The Sang House, 25 July 2021

T H E SA N G H O U S E

58 Hapua Street, Remuera, Auckland 1050, New Zealand wallrealestate.co.nz webbs.co.nz

Webb’s and Wall – A Natural Collaboration The Sang House is both an exquisite home and an important piece of New Zealand cultural history. It was designed by renowned architect and art collector Ron Sang as his personal residence in 1973. This four bedroom, three bathroom architectural masterpiece features trademark Sang touches in its vast front door, three distinct living spaces and mosaic-tiled swimming pool and spa. Nestled amongst trees, every room allows dappled afternoon sun and unique views, creating an exceptional environment for living. From the custom made Guy Ngan door handle to the home’s seamless integration with the landscaped garden, Sang’s attention to detail and his discerning taste for modern art are evident everywhere within this extraordinary home.

In coming to market, The Sang House has presented an excellent opportunity for collaboration between two distinguished companies – Wall Real Estate and Webb’s auction house.

Wall Real Estate is a boutique family real estate agency.

Operated by Graham Wall and his sons Ollie and Andrew, it is the market leader when it comes to New Zealand luxury homes.

Representing unique, architecturally significant homes, Wall Real Estate is renowned for achieving Auckland’s most substantial residential sales including the country’s highest ever sale of $39m.

Wall is passionate about great architecture and considers a great home to be an artwork for living, working or playing in.

Webb’s is New Zealand’s premier auction house. Founded

by Peter Webb in 1976, it has built and defined the market for New Zealand modern and contemporary art for over four decades.

Peter Webb himself made sustained efforts in cultivating the careers of many of New Zealand’s most prominent modern artists, such as Colin McCahon, Don Binney and Pat Hanly, to name but a few.

These were the very same artists whose work Ron Sang loved and collected. Webb’s today remains dedicated to continuing the legacy of its illustrious founder.

These two companies, equally passionate about art, design, and architecture, make for natural allies. Wall Real Estate recently sold the award winning Brake House, one of Ron Sang’s most coveted projects. Webb’s continue to build and develop the market for great New Zealand art, especially the modern and contemporary art that Sang so greatly appreciated.

Both companies are honoured by the opportunity to bring to market the home that Ron Sang, one of this nations most distinguished architects, designed for himself and filled with the art he loved.

Anoushka Akel Jim Allen Hany Armanious Eve Armstrong Dan Arps Steve Carr Fiona Clark Stella Corkery Martin Creed Julian Dashper Simon Denny Jacqueline Fraser Richard Frater Gavin Hipkins Zac Langdon-Pole Paul Lee Kate Newby Michael Parekōwhai Campbell Patterson Oliver Perkins Séraphine Pick Ian Scott Sriwhana Spong Michael Stevenson Peter Stichbury Imogen Taylor Kalisolaite 'Uhila Cerith Wyn Evans et al.

Michael Lett 312 Karangahape Road Cnr Karangahape Rd & East St PO Box 68287 Victoria St West Auckland 1010 New Zealand + 64 9 309 7848 contact@michaellett.com michaellett.com

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Julian Dashper, untitled, c1996 est $35,000 - $45,000

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The Sang House: Retracing an Icon

Maggie Hubert

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An architect who designs their own house has an opportunity to present their purest ambition without compromise. They will often ignore constraints applied by market appeal or a desire to conform with the fashionable, instead relishing in the prospect of experimental forms and refined finishes and details.

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Entrance to The Sang House, c1988.

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The Sang House (1973), designed by the late Ron Sang (1938-2021), is settled and established comfortably on its site, somewhat hidden behind luscious greenery. The architecture and its relationship to nature play reinforcing roles.

There is a sense of a smoky, floating glass box sitting back from the street, both discreet in its mysterious reflective materiality and bold in form - it has the ability to both stand out and disappear.

An alluring and evocative cherry red trim delineates the structure. Immediately, the level of detail to be found throughout the house is indicated by the graphic “58” punched into a horizontal concrete mass, an echo of the architect's hand stencilling the numbers on paper for translation on-site and a statement of the beautifully orchestrated modernism that awaits.

1 Sang, Ron Sang Architect (Auckland: Ron Sang Publications, 2017), 263.

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Sang, 263.

Sang, 263.

“We had sold our two-bedroom apartment on Owens Road unexpectedly when a buyer made us ‘an offer we could not refuse.’”1 This good fortune allowed Sang to purchase a challenging triangular site in Remuera. The wide frontage was perfect for a long one-roomdeep house with a north/west outlook. The government at the time wanted to slow the building economy by capping the maximum house size at 1000 square feet (92.2 metres squared). Sang knew this was inadequate, so the house was designed to be extended in all directions in the future.”2

Large sculptural expressions are pushed further by their materiality. Textured and thickly layered plastered concrete block contrasts dramatically with refined, sleek glass expressions. Cedar weatherboard cladding adds softness and warmth.

In 1985 Sang realised his plans for extending the house. The steep driveway up to the former garage (now downstairs living area) was removed, and replaced it with the ground level garage and pool atop. 3

Subdued and low-sitting cedar-lined garage doors flanked by elegant mirrored glass corners serve to visually lighten the structure above, a cantilevered concrete planter box spanning the length of the double garage.

4 Ted Smyth (1937-2019) is regarded as one of the finest garden designers globally and widely acknowledged as a primary innovator in the development of modernist garden space. He is an Honorary Fellow of the New Zealand Institute of Landscape Architects.

5 Janey Knight, and Anna Woodroffe.

1998. “A Collector’s Item,” New Zealand Home & Building, February/March 1998, 121.

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The gardens surrounding the house were carefully curated

by Sang and Ted Smythe 4 to create a zen landscape 5 and one that functioned with the house, allowing winter sun in when the leaves thin out and softening the summer sun as the bush thickens.

Autumnal colours are stunning against the smoky mirrored glass and work in harmony with the exterior colour palette and trim.

The transition from the street is a calming journey, slow and immersive, along a meandering inlaid brick path framed by ginkgos, kauri, and Japanese maples. It is a process of discovery with glimpses to both soft and evocative landscaping and strong architectural movements along the way.

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Street view of The Sang House, c1973.

With the 1980s extension, a cantilevered balcony was closed in with full-height glass and the living, kitchen, and dining rooms were extended by two metres to the front. “This totally changed the interior outlook as the trees matured, giving the house a wonderful feeling of being in a forest. A swimming pool was built on top of the garage.”6 6 Sang, Ron Sang Architect, 263.

There is a powerful sense of arriving under a cantilevered glass box. The rise to the entrance culminates at the outdoor courtyard. A dazzling in situ pool bounces light gently around and invokes a place of entertainment and social connection in the Western afternoon and setting sun.

A 5.5-metre-high cedar door was installed at the entranceway.

It has remained perfectly straight in the last forty-three years. “This big door has now become one of my signature features, so much so that many of my clients demand a ‘Sang Door’ in their brief.”7

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Sang, 263.

8 Stuff, “Ron Sang’s life amid art.”

9 Guy Ngan (b. 1926) was a New Zealand-born Chinese artist with a strong national and international presence who worked across various mediums.

10 Bonny, Stephanie, and Marilyn Reynolds, Living with 50 Architects: A New Zealand Perspective. (Auckland: Cassell Limited, 1980), 104.

11 The Brake House was designed and built for Brian Brake, a renowned photojournalist, in the hills of Titirangi in 1976. It is included in the Phaidon 20th Century World Architecture Book, which showcases the most outstanding works of architecture from around the world.

The house has a Category 1 heritage listing, is recognised amongst the country's top 20 modern buildings and, in 2001, was awarded the New Zealand Institute of Architect's inaugural Enduring Architectural Award.

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The double-height entrance door is a delight at the house’s threshold and became a characteristic gesture of Ron Sang’s work.

Sang practised Feng Shui in his design. He said, “one of the reasons you have big doors is when you open them, they let the energy in.”8 Touchpoints like handmade Guy Ngan9 door handles are elegant and understated elements, indicating detail and attention to craft found throughout a house where natural and artificial light was carefully composed to display Sang’s extensive modern art collection.10

Designed one-room-deep and elongated, there is a straight east to west visual connection to nature. The plan follows a public to private gradient, where the double-height entry volume spatially separates public from private. Great social gatherings can take place with a clear separation from the private sleeping spaces.

Past the impressive hinged door is a large open space. There is a study to the left and bright lower level living to the right that flows back to the pool. Immediately ahead, the inviting floating staircase leads up to a bridge suspended in this dramatic void. A triangular double-height clerestory volume pulls in natural light and connects the outdoors from the front of the house straight through to the bush behind. The parallels between The Sang House and The Brake House,11 designed three years later, are evident in gestural moves and devices such as this.

Sang plays with spatial compression and release throughout the house, the experience of moving through a narrow or lowceiling area to a lighter, open volume, where the sense of space is experientially heightened by contrast. The choreographed sequence of scale produces a delightful effect and is further emphasised by the dark treatment of the ceiling colour. It also serves to encourage movement towards the lighter spaces, channelling the view to the full-height glass living room.

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Signature 5.5m front door at The Sang House, c1988.

Architectural sketch by Ron Sang, 1973.

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One suddenly feels they are standing in the landscape within the treetops. There is a grand sense of floating above the street from this vantage point, visually connected to the neighbourhood, the trees, and the valley hill.

The sunken den off of the dining room is a place to gather around the fire. It suggests intimacy. Slight clerestory glazing adds a level of sophistication and connection to the bush behind.

Opposite page: north and south sections of The Sang House, hand drawn by Ron Sang, c1973.

Sang’s strategic 1985 additions transformed the small 1970s timber house into a spacious treehouse, sophisticated and timeless.

The kitchen is a perfectly formed separate room within the glass box, creating playful circulation all around. It serves as a great spatial organiser, creating a separation of space without a feeling of enclosure.

There is a wrap-around bench and a skylight above. A service opening in the kitchen offers practicality and prevents a break in connection to the Western trees and sun. While preparing meals, one can imagine total immersion in the treetops.

Architect Ken Crosson has visited the Sang House throughout its evolution:

“There’s an interesting style about the 1970s and big change in the 1980s. With [Sang’s] extension of the front, it went from a textured wooden house to a modernist glass house, and in a way, disconnected it physically while maintaining visual connection. In the living area, it freed up space and allowed for looser living. The extension was symbolic of where his architecture was going, very much like the tatami room at The Brake House.”

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The main living space is elegant and comfortable, with a hanging bubble chair by Eero Aarnio in the mitred glass corner, reminiscent of the futuristic ambition of the house’s conception. Off to the side a smaller glass box is expressed with a low timber-lined ceiling; it is snug and intimate. Surrounded by bush on all sides with no connection back to the street, this moment is truly private.

12 Ken Crosson, personal communication, 4 July, 2021.

Ron Sang’s Feng Shui principles heavily emphasised the equal importance of the architecture and its sympathetic placement of the home within the landscaped garden.

13 Carla Lind, The Wright Style: ReCreating the Spirit of Frank Lloyd Wright (New York: Simon & Schuster), 3

“Study nature, love nature, stay close to nature. It will never fail you.”

—Frank Lloyd Wright 13

The Brake House tatami room, photograph by Simon Devitt, 2020.

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The Seidler House, Killara, c1966-1967 photograph by Max Dupain.

Born to Chinese immigrants in Suva, Fiji in 1938, Sang was the second youngest of nine children. As a boy, he recalled the experience of sleeping under the sloping iron roof above his parents’ shop and creating a boxed space within, just big enough for one, in search of pseudo-privacy. The mind of the architect began to hum.13 He moved to Tāmaki Makaurau in 1957, where he studied architecture at the University of Auckland. In 2001, his 1976 design of The Brake House in Titirangi won an NZIA Enduring Award.14 He was unquestionably, and uniquely amongst his contemporaries, a modernist, hugely influenced by the clean lines of Mies van der Rohe, Le Corbusier, Marcel Breuer and especially Harry Seidler. An Austro-Australian émigré architect, Seidler was a hero and source of inspiration to Sang. Sang struck up a relationship with Seidler.

13 Justine Chin, interview with Ron Sang, Auckland, October 20, 2020, audio recording.

14 Architecture Now, “Vale Ron Sang.”

Accessed 3 July, 2021.

“I still recall visiting The Seidler House in Killara, Sydney, in the 1970s. I spent several hours wandering through this magnificent concrete house with its timber ceilings and dark grey granite floors.” Sang was influenced by Seidler in his use of reinforced concrete, crisp geometry and cantilevers in The Sargent House and The Sang House in Remuera, and design elements like the treatment of gutters in The Brake House in Titirangi.

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15 Sang, Ron Sang Architect, 331.

16 Chin, Interview.

17 Sang, Ron Sang Architect, 17.

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Architect and former business partner Simon Carnachan said this about Sang’s guiding principles. “The craft of putting buildings together with precision, style and design, and the necessary personal and persuasive attributes in client interaction was well taught, together with a belief that business and art can be successfully combined and coexist. That education expanded into a demonstration and philosophical position of how to live the fullest and most creative life, how it should be conducted and how the sense and opportunities available should be harnessed and enjoyed.

The notion that creative architecture required that one lived a full experiential existence, a prerequisite for shaping environments for others, was thoroughly demonstrated.”17 Sang lived a fully experiential existence. A devoted collector of art, pottery, and rare chairs, Sang also published art books. He practised as an architect for over fifty years and was made an officer of the New Zealand Order of Merit for services to architecture and art in 2000. His generosity of spirit towards his friends and family in life was vast.

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The Sargent House, reworked by Fearon Hay in 2005, was awarded the NZIA Supreme Award for Architecture on its completion. Photograph by Patrick Reynolds.

Ron Sang at the The Brake House, 2017.

Ron Sang's art collection at The Sang House, c1988.

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In the architecture community, Hapua Street in Remuera is one of the most significant streets in New Zealand. “I've often thought you'd be hard-pressed to find another road in Auckland with as many architect-designed houses.”18 The bottom part of the street was originally laid out with state houses in their most quintessential era.

In the early 1960s, with an exciting shift in character, the road was extended, carved into the valley beyond.

In the rich and leafy valley, proximate to the city, a new utopian experiment unfolded. Works by esteemed contemporaries of Ron Sang surround The Sang House at 58 Hapua Street. Claude Megson’s Rees Townhouses (54 Hapua Street), built in 1974, were considered by the prolific architect to be his best work. They were commissioned by Gavin Rees, owner of a pioneering interior design shop importing modernist furniture. The Mrkusich Townhouses (64 Hapua Street), built in 1968, were commissioned by artist Milan Mrkusich and wife Florence, and set into the hill just below their own house, designed by Mrkusich in 1951-52.19 Bill Wilson of the iconic mid-century practice Group Architects and tutor to Ron Sang at the University of Auckland built at 73 Hapua Street. Number 74 was designed by Geoff Newmann and renovated by architect Lisa Webb in 2014. Lilian Chrystall, one of New Zealand’s pioneering female architects and first female lecturer at the University of Auckland School of Architecture, designed the house at 76 Hapua Street. 20 In more recent years, 78 Hapua Street was designed by Richard George, a double-storey pure glass box designed for the architect to live in himself. 21 In 2021, an NZIA award-winning house by Richard Naish of RTA Studio was completed, a statement of strong gable forms and a nod to the historical state housing on site.

There is a shared sense of custodianship in the neighbourhood amongst the owners of these homes, and a drive to preserve the beauty of the street in its time capsule. Mrkusich Townhouse owner Teresa Janssen states,

18 London-based New Zealand architect and architectural historian, Giles Reid.

Personal communication, July 1, 2021.

19 Reid, “This dramatically angled house was designed to display the owner’s art.”

20 Hawkes, Colleen. “Mid-Century gem by pioneering female architect Lilian Chrystall up for sale.” Accessed 3 July 2021. stuff.co.nz/life-style/home-property/90201989/ 21

Reid, personal communication.

22 Teresa Janssen, personal communication, 3 July, 2021.

“The interesting mix of housing including so many important works of architecture have created a fascinating streetscape. The landscape of the valley and cul de sac creates a place where neighbours naturally interact and there are street parties and an active pest control group bringing amazing bird life to the area. It is such an interesting place.”

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Mrkusich Townhouses by Claude Megson, Hapua Street Remuera, photograph by Jackie Meiring.

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Rees Townhouses by Claude Megson, Hapua Street Remuera, photograph by Jackie Meiring.

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View of The Sang House from Hapua Street c1980.

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Floor Plan

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The Details

Furniture courtesy of Homage homage.co.nz Photography by Sam Hartnett samhartnett.com

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The Auction

Interior of the Sang House 1988.

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The sale of Ron Sang’s house, itself a modernist masterpiece, offers an occasion to acknowledge his legacy beyond the world of architecture as an art collector and publisher some of the most sumptuously produced books on leading New Zealand artists.

In his house in Remuera, Sang surrounded himself with paintings, sculptures, studio ceramics and art glass by some of the leading practitioners in these respective fields. He had a love of bright and colourful paintings with scale that dominated the walls and provided focal points for the collection.

The list of paintings collected by Sang is a roll call of New Zealand art from the 1970s onwards. There were early stained colour-field canvasses by Gretchen Albrecht from the 1970s, as well as one of her iconic hemispheres from 1984 and a later spectacular oval, Nomadic Geometries (At This Hour-Red) from 1994. The collection also included paintings by Don Binney, Pat Hanly, Michael Smither, Robert Ellis, Allen Maddox and Philippa Blair – all of them big, bold and beautiful.

Sang’s other passions in the field of collecting were the sculptures of Guy Ngan and Don Driver, the studio ceramics of Len Castle, Roy Cowan, Graeme Storm and the art glass of Ann Robinson. Sang often mixed his displays of painting with other media because they shared affinities of shape, colour and technical artistry. In this respect, Sang saw no hierarchy of medium when it came to his collecting.

Sang was widely connected to the creative scene in New Zealand and forged meaningful and continued relationships with artists. He was an integral part of the conversations being developed in New Zealand art at this time. The 58 Hapua Street home offers evidence of Sang’s connected approach to creativity with its door handles sculpted by Guy Ngan.

It was as a publisher of lavishly illustrated, high quality, award-winning art books on leading New Zealand artists that Sang founded his other great legacy. Never a money-making enterprise (Sang claimed that he had to sell 800 copies to break even), Ron Sang Publications has produced books on painters such as Ralph Hotere, Michael Smither, Pat Hanly, Mervyn Williams, John Drawbridge, Robert Ellis, sculptors Greer Twiss and Guy Ngan and the ceramicist Len Castle. All commissioned from leading art writers, many of these publications have received this country’s highest awards for illustrated non-fiction books.

Ron Sang’s passion for the art and culture of his adopted country is something to be truly celebrated. The artworks in the following pages pay homage to Ron Sang the collector and publisher. We have sourced works that are fitting to the aesthetic tastes of Ron Sang, works that would not have been out of place hanging in his home when he built it in 1973.

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1 Guy Ngan

21 1975 aluminium stamped GUY NGAN/1975/21 with incision verso 165 × 210 × 110mm (widest points) est $8,000 — $12,000 Provenance Private collection, Whangārei. Acquired from Webb’s, Auckland, 2009.

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Travelling in Europe in the 1950s, Guy Ngan (1926-2017) developed an affinity with modernist architecture. This would come to influence a great deal of his artistic output.

Ngan’s use of arches, rectangles and curves in 21 demonstrates his admiration for classical Roman architecture, developed during a sojourn in Rome. The aluminium sculpture sits within Ngan’s Habitation series, which explores the possibilities and potential of buildings to connect with their inhabitants.

In 1956, Ngan was drawn back to New Zealand by Government Architect Gordon Wilson to work in the Architectural Division of the Ministry of Works, charged with commissioning sculptural work for new buildings. Today, Ngan’s own artworks make an impressive contribution to public spaces and commercial buildings across Aotearoa, populating both public sites in smaller towns and well-trafficked spots in our biggest cities.

Ngan collaborated with Ron Sang on several occasions, including his commission for a 3 × 7 metre mural for the Karangahape Road Post Office, designed by Sang and Mark-Brown Fairhead.

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2 Guy Ngan

Aperture 283 1974 acrylic on board signed NGAN and inscribed APERTURE 283 in brushpoint lower left 1200 × 900mm est $8,000 — $12,000 Provenance Private collection, Auckland.

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Encompassing sculpture, painting, printmaking, woodcarving and architectural design, Guy Ngan’s varied and extensive artistic practice was dedicated to integrating visual arts with everyday life. ‘Art as a part of our everyday living,’ Ngan argued, ‘should be as natural and normal as having our daily bread.’

Aperture 283 reflects the extension of the architectural concerns of his sculptural practice into the painting medium, and the embrace of geographic abstraction continues his fascination with modernist design.

As a second generation Chinese New Zealander, Ngan transcended the traditional modernist trajectories in New Zealand art. His work clearly speaks to his artistic identity, reflecting both his Chinese heritage, notions of place, and his home in the Pacific. Encompassing different media and drawing upon a variety of motifs and influences, what unites Ngan’s impressive portfolio of artworks is his intense interest in humanity.

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3 Don Driver

La Guardia No 2 1966 plastic, wood, metal and acrylic on canvas on board signed DON DRIVER, dated (1966) and inscribed "LA GUARDIA NO. 2"/NEW PYMOUTH/N.Z [sic] in ink verso 1225 × 925 × 100mm (widest points) est $30,000 — $60,000 Provenance Private collection, Wellington.

Acquired from Hamish McKay, Wellington.

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Although Don Driver (1930-2011) was keenly interested in modern art traditions, his distinctive work defies the confines of any one art movement. The media and form of his artworks vary greatly, and Driver consistently confounded expectations. He was an undeniably singular force in New Zealand art history.

In the 1960s, Driver began creating assemblages with everyday objects, drawn to their predetermined textures, surfaces, forms, and especially their colours. He spent most of his life in New Plymouth, and the New Zealand environment is reflected in the recognisable domestic objects and agricultural materials included in his artwork.

These unconventional objects also lend Driver’s artworks a narrative element – often disturbing, challenging or humorous, but always memorable.

Driver’s 1965 trip to the United States, filled with gallery encounters of Pop Art, colour field painting and minimalism, had a profound influence on his practice.

His assemblages or ‘combines’ echo the sculptural works of notable artists Robert Rauschenberg and Kurt Schwitters, whose work he encountered on the trip. During this trip, Driver also began collecting Indian and Asian sculptures which, he believed, greatly enhanced his assemblages. Works produced following the trip share formal compositions, (relatively) shallow relief and regular framing. This rings true for La Guardia No 2, inspired by Driver’s travel through the New York airport. Its shiny, garish colours demonstrate the influence of New York, and the United States more generally, on Driver’s imagery.

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Provenance Collection of the home owner. Acquired from International Art Centre, Auckland, 2018.

Ian Scott’s (1945-2013) work consistently challenges the traditionally boundaries of painting. His career comprises a range of styles and themes. In the early 1960s Scott explored bold landscapes that challenged tradition, while his late 60s and early 70s work depicted bikini clad women and pop imagery, harking to his contemporaries in the USA and UK. Later in the 1970s Scott came to his largest body of work: the Lattice series. This series began a long-standing exploration into geometric abstraction, seen here in this later painting.

Known for his dynamic geometric explorations, Scott’s paintings are distinctive in their intense colour and light. While the Lattice series still references weaving in its imagery, Black Light further simplifies and abstracts these bold shapes and lines into complete abstraction. The bright forms in the upper left corner contrast wonderfully against the dark expansive background, while the more organic lighter forms near the lower edge balance out the sharp coloured shapes.

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4 Ian Scott

Black Light 1984 acrylic on canvas signed Ian Scott, dated August, 1984 and inscribed "BLACK LIGHT" in graphite verso 1015 × 765mm est $5,000 — $8,000

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5 Ian Scott

Lattice No. 133 1986 acrylic on canvas signed Ian Scott and inscribed 384/"LATTICE NO. 133" in ink and graphite verso 1145 × 1145mm est $28,000 — $38,000 Provenance Private collection, Auckland.

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Ian Scott’s (1945-2013) expansive artistic output spans landscape paintings, popular imagery and art historical traditions. But it is undoubtedly his Lattice works, which permeate his practice from the 1970s, that constitute his largest and most renowned body of work. They also mark an important moment in New Zealand art.

Despite the consistent motif of the Lattice works – diagonal bands of colour interwoven on square canvases – Scott achieved great variation between artworks.

Not only did the lattice series sufficiently merge pictorial elements – where line, colour, surface, form and space struggle to be differentiated from one another – it also allowed Scott to reconcile his international outlook with his status as a New Zealand artist.

Indeed, works such as Lattice No. 133 not only draw upon formal standards established by the modernist tradition, and European and American artists such as Piet Mondrian and Kenneth Noland. However, they also incorporate the weaving and craft tradition Scott encountered in West Auckland after immigrating to New Zealand from the United Kingdom. As well as constituting a unique artistic response to his New Zealand perspective and international modernism, Scott’s lattice works greatly advanced New Zealand geometric abstraction.

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6 Gretchen Albrecht

Colloquy #4 1984 acrylic on canvas signed Albrecht and dated 1984 in brushpoint lower right verso 1255mm × 2510mm (widest points) est $50,000 — $70,000

One of Aotearoa’s most instantly recognisable artists Gretchen Albrecht (b.1943) has consistently broken ground in the field of abstract and colour field painting.

Her immense Hemisphere works, constructed from to two shaped canvases, flood the viewers senses with sumptuous hues. Waves of different colours wash across the picture plane with powerful and intentional strokes of the brush. Albrecht first painted a work in her Hemisphere series in 1981, and it has been a signature form that the artist has continued to come back to over her impressive and lengthy career.

Each Hemisphere work in this series has its own unique dance between colour and movement. Painted in 1984, the deep red and soft creams and yellows in Colloquy #4 present a saturation to the senses of both light and warmth.

Provenance Collection of the home owner. Acquired from Bowerbank Ninow, Auckland, 2016.

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7 Ralph Hotere

Black Painting 1969 enamel on board signed Hotere and dated 69 in brushpoint verso 600 × 1212mm est $70,000 — $90,000 Provenance Private collection, Auckland. Acquired from International Art Centre, Auckland, 2017.

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Ralph Hotere (1931-2013) is considered a pioneer of the modernist Māori art of the 1960s. His work is credited with uniting the styles and techniques of European modernism with Māori concepts, philosophies and forms. Hotere’s art is also notable for its deep political commitment, drawing his viewer’s attention to racism, human rights abuses and environmental issues.

Following travels in the United Kingdom and Europe in the early 1960s, Hotere returned to Aotearoa greatly influenced by the art he had encountered overseas. Hotere had developed a distinctive style, which adopted formal and minimalist elements of geometric abstraction.

Black Painting is demonstrative of Hotere’s sustained affinity for spatial voids.

His renowned Black paintings use polished black lacquer and simple pinstripe lines or crosses of colour. The minimal level of detail pierces the black void with light, enabling the highly buffed surface to reflect its surroundings and the viewer’s movement.

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Provenance Private collection, Auckland.

From the 1950s, Don Binney (1940-2012) considered Te Henga (Bethell’s Beach) his primary stomping ground. Much of his early work demonstrates his fascination with the area, which provided great fodder for his ornithological pursuits.

Binney’s numerous descriptions of Auckland’s West Coast read as a poetic tribute to the landscape. His adoption of native birds and local landscapes as subjects, along with his sensitive choice of colour, came to define Binney’s artistic output.

These distinctive artworks also proved to be a notable moment in the development of New Zealand art.

Underpinned by draughtsmanship, Binney’s practice was not solely focused on Te Henga, or Tāmaki Makaurau; he was well acquainted with the length and breadth of Aotearoa. Travels to Mexico, the United States, the United Kingdom and Australia also helped enable Binney to identify the distinguishing features of the New Zealand landscape, and elucidate his artistic direction.

Webb's × Wall

The Sang House

8 Don Binney

Te Henga 1967 oil on canvas signed DON BINNEY, dated 1967 and inscribed TE HENGA in brushpoint lower left; inscribed Grove,Te Henga/N.F.S in ink verso 835 × 745mm est $70,000 — $90,000

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The Auction

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9 Pat Hanly

Hibiscus 1968 oil on canvas signed Hanly and dated 68 in brushpoint lower right 795 × 825mm est $150,000 — $180,000 Provenance Private collection, Wellington.

Webb's × Wall

Across his extensive career, Pat Hanly’s (1932-2004) work consistently exudes energy, vitality and dynamism and draws upon his abilities as a colourist. Hanly’s subjects encompass the political (matters of social consciousness and protest) and the personal (drawing upon the artist’s own observations and relationships), and his vibrant use of colour saturates many compositions with a remarkable sense of joy.

Certainly, in Hibiscus, the flower’s fiery red brushstrokes pop out from the background, the network of dotted lines encouraging the eye across the canvas. Though the flower’s brushstrokes feel expressive, and spontaneous, they are contained within clear outlines. So, too, are the dots within the leaf on the bottom left of the composition, which read like a constellation of stars.

Ron Sang identified Pat Hanly’s contribution to the history of New Zealand art, arguing ‘his art heralded new ways of thinking about this country – as a nation that belonged to the young and adventurous, to the dreamers, and to those who could see the vital place the island nation could have within Polynesia and the broader Pacific.’

The Sang House

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10 Gordon Walters

untitled 1994 acrylic on canvas signed Gordon Walters and dated '94 in ink verso 460 × 355mm est $30,000 — $50,000 Provenance Private collection, Auckland.

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His name synonymous with the koru motif he developed and explored across his artistic career, Gordon Walters (1919-1995) has an established position as one of New Zealand’s most celebrated abstract artists. Walters’ unique approach to geometric abstraction - uniting the organic koru form of Māori art with the aesthetics expounded by international abstraction - also sophisticatedly reflects his artistic identity as a New Zealand modernist.

Walters developed his own visual language, which enabled him to explore the dynamism and push/pull of interconnected forms. Although it is without the familiar koru motif, untitled demonstrates Walters’ commitment to geometric abstraction, and draws upon a palette consistently employed across his career output. untitled represents the more reductive approach of his later works. These are starkly minimal in contrast to the heavily populated koru paintings for which he is most well-known.

Nevertheless, this work is a clear continuation of Walters’ enquiry into abstract imagery.

The Sang House

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The Auction

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11 The Sang House 1973 58 Hapua Street, Remuera, Auckland 1050, New Zealand est $2,000,000 — $6,000,000

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Designed in 1973 by renowned architect and art collector Ron Sang as his personal residence.

The house has been extensively and very carefully updated to an immaculate 2021 home without detracting one bit from the architects original form and intentions.

Beyond the double garage and trademark vast front door are three separate living spaces, four bedrooms, three bathrooms and a swimming pool - all sitting amongst a canopy of trees allowing dappled afternoon sun and unique views in every room.

A work of art.

The Sang House

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The Auction

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Artwork Ts & Cs 1.

Background to the Terms used in these Conditions

The terms and conditions of sale listed here contain the policies of Webb’s Ltd. They are the terms on which Webb’s Ltd and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale.

By bidding at auction you agree to be bound by these terms.

The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows: “the Buyer” means the person with the highest bid accepted by the Auctioneer. “the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue. “the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot. “the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price. “the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue.

Accordingly no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).

All values expressed in Webb’s Ltd catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.

2.

Webb’s Auctions as Agent

Except as otherwise stated Webb’s Ltd acts as agent for the Seller.

The contract for the sale of the property is therefore made between the Seller and the Buyer.

3.

Before the Sale

3.1.

Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place.

Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.

The property is otherwise sold “AS IS” 2.

Catalogue and Other Descriptions All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition Webb's × Wall

The Sang House

report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or it’s value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

An item bought “on Extension” must be paid for in full before it will be released to the purchaser or his/ her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction.

Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.

3.

Buyers Responsibility All property is sold “as is” without representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.

No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.

4.

At the Sale

4.1.

Refusal of Admission Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.

4.2. Registration Before Bidding Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Webb’s may request bank, trade or other financial references to substantiate this registration.

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4.3. Bidding as a Principal When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment.

4.4.

International Registrations All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid.

This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement.

This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made.

4.5. Absentee Bids Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first.

Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise.

It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

4.6.

Telephone Bids Priority will be given to overseas and bidders from other regions.

Please refer to the catalogue for the Telephone Bids form.

Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing.

Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process.

The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen.

Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question and you will be assumed to be a buyer at the minimum price of 75% of estimate

Terms & Conditions

(i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals or any other sale room notices.

4.7. Online Bidding Webb’s offers an online bidding service. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s.

Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service.

4.8. Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue.

The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller.

The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

4.9.

Auctioneers Discretion The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he/she may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, then Webb’s sale record is conclusive.

4.10. Successful Bid and Passing of Risk Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

4.11. Indicative Bidding Steps, etc.

Webb’s reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following indicative steps: Increment Dollar Range Amount $20 $0–$500 $50 $500–$1,000 $100 $1,000–$2,000 $200 $2,000–$5,000 $500 $5,000–$10,000 $1,000 $10,000–$20,000 $2,000 $20,000–$50,000 $5,000 $50,000 – $100,000 $10,000 $100,000–$200,000 $20,000 $200,000–$500,000 $50,000 $500,000–$1,000,000

2021

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

5.

After the Sale

5.1.

Buyers Premium In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 17.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.

5.2. Payment and Passing of Title The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.

The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas.

Payment can be made by direct transfer, cash (not exceeding NZD$10,000, if wishing to pay more than NZD$10,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.

5.3. Collection of Purchases & Insurance Webb’s is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds.

Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer.

At the fall of the hammer, insurance is the responsibility of the purchaser.

5.4.

Packing, Handling and Shipping Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party.

Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

5.5.

Permits, Licences and Certificates Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.

5.6.

Remedies for Non-Payment If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law) 5.6.1. to charge interest at such a rate as we shall reasonably decide.

5.6.2. to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.

5.6.3. to cancel the sale.

5.6.4. to resell the property publicly or privately on such terms as we see fit.

5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.

5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.

5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.

5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.

5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.

5.6.10. to take such other action as Webb’s deem necessary or appropriate.

If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all

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costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.

If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

5.7.

Failure to Collect Purchases Where purchases are not collected within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

6.

Extent of Webb’s Liability

Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.

7.

Limited Warranty

Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.

The warranty is subject to the following: it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process

Webb's × Wall

not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction.

The Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.

The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty. the Buyer must return the lot to Seller in the same condition that it was purchased.

11.

Pre-Sale Estimates

Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot.

These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.

12.

Sale Results

Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium.

These results will be posted at www.webbs.co.nz.

13.

Property Ts & Cs The terms and conditions of sale listed here contain the policies of Webb’s Ltd. They are the terms on which Webb’s Ltd and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms. The terms listed here refer to art works for sale in this auction.

For all terms and conditions related to the sale of The Sang House, 58 Hapua Street, Remuera, please refer to Wall Real-estate wallrealestate.co.nz/contact

Goods and Service Tax

GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate.

GST is also applicable on the buyer’s premium.

8. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.

9. Copyright The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

10.

Law and Jurisdiction

These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.

The Sang House

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Property Details land area

609m2

floor area

309m2

legal description

Lot 27 Deposited Plan 51621

identifier

NA6C/118 land use

Residential houses of a fully detached or semi-detached style

estate

zone

built

gas

construction

bedrooms

bathrooms

ensuite

Fee Simple 1973 Four

9B

Mains Three

built-in wardrobes

Yes

features

Swimming pool Home automation High spec appliances High spec security system Outdoor area, patio and deck Workshop

Cedar weatherboard Yes

garage

Double

heating

Open fireplace Four heat pumps Separate self contained guest room with kitchen, bathroom and living area

T H E SA N G H O U S E

58 Hapua Street, Remuera, Auckland 1050, New Zealand wallrealestate.co.nz webbs.co.nz