The same slab, unlit and lit
Drag across the piece. Nothing has been changed but the light behind it.
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Bookmatched Wooden Onyx
Onyx does not show what it is until it is opened. Every cut through a block produces a face that has never been seen, and when that face is lit from behind it stops reading as stone altogether.
Drag across the piece. Nothing has been changed but the light behind it.
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Cut against the bed rather than with it, so the strata read as horizontal bands of light rather than clouds. Vein cuts are the most architectural way to present onyx and the least forgiving — the block has to be sound the whole way through.
The warmest of the onyxes and the most forgiving to light. Honey holds its colour under low output, which makes it the usual choice where a piece has to glow at night without lighting the whole room.
A slab bought off a yard has usually been made presentable. Fissures are filled, faults are bridged with epoxy, and under ordinary light none of it shows. Put a light behind that slab and all of it shows — the fills go dark, the repairs read as bruises, and the piece is finished before it is hung.
So the selection happens earlier, at the block. We cut for fissure-free material where a piece calls for it, and we do not accept discoloured epoxy in stone that is going to be lit.
Where a project is working to a budget, we match to Pantone ranges rather than to a slab photograph, so the colour that arrives is the colour that was specified. Where a client or a brand needs an exact match to something existing, we go and find it.
That standard is why luxury brands use us as their OEM. The work is unbranded and mostly unseen, and it is the reason everything else here can be promised.
Not a stone that comes in slabs so much as one that is assembled from them — amethyst is composed piece by piece and set. Lit, the crystal faces catch light individually, so the surface glitters rather than glows.
Cut for fissure-free material where the piece requires it.
We do not accept discoloured epoxy in stone that will be lit.
Matched to Pantone ranges, not to a slab photograph.
Exact matches sourced for brands and existing interiors.
A lit stone panel does something a painting cannot: it gives a room a light source that reads as a material. That suits spaces where people wait, and spaces meant to feel calm.
Entry walls, stair landings, primary bathrooms and wine rooms. Often the only artwork in a room, and usually the one guests ask about.
Reception and consultation rooms, where the brief is to lower the temperature of a waiting room. Warm backlit stone does that better than art, and it doesn't date.
Lobbies, atriums and family waiting areas. Sealed stone surfaces wipe down, and the panels are light enough for partition walls that were never built to carry stone.
Blocks are chosen for how they behave lit, which is not the same as how they look in a yard. Some beautiful slabs go flat under light; some ordinary ones open up entirely.
Malachite, lapis, tiger's eye and rose quartz are available as composed pieces. Ask for what you have in mind and we will tell you honestly whether it lights well.
A block is selected and sliced to five millimetres. That slab is bonded to a translucent honeycomb core, which becomes both the structure and the diffuser. Edges are finished, and the back is prepared for the hanging method the wall allows.
Lighting sits behind the piece and is specified with it — LED sheet for an even field, or a shallow cavity where the wall allows one. We supply the panel; the lighting is chosen to suit the room.
Tell us the wall — its size, the light it gets, and what the room is for. We will come back with stones that suit it and what is currently in blocks.