Lacquerware and its Influence on European and American Furniture
Furniture with lacquered finishes from China and Japan became highly desirable in England and Western Europe at the end of the 1600’s. When lacquerware first arrived in Europe there was never enough to satisfy the demand. Europeans viewed Japan and China as exotic countries and therefore held their lacquered objects in high esteem. When it became very difficult to obtain lacquered items, Europeans tried to imitate it by developing a finish called japanning.
True Oriental lacquer was produced by using Urushi which was obtained from the sap of the Rhus Vernicifera tree. The Rhus Vernicifera tree contains Urushiol gum and originates in the Himalayas. The Rhus tree can be found in Japan, China, Korea, Taiwan, Vietnam, Burma, Cambodia and Bhutan. It is related to the cashew and the mango tree and is a close relative to poison ivy. Great care is required in its use since it can be toxic and produces a reaction in people which is very similar to poison oak or poison ivy.
The Urushi tree is a soft tree with a weak structure. When the tree is damaged, the tree starts to rot from the damage. In an attempt to fight this rotting process the tree produces a liquid with sterilizing properties which dries fast and turns solid in humid air. Strong alkalis and acids cannot damage it. It is not affected by heat when that heat is less than 200 degrees. It cannot be damaged by water or other liquids and it is resistant to bacterial attack. For this reason, the Urushi tree produces a very strong durable lacquer which can be effectively used to provide a protective surface on any furniture.
Lacquer is expensive and time consuming to produce. A high quality lacquer may require 30 or more coats. Urushiol lacquers differ from most other lacquers in that they are slow drying, water based, and set by oxidation and polymerization, rather than by evaporation alone. In order for this lacquer to set properly it requires humidity and warm temperatures. Many coats are applied, resulting in a material that is very hard and can be polished to a high gloss.
Lacquer can be decorated in a variety of ways. The Chinese often carve lacquer. Coromandel is a Chinese carved lacquer which is commonly found on screens, chests and occasional tables. This technique involves applying layers of wet clay to wood, baking them and then applying several layers of lacquer. Once the lacquer dries, intricate patterns are carved on to the furniture which is then painted with a protective finish.
For the most part Japanese lacquer work consists of pictorial scenes in gold on a black background. One decorative technique used in these pictorial scenes is done by incising decorative lines into the lacquer and then pressing gold foil or powdered gold into the lines. Lacquer can also be inlaid with different colors. It can be applied in thick layers, repeated in certain areas to buildup a design. The ground can be filled with a lacquer of a different color and then the entire surface polished down to reveal the color variations. The Japanese often decorate lacquer with gold or silver powder which is sprinkled onto the still damp lacquer. This is called Maki-e. Nashiji is another technique done by the Japanese that produces a reddish, speckled surface, also called pear skin by sprinkling fine metal flakes over the half dry lacquer base.
Although lacquerware in Europe and England was highly coveted it was in short supply. First, it was impossible to duplicate lacquerware in Europe without the resin from the Rhus tree which could not be grown in Europe. Transportation of the resin was also not possible because of spoilage. Secondly, after 1603 lacquerware was difficult to obtain from Japan because all imports were progressively stopped and trading with foreigners was curtailed because of the growing threat of Christianization. By 1650, there was some trade being done through the Dutch outpost of Dejima in Nagasaki, but for the most part any trade with Japan was prohibited. Travel abroad and the building of large ships was prohibited. During this period known as the Edo period, most lacquerware had to be obtained through the Dutch or through trade with China.
Because lacquerware was difficult for Europeans to obtain, English and French entrepreneurs began to search for a method to imitate this lacquered furniture by using alcohol soluble varnish and applying it in layers. This layered varnish was called japanning. In England in 1688, John Stalker and George Parker published a treaty on “Japanning and Varnishing with recipes and Designs,” for the decoration of lacquerware. A Society of Japanners was created in England in 1695 which lobbied to raise the import duty on oriental lacquer. In 1702, the import taxes were raised and less Oriental Lacquer was imported and the demand for locally produced japanned ware was increased. In France, the French created Vernis Martin, which was often difficult to distinguish from the real lacquer, except for its decoration which tended to be more westernized.
Japanned furniture can also be found in America although it is extremely rare. Some of this furniture was produced in Boston during the 18th century. There are fewer than 50 surviving period chests, clocks and chairs with this Oriental style decoration which imitates the lacquered Japanese finish. According to Harold Sack, President of Israel Sack, the scarcity of American japanned furniture is nothing new. “We have handled no more than three or four pieces in all our years of business,” Mr. Sack said according to a New York Times article published in 1991. The largest collection of American japanned furniture is at the Metropolitan Museum of Art where highboys, lowboys, mirrors, a shaving stand and clock are on permanent display. Their surfaces are covered with the full repertory of Oriental motifs.
Westerners have often restored Oriental lacquered furniture with spirit varnishes (shellac) which is suitable for japanned items but inhibits oriental lacquer from breathing and may cause long term damage. Before restoring a piece of furniture you must first determine if the piece is japanned or lacquered. Then you must decide if you are going to conserve the piece or restore the piece. Conserving a piece of lacquer furniture stops any further damage to the finish while maintaining as much of the original finish as possible. Museums often conserve their lacquered pieces to maintain their historical value. Restoring the piece brings the item back to its original appearance, duplicating the original finish when necessary.
Antique japanned furniture and lacquered furniture can be quite beautiful. It is important to understand the history of this furniture in order to really appreciate it. It takes time
to produce the hard lacquer finish and skill to decorate the lacquer by carving and designing patterns in gold and silver. I hope this article has helped to spark your interest in lacquerware and its influence on European and American furniture.
