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The conservation and restoration of lacquerware prevents and mitigates deterioration or damage to objects made with lacquer. The two main types of lacquer are Asian, made with sap from the Urushi tree, and European, made with a variety of shellac and natural resins. Lacquer can be damaged by age, light, water, temperature, or damaged substrate.
Avoid wax or other protective coatings as they can age over time resulting in yellowing or darkening of the ivory surface. It can also obscure surface details that may be important to the object. The protective coatings can become difficult or even impossible to remove without damage to the object. [9]
In the 18th century, japanning gained a large popular following. Although traditionally a pottery and wood coating, japanning was the popular (mostly black) coating of the accelerating metalware industry. By the twentieth century, the term was freely applied to coatings based on various varnishes and lacquers besides the traditional shellac.
The lustreware effect is a final coating applied over the ceramic glaze, and fixed by a light second firing, applying small amounts of metallic compounds (generally of silver or copper) mixed with something to make it paintable (clay or ochre).
Lustre print is a photograph or artwork with a finish between glossy and matte. Some companies use the term semi-glossy. Lustre photo prints are a hybrid of glossy ...
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Water damage may result in mold formations, a type of pest damage, on the canvas and pigment layers. It may also cause the canvas or framing supports to weaken and become flimsy resulting in tears from physical forces. [5] Ripples, waves, and undulations are also a common form of water damage.
They seemed like the perfect replacement for the wax coatings previously used, but over time it became clear that this was not the case. Their presence drastically changed the paintings' surface properties, causing mechanical stresses and crystallisation of salts beneath the painting leading to accelerated disintegration.