Our lacquer collection features mostly Chinese and Japanese lacquer items from the 17th through mid-20th centuries, although sometimes exceptional European items may be offered.
The history of lacquer as a decorativie art spans more than a thousand years, from its origins in China through development in the 15th throgh 19th centuries and into the modern era where it was kept alive in Paris by the likes of Jean Dunand and Eileen Grey. During the 1930s some very fine pieces of lacquer were created, many in the Art Deco style.
The word lacquer is used so freely that it can be confusing and misleading to the general public, and even to the collector. There are three main categories: true lacquer; resin lacquer also known as lac; and surface finishes which can be grouped under the term Japanning or Japan work, which include various European substitutes for lacquer such as vernis Martin. Modern lacquer paints form a sub-category of this last group. They are a type of enamel which is sprayed on furnikture to give a high gloss finish. They are a far cry from true lacquer.
True lacquer is made from the sap of various species of Rhus trees. Preparing true lacquer is an arduous and exacting process but the result is superior to any other form. Resin lacquer or lac is known throughout India and Indo-China and was used extensively in Persia. It had been imported from China from at least the Tang dynsaty (618-906 A.D.) where is was used for dyeing silk, for cosmetics and as a gum for setting jewelry. Lac is a dark red transparent resinous material produced by the females of many species of insects from India and Southeast Asia. The true lacquer technique requires the application of up to 100 coats of lacquer (or 200 for carved lacquer), each requiring a week to dry.
Japanning or Japan work was the lacquering technique employed by Europeans during the 17th and 18th centuries, attempting to emulate Chinese and Japanese lacquer techniques. Most recipes are based on shellac or varnish which dried to a hard, shiny surface. Japanning was intended to be a substitute for oriental lacquer and chinoiserie decorating was the norm. As Japanning became popular, European motifs replaced the oriental motifs and brightly colored flowers were often employed with mother-of-pearl decoration on papier mache. This style was especially popular during the Victorian period.
Modern commercial "lacquer" finishes are based on a pigment and plasticized liquid which are applied to the surfaces of furniture, cars, etc.
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F561
Japanese maki-e lacquer writing box, late Edo period, ca. 1860. Exterior and interior images shows. Interior shows some ink marks.
$245.00
F2679
Japanese mulberry wood vase with low relief lacquer in gold ad darkened silver with mother of pearl inlay. Copper liner. About 12 inches tall. Meiji period (1968-1912)
$675.00
F2678
Japanese bowl. 10 inch diameter. Low relief lacquer on mulberry wood. Peach branch of gold, darkened silver and mother of pearl. Meiji period (1868-1912)
