A few years ago I wrote a series of articles on japanning in general and on clock cases in particular:
'Notes on the ethics of cleaning and retouching a japanned clock case in the context of a commercial conservation practice' (Conservation News 62, March 1997),
'A hypothetical study of problems associated with scientific analysis, with particular reference to japanned clock cases' (Conservation News 63, July 1997)
'Treatment options for japanned surfaces' (Conservation News 64, November 1997).
Since I wrote those articles I have seen so many inappropriately 'restored' japanned objects that I feel I should write a little more. I am a private restorer of lacquered and japanned objects, particularly clock cases, and would like to offer a few words of advice to other restorers:
Do as little as possible; stick rigidly to the concept of 'minimum intervention'.
Do not over-fill or over-smooth japanned objects unless they require it for structural reasons: they are often of basic construction and the carcass is bound to move, split and crack over time. Leave this evidence of the passage of time as much as possible.
Do as little retouching as possible. If you are too mean to buy gold leaf and powder then use mica pigments instead of bronze powders which look wrong and oxidise. Remember that most clock cases have gold leaf on the front and gold paint on the sides - follow the same procedure for restoration.
Presuming that most private restorers are not going to scientifically analyse objects before working on them, it is usually safe to use true vermilion to retouch red japanned objects, true smalt to retouch blue and green ones, lamp black and earth colours to retouch black ones and gamboge to retouch yellow ones (should you be presented with any). I know that gamboge fades but retouching will fade no quicker than the original.
Do not apply dark treacly coats of polish in an attempt to replicate age. Originally, despite advice from Stalker and Parker to the contrary, most japanned surfaces were fairly lean with as few as two coats of paint and polish. It is often possible to still see the grain of the wood through original gesso and japanning. Make sure that one still can after restoration if this is the case. I am surprised by how many lacquered long case clocks I see at even the most prestigious antique fairs which look like they have recently emerged from a vat of treacle. Try not to add to them.
A final coat of microcrystalline wax left un-buffed can protect and look good.
Do not coat true lacquer (urushi) objects with shellac unless you feel you absolutely have to. It is a quick fix which looks wrong and will not last. Clean the original surface better and apply a little microcrystalline wax instead.
