Introducing the Art Department's New Manager
Webb's is pleased to announce the appointment of Dr. Megan Shaw as the new manager of the art department.
About Megan Shaw
Megan Shaw brings deep experience in contemporary art and philanthropy, shaped by six years with the Chartwell Collection Trust.
She is an art historian with a PhD from the University of Auckland, has published widely, co-authored a book marking Chartwell’s 50th anniversary, served in governance roles across galleries and academia, and held research fellowships with the Paul Mellon Centre and Oxford University.
Megan Shaw | Manager, Art
megan@webbs.co.nz | +64 22 301 8259
Webb’s: Welcome to Webb’s Megan and congratulations on your new role! Take us behind the scenes at the Art Department and how you fit within it?
Megan Shaw (MS): Thank you, I’m happy to be here! Day to day, our Department is a busy hub of appraisals and consignments, cataloguing, photographing, researching, writing and liaising with clients. In my role I oversee all of our activities and have my fingers in each piece of pie!
In this role, my focus is on celebrating Webb’s heritage while driving forward momentum—delivering exceptional auctions and exhibitions, embracing digital engagement, and championing bold ideas. I’m honoured to be part of shaping the next chapter for Webb’s, where tradition and progress coexist to keep us at the forefront of New Zealand’s art history and market.
You have a PhD from the University of Auckland and specialise in the history of collecting and patronage from the seventeenth to the twenty-first centuries, which seems incredibly fitting to your role here! Can you give us a ‘beginner's guide’ to your dissertation?
MS: I’m an art historian and a specialist in collecting and patronage, both through my academic research and my professional experience here in Aotearoa. My PhD focused on the life of Katherine Villiers, Duchess of Buckingham (1603–1649), a remarkable female patron of the arts and collector in seventeenth-century England and Ireland. She was working with the contemporary artists of her time, think the Old Masters like Anthony van Dyck and Peter Paul Rubens. I explored how she used visual and material culture—paintings, monuments, objects, and spaces—to craft and maintain a position of extraordinary influence in a world dominated by men.
This background has shown me that collecting is about more than ownership, it’s often emotionally charged and a powerful tool for shaping identity, investment and legacy. That perspective feels relevant to my new role at Webb’s, where we connect collectors and philanthropists not just with artworks, but with building collections and relationships, telling stories and crafting identity. Understanding traditions of patronage and collecting helps me approach today’s art market with historical insight and a forward-thinking vision.
The subjects of Megan's doctoral thesis with Katherine Villiers at centre: Gerrit van Honthorst, The Duke of Buckingham and his Family, 1628, oil on canvas, Royal Collection Trust, UK.
What do you feel is the role of the ‘auction house’ within the wider cultural ecosystem of New Zealand and what excites you about being here?
MS: Auction houses like Webb’s play a vital role in New Zealand’s cultural ecosystem. We’re not just a marketplace. We’re a bridge between artists, collectors, curators, scholars and the public. Through initiatives like the Artist Resale Royalty Scheme (which recorded more than $1m in royalties in its first year), we help ensure artists benefit from the ongoing life of their work, reinforcing the sustainability of creative careers. I am proud to work closely on this area for Webb’s.
We are also passionate about bringing art to the public. By touring museum-quality artworks around the country and presenting them in our catalogues and exhibitions, anyone can get a rare glimpse of pieces that might otherwise remain behind closed doors in private collections.
Over the past 50 years, the artworks that have passed through Webb’s have, in many ways, defined the history of art in Aotearoa. We are an incredibly deep resource, and the story of Webb’s is really the story of the art market and auction houses here. Being part of this legacy and helping shape its next chapter is what excites me most.
Tell us about your favourite New Zealand artists or styles/eras?
MS: Nikau Hindin is a firm favourite for her revival of traditional Māori aute or barkcloth—I am immensely lucky to have experienced the process of beating and marking aute with her. Heading back in time, I have always adored the leading female members of The Group including Olivia Spencer-Bower, Rita Angus and Doris Lusk, and A. Lois White of the New Group.
For their distinctive blending of history painting and the contemporary, I have to mention Tony Fomision and the gouache works of Kushana Bush… I’m a fan of Raukura Turei and Sriwhana Spong too.
I’d be remiss not to go beyond New Zealand artists and talk about Nyapanyapa Yunupiŋu, Sally Gabori or Emily Kam Kngwarray because these Aboriginal works have been so formative for me. I’ve worked deeply in this Australasian context. I do think we’re yet to see New Zealand collectors making the most of Australian works. I was in London recently for the Tate summer show of Kngwarray’s work and saw sold out Gabori booths at Frieze Masters presented by a New York based gallery. There is so much good work out there and it is part of our role to offer exposure and education on the secondary market.
A favoured work of Megan’s.
Sally Gabori, Dibirdibi Country, 2012, synthetic polymer paint on linen, 1970 x 1000mm.
EST. $55,000—$75,000.
Price Realised (incl BP): $53,685.94
Further works by Megan’s favourite artists, presented at Webb’s.
Rita Angus, Orchid, c1948, watercolour on paper, 380 x 265mm.
EST. $45,000—$65,000
Price Realised (incl. BP): $101,575
Kushana Bush, Life, 2014, gouache, gold leaf and graphite on paper, 630 x 460mm.
EST. $9,000—$14,000
Price Realised (incl. BP): $20,315
Nikau Hindin, Ki Ngā Rangi Tūhāhā, 2021, ngārahu and kōkōwai on aute, 1360 x 390 mm.
EST. $9,000—$13,000
Price Realised (incl. BP): $21,510
Do you collect art as well and do you have any tips for anyone making their first Webb's purchase or taking their collection to 'a new level'?
MS: I certainly do. My first conscious foray into collecting came when I started my PhD. I acquired a portrait of Katherine Villiers—the subject of my thesis—engraved by Magdalena van de Passe in 1623. There are only about six surviving in the world. I bought it sight unseen online during Covid from an antique prints dealer in London and at a remarkable price—nobody really recognised the subject or the artist. That single work has taken me all over the world; most recently, I carried it in my hand luggage to Ghent in Belgium, where the MSK is loaning it for their Unforgettable: Women Artists from Antwerp to Amsterdam, 1600-1750 exhibition this year.
Since then, I’ve added small and often inexpensive pieces that resonate with me. I recommend starting with our Art Online catalogue and affordable works from the upcoming Aotearoa Art Fair. My first Fair purchase was a very modest Mike Hewson. One of my most precious pieces is a collaborative work I made with Nikau [Hindin] in 2016 and a more recent manu aute (Måori tapa kite) which was a gift from the artist.
I don’t think you’re born with an eye for art, it is something to nurture and train. Like everything in life, if you’re passionate, you’re halfway there. Start with what speaks to you personally. Spend time looking at art. Educating yourself doesn’t have to mean pouring over books or catalogues, come to our previews and exhibitions and always ask questions. Art Online is our perfect entry point for buyers at any budget ($25 to $5,000). In time you may move with confidence toward Select for a curated selection of talented artists, and our premier tier Works of Art. At any level, there is no replacement for training your eye, for close looking and learning what you’re drawn to in person.
Collecting is a journey, and every piece should feel like part of you. At Webb’s, we’re here to guide collectors through these tiers. Whether you’re making your first purchase or refining a collection , it is an ever stimulating and rewarding process.
Megan’s portrait of Katherine Villiers. Being delivered to the Museum voor Schone Kunsten in Ghent in Belgium.
Upcoming Auction Highlights
30.03.26
Works of Art
—Live Auction | Featuring Works From Sir Miles Warren’s Personal Collection
Bill Hammond, The Strength to Carry On, 1985, acrylic on linen, 1925 x 1830mm.
EST. $70,000—$90,000
Colin McCahon, Floodgate 1, 1964-5, oil on composition board, 910 x 765mm.
EST. $240,000—$280,000
Tony Fomison, John the Baptist, from Caravaggio's St John with Ram, 1966, oil on jute, 435 × 585mm.
EST. $300,000—$500,000
30.03.26
Works of Art
—Live Auction | Featuring Sir Miles Warren’s Personal Collection
Auction Details
Live Auction
Monday 30 March, 6.30pm
Entries Close
Monday 16 February
Contact
Auckland
Emily Gardener
Director of Art
emily@webbs.co.nz
+64 22 595 5610
Wellington
Mark Hutchins-Pond
Senior Specialist, Art
mark@webbs.co.nz
+64 22 095 5610
Christchurch
Sean Duxfield
Specialist, Art
sean@webbs.co.nz
+64 21 053 6504