The importance of using high quality lighting for an art and antiques collection cannot be understated. When delivered correctly, it enables the celebration of an artist or maker’s work and elevates the entire space that it inhabits. We specialise in developing the technology to bring artworks ‘to light’, as well as providing a bespoke service for each client to tailor lighting solutions perfect for their needs. We’re pleased to recommend some ‘top tips’ to elevate the lighting of your collection in your own home.

LEDs over incandescent bulbs

Our story began ten years ago with our reinvention of the picture light by employing LED technology, in line with then recently introduced environmental regulations. All our products use LED, as it is the safest, most consistent and most sustainable form of lighting in existence, so we highly recommend LED instead of incandescent bulbs traditionally used in picture lights and gallery spotlights. However, when using LED, you must adhere to the 3 Cs.

Utilise the three Cs

We work continually to develop and incorporate the latest and best LED technology to ensure our lights meet our ‘Three Cs’ methodology. These are: Colour Rendition – to only use LEDs with a colour rendition (CRI) above 95+ CRI; Colour Temperature, carefully selected colour temperature (warmth of light, measured in Kelvin) to suit the environment; and Colour Consistency – use LEDs throughout a collection which have consistent colour characteristics. Our ‘Three Cs’ approach can be used by anyone looking to elevate their art collection display.

Colour Rendition

To take an example from the upcoming Flaxley Abbey sale, Lot 28, a fine Dutch portrait of Catherine Boevey, from the Circle of Pieter Borselaer, high quality lighting could entirely change the way in which this work is perceived. The complex colouring of Boevey’s skin tone and the vase of flowers situated behind her might not be perceived fully in a dark room with poor lighting but would be brought to life under high colour rendition lighting. The higher the CRI, the more colour in the visible light spectrum is revealed.

Colour Temperature

Colour temperature is crucial to create a feeling of warmth in a space, but also must be considered when lighting objects of lighter or darker colours. Metal in particular can be lit with varying colours to achieve different effects. A gilt mantel clock, such as the Charles X example (Lot 200) in the Flaxley Abbey sale, would require a warmer light (2700K) while a clock made in silver would require a cooler light (4000k).

Colour Consistency

Lots within the impressively diverse Flaxley Abbey and Chilham Castle interior sales can easily be brought into a single, consistent scheme by using the same hue of lighting across the collection. Ensuring consistently hued lighting will unite the display of paintings and objects and making all pieces in a room feel aligned.

Find a light aesthetic to fit the requirement

We work with institutions, galleries and collectors that each have different requirements with the visual aspect of their lighting, whether it be a stately home, a contemporary art gallery, a fine jewellery shop, restaurant or private residence. It is important to get the aesthetic right in the varying interiors in which we work. The paintings to be found in the Flaxley Abbey and Chilham Castle sales, for example, would more closely align with our heritage-styled range, such as the TM Classic picture light or the TM Goodwood. If lighting a more modern collection such as the Mary Fedden, David Bomberg or Alan Davie pieces found in the Modern and Contemporary Art Auction, we would normally recommend a light from our modern range, such as the TM Slim Light Pro. This low-profile picture light minimises distraction from the work itself, while offering the same high-quality lighting provided in our heritage-style picture lights. It has been the case, however, where classic-style picture lights align with contemporary works and vice versa, so a tailored approach is always needed.

Conservation-friendly lighting for delicate objects

Choosing a conservation-friendly light source should be the priority for lighting any artwork created using delicate materials, such as paper or textile. With lots such as the Johannes Kip Flaxley engraving (Lot 14) in the Flaxley sale and Brussels Biblical tapestry (Lot 317) in the Chilham Castle sale, it is important to ensure that the artwork is lit with light in the visible part of the spectrum. The invisible parts of the spectrum such as infrared or ultraviolet cause damage to artworks so choosing a light source that only emits visible light, such as LED, is paramount. The amount of light a work receives should be controlled, with paper and textiles having a maximum of 50 lux and oils a maximum of 200 lux. Seek advice when illuminating sensitive objects to make sure no damage is done.  

The Right Angle of Light

A correctly positioned picture light or ceiling-mounted spotlight is crucial to avoid unwanted reflections. The light should not be a distraction to viewing the object so light glare from the source or an overly directed light pool can draw the eye away from the artwork.

Situate your artwork in the optimal position

In a space that is lit with strong daylight, such as between large windows, the eye will struggle to see the artwork during daytime without significant artificial light levels to counter the contrast levels. Artworks placed in spaces such as this will therefore need spotlights to illuminate them effectively in the day.

Above all, art lighting should reveal the true colour in a work. Rather than overlighting or underlighting a piece, the right products will enable the viewer to see the works as the artist originally intended them. High quality art lighting is not just for museums, galleries and auction houses. With the right techniques, equipment and advice, any residential art collection can successfully be brought ‘to light’ with museum-grade lighting.

Auction Details

The Collection formerly from Flaxley Abbey: An Oliver Messel Commission
Monday 3 October, 10.30am BST
Donnington Priory, Newbury, Berkshire RG14 2JE

View page turning catalogue | Browse the auction

Chilham Castle: The Selected Contents from a Christopher Gibbs Interior
Tuesday 4 October, 10.30am BST
Donnington Priory, Newbury, Berkshire RG14 2JE

View page turning catalogue | Browse the auction

Modern and Contemporary Art
Wednesday 19 October, 10.30am BST
Donnington Priory, Newbury, Berkshire RG14 2JE

View page turning catalogue | Browse the auction

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