NEW BRAUNFELS, TX.- In a recent exclusive interview with Artdaily, Lark Mason, the esteemed founder of iGavel Auctions and renowned appraiser on Antiques Roadshow, shared his perspectives on the evolving art market, his career, and the challenges faced by collectors and auctioneers today. With decades of experience, including a pivotal role at Sotheby’s, Mason has witnessed significant shifts in both the structure of the art market and the way auctions are conducted, especially in the digital age. As someone deeply embedded in the art world, his thoughts provide invaluable insights into the current state of the market and the future of art auctions.

Mason expressed concern about the art market's increasing dependence on wealthy, top-tier collectors, while mid-level and emerging collectors face growing economic pressures. He noted that inflation and the rising cost of goods and services have made it difficult for many potential buyers to enter the market, forcing them to choose between essential living expenses and their passion for collecting. This has skewed the market towards high-end buyers, who are largely insulated from these economic challenges. According to Mason, this structural imbalance could have long-term implications for the art industry.

Despite these concerns, iGavel Auctions has continued to thrive, with Mason highlighting their upcoming fall season auctions, which will feature an extensive collection of Asian art, including rare bird feeders and avian accessories, as well as a 17th-century Japanese screen. Mason noted that this season's auctions are timed to coincide with the renowned Round Top Antiques Fair in Texas, demonstrating the company's strategic approach to connecting with collectors during key moments in the art world calendar.

Mason also shared the significant impact of digital transformation on the auction industry, emphasizing how the shift from print to digital has revolutionized the way collectors and institutions engage with art. Since founding iGavel Auctions in 2003, he has focused on creating a trusted online platform that caters to high-end collectors, setting the company apart in an increasingly competitive digital marketplace. He remarked that while it has become easier for anyone to sell online, reaching a discerning audience remains a challenge that iGavel excels at.

The interview also touched on Mason’s involvement with Antiques Roadshow, where he has been a key figure since its inception in 1996. Mason reflected on the unpredictability of the show, recounting how remarkable and valuable items can surface in the most unexpected locations. His travels for the show have taken him across the United States, where he has met collectors and uncovered hidden gems, many of which hold significant sentimental value for their owners. This emotional connection to art and objects, he believes, is a crucial element of the collecting experience.

In addition to his auction work, Mason also operates an art advisory and appraisal company, serving private collectors, institutions, and estates. His dual role in advising clients and running an auction house gives him a unique perspective on the art market, particularly when it comes to estate sales and tax-related valuations. This expertise has positioned him as a trusted figure in the art community, both in the U.S. and internationally.

As the interview concluded, Mason emphasized the importance of adapting to the changing landscape of the art market. With his extensive experience and keen understanding of both traditional and digital auction practices, Mason and iGavel Auctions are well-positioned to navigate the challenges ahead while continuing to provide valuable services to collectors and institutions alike. His insights remind us that while the art market may be evolving, the passion for collecting remains as strong as ever.

Q: I’ve had a bad feeling about the art market since May. Have you felt something similar?

A: Yes, I’m concerned about the economy and what I would call a structural imbalance. The cost of goods and services has risen so dramatically that the bottom tier of the market, even up to the middle part, has been heavily affected. Many people who would typically start collecting art are now making hard choices—like buying gasoline, a car, or groceries instead of art. This leaves the market largely reliant on the top tier, who are more insulated from economic shifts. I find it concerning that the market’s survival seems increasingly dependent on these high-end buyers.

Q: Have you noticed this impacting your numbers?

A: It’s become quite difficult to sell items in the bottom third or quarter of the market. Shipping costs are a big factor, and most buyers today aren’t local—they’re having things shipped to them, which adds to the financial burden.

Q: What do you have planned for the fall?

A: We have several strong sales lined up. We typically follow the seasons like everyone else. Our first major sale will feature Asian works of art.

Q: Do major Asian sales usually happen in September?

A: Yes, into October, and also during March and April. We have a large collection this fall, sourced from collectors across the country, including a collection from a family in Round Top, Texas. They lived abroad in Asia during the '60s, '70s, and '80s and assembled an interesting collection of bird feeders, avian accessories, porcelain spoons, and standard works from the Tang, Yuan, and Ming dynasties. We’ll have about 800 to 900 lots spread across three sessions, exhibiting them in our New York and Texas galleries, as well as in Round Top.

Q: Where exactly is Round Top?

A: It’s between Houston and Dallas. There’s a huge antiques market there that attracts thousands of people from all over.

Q: Can you highlight other key items from the September sales?

A: We’re still gathering pieces, but one standout is a 17th-century Japanese flower screen with a gold-leaf background. It’s beautifully painted and comes from a consigner in Texas. We’re also working on collections of European art, Chinese works, and other significant items.

Q: What’s the estimated value of the Japanese screen?

A: We’ve estimated it between $15,000 and $25,000.

Q: What are your plans for March?

A: It will be more of the same, with a focus on Asian art. Many of our consigners are private individuals, not dealers, and we’re working on several collections that will likely be the highlights of that sale.

Q: How much time do you spend in New York versus Texas?

A: About 25% in New York, 25% in Texas, and the remaining 50% traveling to other places.

Q: Do you travel for business or pleasure?

A: Mostly for business, but we try to mix in some pleasure as well.

Q: I heard you were recently in Europe. Was that for business or pleasure?

A: Actually, I wasn’t in Europe—my wife was. If we go to Europe, it’s usually for pleasure, and we have a trip planned for next year. Most of my travel is within the U.S. these days, though I used to travel more frequently to Asia.

Q: Who do you usually travel with?

A: I travel with my wife, Erica, who’s a professional singer and works with me in our company.

Q: When you attend the Antiques Roadshow, are you present for every session, or only certain ones?

A: I’m present at every location, though I may not appear in every episode. It depends on what comes through, as sometimes there just isn’t a suitable item for me to evaluate.

Q: Can you share your biggest surprise from working with the Antiques Roadshow?

A: The biggest surprise is the randomness of what appears. Sometimes we’re in a remote or modest location, but then a spectacular item shows up, often because people move around so much. There’s always something unexpected.

Q: Where do most people who show up at the Roadshow sell their items?

A: They usually don’t sell. Most come out of curiosity, often with something they inherited. Our role is to help them understand the history and significance of the object, and why it may have been valued by a family member.

Q: Do you want to add anything else?

A: I’m continually impressed by how we’ve all adapted our lives and careers to the digital age. The expansion of connections we can make today, especially in the art world, is incredible. It’s exciting to share history and art with a much larger audience, something that wasn’t possible with print alone.

Q: How has your auction business evolved over time? Have you expanded globally?

A: The digital revolution in the late ’90s was a game-changer. I was one of the directors of Sotheby’s online auction platform, and when they closed it, I founded iGavel Auctions in 2003. For the first 10 years, we were the dominant online art auction platform. We continue to focus on the higher end of the market, reaching specialized audiences. Not everyone can sell through iGavel; we only authorize a small number of vetted sellers.