Andrew Molyneux and Harry Triggs, directors of TM Lighting
For our upcoming Old Master, British & European Pictures auction, Roseberys teamed up with UK's leading art specialist TM Lighting to share unrivalled knowdledge into lighting artworks in the home and the exhibition space. We had the pleasure to sit down with Andrew Molyneux and Harry Triggs to discuss how how to light as well as protect an artwork following its acquisition.
Founded in 2012, TM Lighting is the UK’s leading art lighting specialist. The company is set to address recent energy-saving legislation changes and the environmental impact on lighting commercial and private spaces, especially in the art world. The company specialises in the design and manufacture of exceptional LED products that transform works of art within private residences, stately homes, galleries and museums, with commissions for high-end commercial spaces.
Bringing 30 years combined experience in lighting and product design, the TM Lighting approach and meticulous attention to detail bring art to life using the latest and most sophisticated LED energy-efficient technology, defined by careful selection of LEDs, resulting in unrivalled colour rendition and light distribution.
Their recent commissions include: Rothschild Foundation, English Heritage,Historic Royal Palaces, Frieze Masters and Masterpiece London, and Damien Hirst’s Venice exhibition Treasuresfrom the Wreck of the Unbelievable.
Should you do anything to an artwork before lighting it? Would you always recommend using museum glass to protect the work or are there ways around that?
Whether considering art lighting or preparing a painting for display, the consistent intention is to reveal the colours in a work as faithfully as possible. A cleaned or re-varnished painting will ensure the colour is not hidden by any built-up soiling that may have occurred, particularly with older and less well-preserved works. An important exception to this is when considering how to display the work of Joshua Reynolds. The eighteenth-century English painter was known for experimenting with varnishes, so professional advice should be sought when dealing with this layer.
If covering a work, it is important to use low-reflective, UV-protective glass, as is standard in museums. This will minimise reflections on the piece and protect it from the harmful elements of the light spectrum.
What are the difficulties of lighting an old master painting vs a more contemporary work?
A crucial consideration for lighting any artwork, whether an Old Master work or a contemporary piece, is to create an 'even wash' of light over the canvas. An even illumination, achievable with our LED picture lights, ensures that the details of a piece can be viewed equally as the artist intended, and does not simply highlight a single part of the work as an unfocussed traditional incandescent light would do. This being said, there are some artworks that may call for a tighter focus on a particular element in a painting, and portraits such as the 'Portrait of Sir Charles Pratt' can suit a more focused light on the sitter rather than highlighting the background equally; thus drawing the eye into the subject. Similarly, we have lit contemporary artworks containing features that have warranted a particular highlight, such as a dramatic fissure in the medium that the artist or collector may wish to emphasise.
Lot 65: Jan Dirksz. Both, Dutch 1615-1652- A wooded landscape with travellers crossing a ford
One challenge in Old Master paintings, is when the composition of the work is a mix of very bright and very dark colours, as can be seen in Jan Both work with its blue sky and darker foreground. As the light fades when it travels further from the object, it is our advice to ‘graze’ the canvas with light or ‘uplight’ from below so that the top half of the canvas is not overlit. Careful consideration of uplighting is necessary as this method can change the atmosphere of a room.
Private Residence London Photograph by Andrew Beasley
Lighting contemporary artworks and classical artworks present different challenges. Lighting a block colour, as is often found in contemporary works, is a complex task to ensure it is evenly lit. Another challenge with contemporary works is that they are often displayed unframed which means controlling ‘lightspill’ over the edges of the work requires creative solutions to resolve.
How do we make sure to use the correct bulbs not to harm the work?
Light damage to an artwork is caused by 40% ultraviolet light, 20% heat, 20% visible light and 10% from other elements of the light. LED lighting is the perfect lighting type to illuminate art, as the harmful invisible parts of the light spectrum, such as ultraviolet and infrared, are minimised, they do not emit heat.
Goodwood House, Large Classic Salon Hang. Photography by Jonathan Wilson
Oils should ideally not be lit over 200lux, and works on paper or watercolours should not be lit over 50lux. However, taking into account a ‘Lux hours’ budget allows the work’s owner to take a more holistic approach to light a work over the whole year. If a room is rarely used or the curtains are often drawn, you can consider increasing the light level for a shorter period of time in comparison to its general annual use.
Combermere Abbey. Photography by Tim Bol
When using LED it is important to use the correct type and take professional advice to ensure the best lighting. TM Lighting uses a simple guide to follow when selecting the right LEDs, the Three Cs, which will be outlined later on.
Could you tell us about the issues you have encountered with natural light and lighting in an artwork?
The key difference between natural light and artificial light is what we refer to as ‘colour temperature’. This does not relate to how much heat is being cast onto the canvas, it is the warmth or coolness in the light’s colour, measured in degrees Kelvin (K).
Natural light and artificial light have two very different colour temperatures. Although daylight (>6500K) is one of the best ways to view an artwork, using a high colour temperature within a household environment, particularly in the evening, would create a stark contrast with the other light sources in the space. We would recommend using a colour temperature of between 2700K and 3000K for lighting works in the home, which sits exactly between the warmer and cooler ends of the spectrum.
Having worked with leading commercial galleries, historic houses and museums across the UK, we have found that Old Master works tend to suit a warmer light (2700K) and contemporary works need a more neutral warmth such as 3000K. Artworks that contain light skin tones often require a warmer colour temperature of 2700K whereas seascapes would need lighting closer to 3000K to effectively display the blue dominance of a piece in that category. Colour temperature is one element, however, colour rendition is equally as important when choosing the right LED bulbs, but our Three Cs approach outlined below is the rule of thumb we use to select the correct type:
Lot 43: Gabriel Metsu, Dutch 1629-1667- The drinker
Colour Rendition
Utilising lighting with a 95+ colour rendition index (CRI) is important to illuminate the full-colour spectrum of the work. Most LEDs do not render red well, so choosing a product with a high CRI will enable the faithful colour rendition of works such as Gabriel Metsu’s The Drinker which contains red pigments and delicate skin tones. The higher the CRI, the more colour in the artwork 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 work containing gold pigments would require a warmer light (2700K) while a piece dominated by blues would require a cooler light (3000k).
Colour Consistency
Using a reputable manufacturer is one of the best ways to ensure colour consistency from the light. Works within a diverse collection can easily be brought into a single, consistent scheme by using the same hue of lighting across the collection. Ensuring use of consistent LEDs lighting will unite the display of paintings and objects, making all pieces in a room feel aligned.
The balance between keeping a room in the home cosy/welcoming at the same time as lighting an artwork in the best possible way (ambient vs art lighting)?
Following the ‘3 Cs’ approach to selecting the correct type of LED lighting is fundamental to creating the right atmosphere for a room. However, you must also consider the balance of light in the space and the 'layering' of light.
Employing one pendant light or chandelier in the middle of the room, even if it uses a dimmer, will not create a mood, instead just creates a flat, dimly lit room that loses the artwork within the interior.
Using light to accent features will create a more interesting space. When entering a space, we are looking straight ahead at the vertical walls, rather than the peripheral floor and ceiling. By illuminating paintings on the walls or sculptures in the room, the viewer has objects on which they can focus in the space. Balancing which objects are lit and which are not contributes to a cosy atmosphere, while allowing the eye to relax and settle on the most cherished works that are lit. Within a domestic interior, using the dark can be just as important as placing the light.
Private Residence London, using SlimLight PRO finished in antique bronze, interior design by Rebecca Hughes Interiors
The method of ‘layering' the light can help the owner to use the room in different ways. If feasible, a layer of light should be used for wall lights and desk lamps, another for pendants, and another for picture lights. The different configurations of switches enable use of the room to convey different moods. Employing pockets of light around a space, combining artwork lighting, floor and desk lamps achieves a strong balance of light, creating a cosy, carefully lit room.
Lastly, using LED is a far more sustainable and cost-effective lighting option than traditional incandescent art lighting. Measurable energy savings in Watts (W) are clear: an incandescent picture light may use between 30W in a small picture light and 120W in a large picture light, whereas LED uses 1W and 10W, respectively.
The Old Master, British & European Pictures auction will take place on Wednesday 16 November, at 11.00 am
Viewing Times at Roseberys:
Friday 11 November: 9.30 am - 5 pm
Sunday 13 November 10 am - 2 pm
Monday 14 November 9.30 am - 5 pm
Tuesday 15 November 9.30 am - 5 pm
Please contact This email address is being protected from spambots. You need JavaScript enabled to view it.for condition reports and further information.
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