Paris and Bordeaux and a few in the United Kingdom, such as Woodperry House in Oxfordshire. The next year, Penning-Rowsell was able to write of an “extraordinary recrudescence” of rare bottles in the auction room.
With the familiar sources drying up, some of this new torrent seemed quite fantastical in origin, but then, exotic discoveries were a staple of wine history. In 1925, the old-line Piccadilly wine merchants Berry Brothers had unearthed a cache of early-nineteenth-century Tokaji vintages that had been walled up by the Princely House of Bretzenheim in anticipation of the revolution of 1848. Now, in the late 1970s and early 1980s, similar hidden troves came to light. Ten Broeck Mansion, the home of a Revolutionary war general in Albany, New York, yielded a forgotten stash of nineteenth-century bottles that were auctioned at Heublein starting in 1978. Some bottles at the 1980 Heublein auction, including an 1836 Sercial Madeira, had been salvaged by divers from a ship that sank off the coast of Savannah in 1840.
By 1985, even as occasional odd finds continued to trickle in, it was clear that the heyday of claret archaeology was over. Since old cellars were a Christie’s franchise, their virtual disappearance enabled Sotheby’s wine department to begin to close the competitive gap. The watershed 1982 Bordeaux vintage had sent prices, along with American interest in wine, to new heights. Then, in February of 1985, the dollar hit a historical peak. The Reagan boom was cresting, and the American appetite for old wine was insatiable. For Christie’s, there was money to be made, and competition to face down. Broadbent was more aggressive than ever. He wasn’t about to let anyone else bring his winning streak to an end.
CHAPTER 4
MONSIEUR YQUEM
IN APRIL OF 1985, HARDY RODENSTOCK, WHO HAD recently moved into the lakeside home of a
Munich construction heiress, told some German wine friends he’d just received a phone call about an astonishing discovery in Paris. He took the next plane, he wrote later, “and took a look at the cellar, bottles and everything.” A hidden cellar had been breached when a house built in the mid–eighteenth century was being torn down. It contained about a hundred bottles. Two dozen were engraved with the initials “Th.J.” They included bottles of Lafite, Margaux, Yquem, and Branne-Mouton, as Mouton-Rothschild had been called in Jefferson’s day, from the 1784 and 1787 vintages. Rodenstock said he paid 20,000 French francs for the lot, which at the time worked out to $2,227. The discovery was serendipitous for a number of reasons: While in 1985 Mouton was one of the most coveted wines in the world, in Jefferson’s day it was middle-of-the-pack and neither sought after nor collected; and Rodenstock had found the bottles just two years before the bicentennial of Jefferson’s visit to Bordeaux. When his friends pressed him for more details, Rodenstock clammed up.
The circle of collectors that had formed around Rodenstock by the time of the Jefferson bottles’ discovery was drawn together by wine, and they learned little about each other that did not pertain to it. To the world, Hardy Rodenstock presented a stolid moon of a face, barely interrupted by small, opaque eyes and the faintest suggestion of a mouth. He was physically unprepossessing. What you remembered about him were not the stippled-in details but the big-brush outlines. He wore his brown hair in a boyish shag that downplayed his forty-four years. He dressed flashily, favoring shiny double-breasted suits with big lapels, starched colored shirts with contrasting white collars and cuffs, sharply creased slacks, and modishly tinted plastic eyeglasses. Despite “dressing like a banker,” as an auctioneer recalled, he never seemed to have any money. He had a worldly mien, a quiet self-assurance that could come across as humility or aloofness. As he shook your hand, he would click his heels together.
The Billionaire's Vinegar Page 4