Sono stati trovati 42 prodotti corrispondenti alla tua ricerca per schatz in 4 negozi:

“Acinipo” di Bodega Schatz è una delle etichette più rappresentative di questa interessante cantina spagnola. Il suo nome deriva dalla denominazione dell’antica città romana fondata a pochi chilometri da Ronda, di cui sono rimaste ancora oggi importanti testimonianze architettoniche. È il vino della memoria e della tradizione, ispirato alla storia della terra andalusa, che fin dalla prima colonizzazione fenicia ha conosciuto la coltivazione della vite. È un rosso prodotto con il vitigno Franconia in purezza, una varietà diffusa soprattutto in Germania e Austria, ma che ha dimostrato di adattarsi molto bene alle particolari condizioni pedoclimatiche della zona di Ronda. Il rosso “Acinipo” di Bodega Schatz nasce nella tenuta Finca Sanguijuela, in una zona dell’Andalusia molto vocata per una viticoltura di alta qualità. La gestione agronomica è basata su basse rese e sull’applicazione delle regole dell’agricoltura biologica e biodinamica, nel pieno rispetto dell’ecosistema naturale. Le vigne sono coltivate su pendii con esposizione rivolta a sud, che garantisce un’ottima maturazione delle uve. Il clima è caldo, ma sempre ventilato grazie alla presenza delle brezze del mare. Le viti sono piantate su terreni molto vocati per le varietà a bacca rossa, costituiti da limo, sabbie e argilla. Al termine della vendemmia, i grappoli sono avviati alla classica vinificazione in rosso con macerazione sulle bucce. Matura per 12 mesi sui lieviti con bâtonnage in botti di rovere e viene imbottigliato con una dose molto bassa di solfiti, in modo da garantirne la genuinità. Il vino “Acinipo” di Bodega Schatz è un rosso che esprime bene il volto caldo e solare della terra andalusa e il carattere particolare del terroir della zona di Ronda. Nel calice si presenta di un bel colore osso rubino scuro con riflessi luminosi. Il profilo olfattivo è intenso e caratterizzato da fragranti profumi di piccoli frutti a bacca scura, more selvatiche, ciliegie, mirtilli, prugne a polpa rossa, cenni di erbe aromatiche della macchia mediterranea e delicate sfumature speziate. Al palato è di medio corpo, con un sorso armonioso, una tessitura tannica evoluta e aromi maturi, fruttati, ricchi e succosi, che anticipano un finale di buona persistenza gustativa, connotato da una piacevole freschezza minerale.

Il “Finca Sanguiijuela” della Bodega Schatz è l’etichetta che meglio rappresenta lo spirito e il volto autentico di questa cantina andalusa. Realizzato con un blend di nobili vitigni a bacca rossa: Tempranillo, Syrah, Merlot e Cabernet Sauvignon, mette in luce la straordinaria vocazione del territorio nella produzione di rossi solari e armoniosi, ricchi ed eleganti, connotati da una sfumatura sapida e minerale tipica del terroir. L’assemblaggio equilibrato e perfettamente complementare e il lungo affinamento in legno, regalano un sorso morbido e persistente, di straordinaria piacevolezza gustativa. Il vino “Finca Sanguiijuela” nasce in una delle cantine più originali e dinamiche dell’Andalusia. Fondata da un vigneron tedesco, la Bodega Schatz ha avuto il grande merito di ridare splendore a una zona di antiche tradizioni. Un accurato lavoro di zonazione e l’utilizzo di pratiche dell’agricoltura biologica e biodinamica, ha permesso di ottenere vini di eccellente qualità. Le vigne di Tempranillo, Syrah, Merlot, Cabernet Sauvignon sono coltivate nella zona della Sierra Sanguijuela, nei pressi di Ronda. I suoli di limo, sabbie e argilla e le belle esposizioni soleggiate e ventilate, grazie alle brezze del mare, sono un habitat ideale per le varietà a bacca rossa, che arrivano in vendemmia con uve perfettamente mature. La fermentazione si svolge con macerazioni sulle bucce. Prima dell’imbottigliamento, il vino matura per 12 mesi sui lieviti con bâtonnage in barrique di rovere francese di Tronçais, Allier e di rovere americano. Il rosso “Finca Sanguiijuela” Bodega Schatz è un grande vino di terroir, realizzato con un perfetto assemblaggio, capace di mettere in risalto la personalità unica delle terre dell’Andalusia. Alla vista si presenta di colore russo rubino con riflessi luminosi. All’olfatto regala una tavolozza di aromi che ricorda i profumi di erbe spontanee della macchia mediterranea, le erbe officinali, delicate sfumature floreali, aromi fragranti e intensi di piccoli frutti a bacca rossa, cenni di torrefazione, di caffè in grani appena macinato e di cacao amaro. Il sorso è armonioso, con tannini fini, un frutto ricco e maturo, accompagnato da raffinate note d’evoluzione terziaria. Il finale è persistente ed equilibrato, con una chiusura fresca e minerale.

In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for close to three years; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Half listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously.\n\nThat almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, Schatzberg would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.

In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for close to three years; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Half listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously.\n\nThat almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, Schatzberg would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.

Giardino e piscine > Recinzione e occultamento del giardino > Recinzioni > Recinzioni in acciaio e ferro, 【QUALITÄTSMATERIALIEN】 Unser Schattennetz besteht aus hochwertigen Materialien. &ein Grab; Hergestellt aus hochdichtem Polyethylen (HDPE)...