Is Chinese furniture taking off in the regions?

opinion hl

There have been some interesting results for Chinese furniture sold in the regions over the last few weeks. Generally recognised as being something of a slow market, furniture is maybe about to take off in a big way.

We wrote last week about an undistinguished and damaged 19th century marble-topped console table which, inclusive of premium, got almost £25,000 at Lindsay Burns in Perth.

Also last week, we ourselves decided to bid on a rather nice padouk ‘throne chair’ (i.e. it was big, big enough for two Chinamen, as the auctioneers, Hartleys of Ilkley in Yorkshire pointed out). It wasn’t actually a throne but it had some agreeable features and we thought we would go into the low thousands for it. It was estimated at £400-600.

We entered the bidding online at £700; the next bid came up and, as I had anticipated, it looked like £800. Only after I had pressed the BID button did I realise, somewhat belatedly, that I had bid £8,000! Somehow the bidding had increased with one bid from £700 to £8,000! I heard the auctioneer, who was clearly as surprised as I was, saying ‘What’s going on?’.

Fortuitously, because I did not really want it enough to pay that sort of money, a bid rapidly came in at £8,500; then another and it was quickly knocked down at £9,500 . . . A lot of money, old boy, for something that was nice but far from unique. A pity, I really fliked that red cushion so redolent of the former owner’s many hours of seated pleasure! A case of On Ilkla Moor Ba’tat . . .

And a lesson to be rather more careful with that internet bidding.

Hartleys chair with cushion

Knocked down at Hartleys, Ilkley, for £9,500 hammer including the red cushion

 

19th century Chinese console table flies high in Perth saleroom

Lindsay Burns lot 81

A 19th century Chinese console table substantially exceeded expectations September 5 in Perth, Scotland, at Lindsay Burns’ Antiques and Fine Art Sale. It was one of a large number of lots of Chinese furniture: estimated at £4-6,000 (which seemed rather  optimistic to us), it was knocked down, after a long contest between two telephone bidders, at £19,500 hammer. Lindsay Burns were tight lipped on the matter of the successful purchaser apart from saying it went to ‘a private buyer’ and not to the trade.

At 152 x 76.5 x 63cm. it was certainly a substantial piece of heavy furniture and was intricately carved in dark wood and with a mottled red and white marble insert (typical of all those ubiquitous 19th century low urn stands and jardiniere stands). Otherwise, it was fairly undistinguished, there was some small damage to the wood and serious damage to the marble top in the form of a couple of cracks running through its entire width.

It emanated most probably from central/Highland Scotland and it is, of course, entirely possible that it enjoyed some previous outstanding provenance identified by the bidders. Otherwise, the reasoning behind an inclusive cost of £25,000 is puzzling . . .

Lindsay Burns lot 81a

Christies sale features nine decades of dealing in Chinese art across four generations

The Marchant dynasty: Four generations in Chinese art

Richard Marchant reflects on his family’s extraordinary 92-year connection with porcelain and jade ahead of Christie’s important New York Sale Marchant: Nine Decades in Chinese Art on 14 September.

‘It’s quite remarkable that we’ve been going for four generations,’ observes Richard Marchant, sitting in the office of the gallery opened by his father in the early 1950s. Samuel Sydney Marchant opened his first antiques shop on Cursitor Street, near Chancery Lane in London, in 1925, with a mission to trade in only the finest and rarest objects with impeccable provenance. In 1952 the shop moved to new premises on Kensington Church Street and, with Richard joining the business a year later, the firm began to specialise in Ming and Qing dynasty works of art, particularly porcelain and jade.

‘I was 17,’ Richard Marchant recalls. ‘My father took me into the business with him, and after one year he said, “You can go out buying”. You have to remember that at that time, antiques were everywhere. My father would send me to auctions at Christie’s, and it meant that I had to touch, and feel, every lot in the sale. It was a fantastic time to learn.’

A superb large Longquan celadon bracket-lobed dish, early Ming dynasty, late 14th-early 15th century. 19 in (48.2 cm) high. Estimate $300,000-400,000. This lot is offered in Marchant Nine Decades in Chinese Art on 14 September 2017 at Christie’s in New York

A superb large Longquan celadon bracket-lobed dish, early Ming dynasty, late 14th-early 15th century. 19 in (48.2 cm) high. Estimate: $300,000-400,000. This lot is offered in Marchant: Nine Decades in Chinese Art on 14 September 2017 at Christie’s in New York

In 1985 Richard’s own son, Stuart, joined the family business, and in 2011 and 2015 Stuart’s two children, Natalie and Samuel, also came on board, establishing an art-dealing dynasty that spans almost a century. On 14 September in New York, collectors will have the opportunity to be a part of the remarkable Marchant family story with the sale of just over 50 bronzes, jades and ceramics in the sale Marchant: Nine Decades in Chinese Art.

An exceptional large parcel-gilt-bronze tripod censer, Xuande Yuannian mark corresponding to 1426, Ming Dynasty, 15th-17th century. 12 in. (30.5 cm.) diam. Estimate $70,000-90,000. This lot is offered in Marchant Nine Decades in Chinese Art on 14 September 2017 at Christie’s in New York
An exceptional large parcel-gilt-bronze tripod censer, Xuande Yuannian mark corresponding to 1426, Ming Dynasty, 15th-17th century. 12 in. (30.5 cm.) diam. Estimate: $70,000-90,000. This lot is offered in Marchant: Nine Decades in Chinese Art on 14 September 2017 at Christie’s in New York

 

Across the decades, Marchant has observed radical changes in the nature of collecting Asian works. Where once clients were mostly European and American private collectors, today a large proportion of the business comes from the Far East, with clients keen to acquire works of art from their own heritage.

‘At the moment the main collectors, there’s no question, are from China,’ the dealer says, before offering advice to those setting out on their collecting journey. ‘Young collectors have to concentrate in a specific area. And there are areas that can be neglected by the market. We’ve seen this over the years — pieces that weren’t very popular, all of a sudden, become  popular.’

A Dehua figure of Guanyin with a scroll, Ming dynasty, early 17th century, impressed He Chaozong mark within a double gourd. 7¼ in (18.4 cm) high. Estimate $50,000-70,000. This lot is offered in Marchant Nine Decades in Chinese Art on 14 September 2017 at Christie’s in New York
A Dehua figure of Guanyin with a scroll, Ming dynasty, early 17th century, impressed He Chaozong mark within a double gourd. 7¼ in (18.4 cm) high. Estimate: $50,000-70,000. This lot is offered in Marchant: Nine Decades in Chinese Art on 14 September 2017 at Christie’s in New York
A massive and superbly-decorated famille rose baluster jar and cover, Yongzheng period (1723-35). 31⅞ in (81 cm) high. Estimate $80,000-120,000. This lot is offered in Marchant Nine Decades in Chinese Art, 14 September 2017 at Christies New York
A massive and superbly-decorated famille rose baluster jar and cover, Yongzheng period (1723-35). 31⅞ in (81 cm) high. Estimate: $80,000-120,000. This lot is offered in Marchant: Nine Decades in Chinese Art, 14 September 2017 at Christie’s New York

 

‘I feel very privileged to be able to handle pieces that have survived through hundreds of years, knowing that so many previous collectors have loved them,’ he reflects, while examining ‘a very special piece’, an an early Ming, Yongle period (1403-1425) dish. ‘It’s contagious, the love of these objects.’

Reproduced courtesy of Christies.com The sale takes place in New York on Thursday September 14

Edinburgh Chinese Festival puts on glittering show

Chinese Arts & Culture Fest 17 best (1)

The Chinese Arts and Culture Festival, which now forms part of The Edinburgh Fringe Festival, was held over two days earlier this week. The Festival, which was launched last year, provided the opportunity to see a series of top quality Chinese displays of dramatic art.:a unique opportunity for visitors to and residents of Scotland. Plans are already in hand to mount the event again next year.

Below we feature photographs of some of the performances.

DSCN3370

Apologue 2047 was in the nature of a more experimental work of performance art. Here traditional musicians from Fujian province accompany dancers sealed in a transparent oblong box over which blue paint was sprayed. Photo Paul Harris

Chinese Arts & Culture Fest 17 best (5)

A scene from the opera The Drunken Concubine presented by Wuhan Peking Opera Group and which was marked by by stunning, colourful costumes. Below Makeup and costume constituted a faultless contribution to the opera. Photo Paul Harris

Chinese Arts & Culture Fest 17 best (4)

Chinese Arts & Culture Fest 17 best (3)

A scene from another less than conventional presentation by Zhaoliang ART entitled The Tea Spell. It started with a woman, made up to simulate nudity clambering through the audience in acrobatic style ! Photo Paul Harris

Chinese Arts & Culture Fest 17 best (6)

Singing of China in Edinburgh was a charming presentation by children from the Beijing Shanghai Experimental School. They sang a variety of Chinese classical songs, finishing off, appropriately, with the famous Scottish valedictory Auld Lang Syne. Photo Paul Harris

Unusual Chinese art image no. 90 The wrist rest

Mao wrist rest2 lr The wrist rest, historically, was a valued accoutrement on the scholar’s desk. It came in many forms: wood, ivory and, even, jade and served the purpose suggested by its name as the scholar inscribed, wrote and painted. This is a rather more modern version. It dates from 1967 or 1968 and celebrates the great leader (as he was seen at that time) Mao Tse Tung at the height of his charismatic power in the days of The Cultural Revolution. This one is a rather up market souvenir made for local consumption within China.

Picture courtesy www.chineseartinscotland.co.uk

Chinese Art in Scotland opens new showroom in Scottish Borders

Chinese art room June 23 2017 (1)lr             A view of the new showroom of Chinese Art in Scotland   

Chinese Art in Scotland (www.chineseartinscotland.co.uk), a sister business to this website, has just opened its new 78sq m showroom Chinese art showroom in the Scottish Borders. More than 250 works of Chinese art, encompassing porcelain, furniture, scrolls, paintings, bronzes and wooden sculptures, have gone on show in the Scottish Borders village of Coldingham. Coldingham is 20 minutes drive from the border town of Berwick upon Tweed, which is situated on the main East Coast rail line, in turn just three and a half hours travel from Kings Cross, London.

The showroom is located behind the Coldingham Gallery (www.coldinghamgallery.co.uk) which was established seven years ago by Paul and Sulee Harris. They are both part of the Paul Harris Asia Arts Group (www.paulharrisasiaarts.co.uk) which also includes the recently established Scottish Borders Auctions (www.scottishbordersauctions.co.uk). Another associated business, Coldingham Investments Ltd., bought Greenlaw Town Hall, a massive neo-classical pile, on May 31 this year and which is to become a Chinese porcelain museum and European headquarters for the Shanghai-based Hanguang Company.

Chinese art room June 23 2017 (3)lr At the end of the showroom can be seen the large porcelain statue of Mao Tse Tung, formerly to be seen in the Chinese Embassy in Rome and now offered by Chinese Art in Scotland at £500,000.  Photo by Paul Harris

 

Mao still remains an adored cult figure immortalised in statuary

Mao busts at museum Taiyuan Shanxi Prov Orientally YoursThere is a museum dedicated to the memory of Mao Tse Tung in Taiyuan in China’s Shanxi Province. Here is a display of small busts and figures. Such statuary has been made, and is still being made, as souvenirs and keepsakes. There are still many Mao followers about despite widespread controversy of his Great Leap Forward and Cultural Revolution policies which, many people think, caused widespread distress and death amongst fellow Chinese.

Shao shan HunanManufacturing busts and staues of Mao still goes on. A photo taken in a factory in his home town of Shaoshan.

tumblr_oon2xxjYAi1rrpskqo3_1280 Dang Guihong owns a vast collection of materials related to the Cultural Revolution. Here he is pictured with a part of his collection at his home in Yuncheng, Shanxi Province.

mao-best-low-res This is thought to be a unique two-thirds life size porcelain statue of Mao Tse Tung. One of just two made in Jingdezhen and numbered ‘2’, it is dated October 1 1967, when the Cultural Revolution was at its height. It is being offered by Chinese Art in Scotland at a cool £500,000 (www.chineseartinscotland.co.uk). The problems in making such a large white porcelain piece are legion and there would have been many failures {possibly as many as a hundred) in the process of making and firing this successful version. It was formerly housed in the Chinese Embassy in Rome.

Revivalism in modern China means Mao Zedong is still very much revered, and he is already commemorated with statues across the country and a portrait over Beijing’s Tiananmen Square. In 2013, to mark the 120th anniversary of his birth, a solid gold incarnation worth 200 million yuan (£20 million) was inaugurated in his home village of Shaoshan, with busloads of followers flocking to pay tribute.

Ullens collection of Chinese art goes online with reproductions available worldwide

Fang Lijun, Plate for Superganbei, Porcelain Plate         Fang Lijun Plate for Superganbei, porcelain

 

The Guy and Myriam Ullens Foundation has given exclusive access to the complete collection of its important limited editions to online platform ArtAndOnly.

Influential collectors Guy and Myriam Ullens changed the landscape of contemporary Chinese art with their acclaimed collection, a seminal gathering of works from the 1980s to the present. Their strategic and passionate accumulation of the best contemporary works from China is unmatched, and the Ullens Collection is internationally renowned. The Ullens have been patrons of the arts in China for over thirty years, and the Ullens Center for Contemporary Art has been at the hub of the contemporary art world in China since its inception.

In 2013, the Wall Street Journal estimated that the Ullens Collection numbered over one thousand works and individual pieces in the collection have broken sales records. The extensive reach of the collection encompasses works of extraordinary provenance, rarity, interest and skill. Guy Ullen’s passion to make these artworks appreciated, in their original forms, and through curated replication of key works to extend the reach of key artists and the genre, has been unrivalled. The most prominent artists of the Chinese contemporary art scene are represented in the new limited editions collection. The quality of reproduction has been tightly controlled for excellence with rxisting media faithfully replicated. 

and Sister, Photography Huang Yan Brother and Sister, Photography

The decision by the Ullens Foundation to offer the rights of the limited editions collection to ArtAndOnly is in line with Guy Ullen’s recognised desire to make the original work in the Ullens Collection known to, and accessible for, a global audience. The Ullens have been quoted as saying “Collecting is our passion; showing and sharing is our duty”. ArtAndOnly’s online viewing platform will further enhance the accessibility and awareness of these works – a key factor in the decision to partner on these sales.  

 Guy Ullens commented “Today’s technology is amazing and with the online buying phenomena through the internet, it means that everyone worldwide can have access to these pieces and not just those lucky ones travelling to China.  We are proud of our collaboration with Art and Only and look forward to reaching, through this state-of-the-art technology, the many collectors who like us have a passion, existing or yet to be discovered, for this work.” Prices range from the hundreds to tens of thousands of dollars. 

Frédéric de Senarclens of ArtAndOnly says “This is an opportunity for the art collector to obtain a piece of Chinese and artistic history. The Ullens Collection is the leading name in contemporary Chinese collecting. Securing the rights to sell the prints in this extraordinary collection to a global marketplace is an honour for ArtAndOnly and a terrific opportunity for our own collectors. Bringing the editions to ArtAndOnly means the works can be easily viewed and acquired by both existing and new contemporary Chinese arts enthusiasts.”

He An, Miss you, Sculpture

He An Miss You, Sculpture

Guy Ullens adds “It is our ambition to allow every art lover to have the opportunity to acquire a work of art which we bought first and foremost for the benefit of the artist; to inscribe their notoriety in modern Chinese cultural history and to quench our passionate desire as collectors and believers.”

The print and lithograph collection includes works by Chen Wenbo, Cui Xiuwen, Fang Lijun, Feng Mengbo, Feng Zhengjie, Han Lei, He An, Hong Hao, Huang Yan, Huang Yongping, Ling Jian, Liu Wei, Liu Xiaodong, Paul McCarthy, Peng Wei, Qiu Zhijie, Rawanchaikul Navin, Rong Rong, Shen Yuan, Sui Jianguo, Wang Guangyi, Wang Ningde, Wang Quingsong, Weng Fen, Yang Fudong, Yang Jiechang, Yang Shaobin, Yang Yong, Yu Youhan, Yue Minjin, Zheng Hao and Zhang Xiaogang. Feng Feng.

Han Lie, Shan Shui Series-5, photography                      Han Lie Shan Shui Series-5, Photography

 

ArtAndOnly (http://www,ArtAndOnly.com) is a new sales platform specializing in contemporary art across many disciplines including; painting, sculpture, drawing, video, printmaking, photography and mixed media. By connecting collectors, artists and a network of professional dealers, ArtAndOnly expands the passion and expertise of an exclusive art gallery into the global online art market. With a focus on quality and a carefully curated selection of unique work by both established and emerging talent, ArtAndOnly aims to be a collector’s comprehensive and trusted partner.

 

Unusual Chinese art image no. 88

Nanjing Rd 1932 Asian Art Museum blog

A watercolour of Nanjing Road, Shanghai in the early 1930s. Of course, it is the aeroplanes which make the picture setting it perfectly in a time warp, monoplane and biplane together above the city at the hight of its success and influence before the Second World War and the Japanese invasion would destroy its louche charm for ever.

Picture from Orientally Yours blog on Tumblr.

On surprises and uncertainty in the Chinese art market

opinion

In our first editorial of the year we predicted turbulence in the Chinese art market with unexpected prices and lots of surprises (http://chineseart.co.uk/news/unpredictability-will-set-the-tone-for-2016-as-mis-catalogued-vase-exceeds-the-quarter-million-pound-mark/ ). Following a series of ‘mysterious’ and inexplicably high prices at the beginning of the year, the results of last month’s Asian sales again graphically illustrated that point of view.

christies Qianlong vases Qianlong vases: £13m.

The headline price was, of course, a staggering £13m. (yes, thirteen million pounds!) for a pair of 23cm high Qianlong vases decorated with butterflies in falangcai enamels and exposed for sale by Christie’s in London St James’s. They were estimated at £2-3m. To us, bearing in mind the prices achieved by two broadly similar pairs in 2003 and 2008, a price of £5-6m. would not have seemed altogether unreasonable. We think £13m. is, frankly, ludicrously speculative for a couple of pretty 18th century vases, notwithstanding their noble provenance.

Down at Christie’s South Kensington, sadly due to be closed in a matter of weeks, there was a final unexpected price for a pair of 9cm high landscape-painted seals, decorated and signed by He Xuren (1882-1940), which were estimated at £30,000-50,000, and which soared to £180,000. There was no particular provenance and they had been acquired relatively recently, according to the auctioneers.

a-fine-and-rare-pair-of-famille-rose-landscape-sealsrepublic-period-1912-1949-dated Pair of seals £180,000

Up the road at Sotheby’s a large (45cm.) cinnabar lacquer charger achieved £1.3m. against its pre-sale estimate of £400,000-600,000. Probably Yuan, or at least early Ming, it did at least come with good provenance having been in at least three significant collections, including that of Sir Percival David (1892-1964) one of the greatest collectors of the 20th century.

For Bonhams, their highlight was the sale of 49 thangkas from The Jongen-Schleiper Collection and of which we previously wrote (http://chineseart.co.uk/news/probably-the-thangka-sale-of-the-century-coming-up-at-bonhams/) . The triptych depicting the lineage of the Panchen Lamas of Tasilhunpo climbed to £455,000 which was truly spectacular for a 19th century thangka.

In the view of the trade magazine Antiques Trade Gazette, some of these spectacular prices reflect ‘supply issues after decade boom’.  Wrote Roland Arkell, ‘Certainly, many [sale] catalogues were self-consciously trimmed to reflect growing selectivity and the increasing need to err on the side of caution wherever debatable items are brought for valuation.’ ATG highlights a ‘circular’ movement of goods, emanating from China, sold in the UK and quite probably returning, on the back of the provenance afforded by a London sale, to China! It warns of an undermining in the market which could ultimately result from this if it becomes an established trend.

We are not altogether convinced by this. At our sister business Chinese Art in Scotland (www.chineseartinscotland.co.uk), we have increasingly turned to objects which can be valued entirely on their intrinsic beauty rather than marks or reputed provenance. That means, of course, that we have increasingly turned our backs on porcelain, unless it is of such indisputable beauty and craftsmanship that it does not matter if it is mid, or even late, 20th century.

Instead, there are exquisite objects around which are rather more difficult to fake and which have yet to be ‘discovered’ by the market: small furniture, wood carvings, 18th century bronzes, soapstone figures, and curiosities which fit no particular category. Lyon & Turnbull last month sold a collection of Chinese inksticks, estimated at £2-3,000 for £191,000 which goes to substantiate this point.

We recently bought for a modest hammer price, from a well known auctioneer, a massive solid bronze figure (100kgs or thereabout and which requires three people to lift!) catalogued as a Japanese warrior. In fact, it is a bronze of the legendary and hugely popular Chinese unfrocked Buddhist monk, Ji Gong. You can’t doubt that something of that weight and substance, superbly crafted, is a superb investment.

It is our considered view that there are still many beautiful objects out there. And there are bargains. Let the players in the £13m.market get on with it. In our view, they are bidding at the top of the market for names (in this case, Qianlong) and provenance, unable to countenance the beauty and investment value of objects at what they might think of as ‘downmarket’. Rather better, and much more fun, to buy things in the low thousands with virtually unlimited potential.

You can well be sitting on the next ‘inexplicably high’ price!

Leading Chinese porcelain producer to locate its European base and museum in Scottish Borders

 Greenlaw imposing facadeThe facade of A Listed Greenlaw Town Hall     Picture courtesy Scottish Heritage Buildings Trust 

One of the most important porcelain manufacturers in China, the Shanghai-based Hanguan Company, is to locate the base for its European operations in the Scottish Border region in the town of Greenlaw, in an iconic Grade A Listed Building.

Amongst its many activities the company, which is run my Master Ceramicist and Professor of Ceramics at Shanghai’s Fudan University, Li Youyu, produces some of the finest ceramics in the whole of China, which is borne out by the fact that it is used by the government of China to create the official gifts given out to foreign dignitaries. Many world leaders, including those of the UK and USA, have received wares crafted by Hanguan.

Greenlaw pub1 lr In the entrance hall of the building the bust of Sir Archibald Campbell, the original patron, looks down this week on the new investors. Left to right: Ms Huang Ping, Professor Master Li Youyu and Sulee Harris, Photo Paul Harris

At 11 am on Wednesday May 31, Scottish Borders company Coldingham Investments Ltd (controlled by Coldingham man Paul Harris and his Chinese wife, Sulee) bought the massive Grade A listed building Greenlaw Town Hall from The Scottish Heritage Buildings Trust. SHBT finished a £1.95m. restoration of the building in 2011, at which time it was re-opened by HRH Prince Charles.

The Coldingham-based company will continue to own the building and, although equity is being bought by the Chinese, the present ownership will retain a ‘significant’ shareholding in the new operation. The Coldingham duo Paul and Sulee recently launched Coldingham Borders Auctions, operate half a dozen websites selling Far Eastern art internationally, and have The Coldingham Gallery in the High Street and which was founded more than six years ago.

Greenlaw pub 3 lr Professor Master Li Youyu in the the Great Hall of the building this week. Photo Paul Harris

Paul Harris told the news website chineseart.co.uk , part of the Coldingham group of businesses, last night that he and his wife used to live and work in Shanghai. ‘We have a large network of contacts in China and we are delighted to be able to bring an important Chinese company to the Scottish Borders. We shared images of Greenlaw Town Hall when it came available for sale with Mr Li Youyu, principal figure in the Hanguang Company. He is primarily an artist with vision – not just a businessman – and, even from faraway in China, he was immediately struck by the amazing beauty of the building that is Greenlaw Town Hall.

‘The building won’t just be a collection of offices but the vast public hall will house an exhibition and museum area telling the story of Chinese porcelain – a product which was entirely the invention of the Chinese. The building will be open to the public and Mr Youyu aims to promote direct personal relations between Chinese and Scottish ceramicists through practical sessions, conferences and social events. There will be practical displays showing the creation of porcelain.’

Greenlaw Town Hall, built in 1831 as The County Hall of Berwickshire by local architect John Cunningham, is one of Scotland’s outstanding Greek Revival neo-classical buildings and its vast dome and pillared portico dominate the junction of two main roads through the Scottish Borders at Greenlaw. The building consists of a vast hall and two pavilions (wings) containing offices. In recent years The Scottish Heritage Buildings Trust has spent just under £2m. renovating what was then the derelict building in a high profile restoration.  Until now, though, a sympathetic new owner has not been found.

Greenlaw main hall The Great Hall in Greenlaw. Photo courtesy Scottish Heritage Buildings Trust

‘We are hopeful that the proposed use of Greenlaw Town Hall will help to build the local economy and bring tourists to the area, including many Chinese. The development may also encourage other Chinese businesses we are in touch with to come to the Scottish Borders,’ said Sulee Harris last night. Sulee, using her Chinese name Sun Yumei, is today listed at Companies House as a director of Coldingham Investments Ltd along with Ms Huang Ping who, it is understood, represents the interests of the Hanguang Company.

It is understood that Coldingham Investments Ltd is in active discussions with architectural advisers. A spokesman for the company said there will be an impact on local employment ‘but it is a little early to be specific’.

Greenlaw portico by night The iconic portico of Gfreenlaw Town Hall. Photo courtesy Scottish Heritage Buildings Trust