Distilling the traditions of whisky: 15 minutes with James Buntin
Scotsman James Buntin knows a thing or two about whisky. Known as ‘the whisky ambassador’, here he shares his love of Australia — and a wee dram
4 min
In our occasional series with Australia’s movers and shakers, James Buntin describes his introduction whisky and how it has shaped his life.
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Q How did you find yourself living in Australia?
I originally moved here in 1999 to further my career in the hospitality industry. However I have had a love affair with Australia since the early 90s when I came here as a backpacker and felt instantly at home in this beautiful country of ours.
Q. When did you first start drinking whisky? Describe
the experience.
My first encounter with whisky was during my early years in Scotland. I vividly remember my father and uncle David taking me with them on their distillery visits around the whisky
regions of Scotland.
I was hooked, not on the whisky yet but more on the romance, history and sense of tradition that surrounded it. It was like stepping back in time. My first whisky was with my dad at new year (Hogmanay). I have no idea how old l was and the dram was probably 50/50 or more cut with water. The older I got the less the water added.
Q. When did you host your first tasting or masterclass?
I remember this well. My father, uncle and I returned from a trip visiting distilleries in the highlands of Scotland where we collected amber samples from each one. Upon our return to Edinburgh my father encouraged me to present these delights along with information on the distilleries and locations we had visited to my family and friends. It was 1984 and I was 15 and still have the picture.
Q. What is the best way to drink whisky in your view?
The best way to enjoy whisky and fully appreciate its nuances is with a few drops of water. This helps to open up the more delicate aromas and flavours that are often masked by the alcohol. Although there are some who would say the only thing that you should add to whisky is more whisky!
Q. What is it about the traditions of whisky distillation and drinking that appeals to you?
The traditions of whisky distillation and drinking appeal to me because they connect us with the past. It’s a craft that has been refined over centuries — one that you can experience though taste.
Q. Is there a nostalgic element about it?
Absolutely, there’s a strong nostalgic element. It reminds me of my Scottish heritage, my roots, and the stories passed down through generations. Whisky for me is a gateway to the past activated by aroma and taste. I have on many occasions been given a whisky not knowing what it is until the first sip and ‘bang’, I’m reminiscing a happy memory.
Q. Is that nostalgia also why you enjoy classic cars like the Morgan? Tell me about your experience with that car.
My love for classic cars like the Morgan stems from a similar sentiment. The craftsmanship and timeless design are reminiscent of the traditions I hold dear. I was the brand ambassador for The Balvenie in the UK a few years ago and the promotion of craft was a big priority for me. Bespoke things made by the hands of talented craftspeople are always the best and most desirable objects.
I collaborated with Morgan Motors to create a four-seater sports car. The video of the car being built is up on YouTube and is well worth a watch to see them bringing it to life using wood from an Ash tree.
Q. How has your Scottish heritage influenced your interest?
I am a proud Scot and whisky produced from my homeland is something that I am extremely passionate about. I have represented a large number of Scotch whiskies and that fills me with a great deal of national pride due to its quality and taste.
Q. You’ve worked for some of the best whisky brands in the world. What do they all have in common?
The best whisky brands all have strong values that uphold the commitment to quality, craftsmanship, and share a deep respect for tradition whilst looking to the future. These values are non-negotiable.
Q. Is there such a thing as bad whisky?
“There is no such thing as bad whisky — only good whisky and better!” someone once said, and it’s true there are certainly variations in quality. Older whisky is a harmony of flavours and balance, whereas younger, lesser ones might lack depth or complexity. It really is all about time in the wood.
Q. Why is whisky drinking most commonly associated with men, more than women?
The association of whisky with men is historical, but that’s changed. Women are increasingly drawn to whisky, and it’s a positive evolution. There are some amazing women in every aspect of the whisky industry from the field to the glass. I am lucky to have them as friends and colleagues. Australians have grown more appreciative of whisky over the years. The variety and accessibility of whisky options have expanded, making it a prominent part of the Australian drinking culture.
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The auction house plans for sales to proceed, including for a Warhol ‘Flowers’ estimated at $20 million
3 min
Christie’s remained in the grip of an ongoing cyberattack on Tuesday, a crisis that has hobbled the auction house’s website and altered the way it can handle online bids. This could disrupt its sales of at least $578 million worth of art up for bid this week, starting tonight with a pair of contemporary art auctions amid New York’s major spring sales.
Christie’s said it has been grappling with the fallout of what it described as a technology security incident since Thursday morning—a breach or threat of some kind, though the auction house declined to discuss details because of its own security protocols. Christie’s also declined to say whether any of the private or financial data it collects on its well-heeled clientele had been breached or stolen, though it said it would inform customers if that proves to be the case.
“We’re still working on resolving the incident, but we want to make sure we’re continuing our sales and assuring our clients that it’s safe to bid,” said Chief Executive Guillaume Cerutti.
Sotheby’s and Phillips haven’t reported any similar attacks on their sites.
Christie’s crisis comes at a particularly fragile moment for the global art market. Heading into these benchmark spring auctions, market watchers were already wary, as broader economic fears about wars and inflation have chipped away at collectors’ confidence in art values. Christie’s sales fell to $6.2 billion last year, down 20% from the year before.
Doug Woodham, managing partner of Art Fiduciary Advisors and a former Christie’s president, said people don’t want to feel the spectre of scammers hovering over what’s intended to be an exciting pastime or serious investment: the act of buying art. “It’s supposed to be a pleasurable activity, so anything that creates an impediment to enjoying that experience is problematic because bidders have choices,” Woodham said.
Aware of this, Cerutti says the house has gone into overdrive to publicly show the world’s wealthiest collectors that they can shop without a glitch—even as privately the house has enlisted a team of internal and external technology experts to resolve the security situation. Currently, it’s sticking to its schedule for its New York slate of six auctions of impressionist, modern and contemporary art, plus two luxury sales, though one watch sale in Geneva scheduled for Monday was postponed to today.
The first big test for Christie’s comes tonight with the estimated $25 million estate sale of top Miami collector Rosa de la Cruz, who died in February and whose private foundation offerings include “Untitled” (America #3),” a string of lightbulbs by Félix González-Torres estimated to sell for at least $8 million.
Cerutti said no consignors to Christie’s have withdrawn their works from its sales this week as a result of the security incident. After the De la Cruz sale, Christie’s 21st Century sale on Tuesday will include a few pricier heavyweights, including a Brice Marden diptych, “Event,” and a Jean-Michel Basquiat from 1982, “The Italian Version of Popeye Has no Pork in his Diet,” each estimated to sell for at least $30 million.
But the cyberattack has already altered the way some collectors might experience these bellwether auctions at Christie’s. Registered online bidders used to be able to log into the main website before clicking to bid in sales. This week, the house will email them a secure link redirecting them to a private Christie’s Live site where they can watch and bid in real time. Everyone else will be encouraged to call in or show up to bid at the house’s saleroom in Rockefeller Center in Midtown Manhattan.
If more bidders show up in person, the experience might prove to be a squeeze. During the pandemic, Christie’s reconfigured its main saleroom from a vast, well-lit space that could fit several hundred people into a spotlit set that more closely evokes a television studio, with far fewer seats and more roving cameras—all part of the auction industry’s broader effort to entice more collectors as well as everyday art lovers to tune in, online.
Once this smaller-capacity saleroom is filled, Christie’s said it will direct people into overflow rooms elsewhere in the building. Those who want to merely watch the sale can’t watch on Christie’s website like usual but can follow along via Christie’s YouTube channel.
Art adviser Anthony Grant said he typically shows up to bid on behalf of his clients in these major sales, though he said his collectors invariably watch the sales online as well so they can “read the room” in real time and text him updates. This week, Grant said a European collector who intends to vie for a work at Christie’s instead gave Grant a maximum amount to spend.
Grant said the cyberattack popped up in a lot of his conversations this past weekend. “There’s a lot of shenanigans going on, and people have grown so sensitive to their banks and hospitals getting hacked,” he said. “Now, their auction house is going through the same thing, and it’s irksome.”
Consumers are going to gravitate toward applications powered by the buzzy new technology, analyst Michael Wolf predicts
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