Renaissance Wax
Renaissance wax polish was originally formulated in the BritishMuseumresearch laboratories in the early 1950s, in response to a discussion amongst museum technicians at an international conference on fine-art conservation.
In accelerated aging tests, the BritishMuseumscientist found that all current commercial waxes based on the usual natural waxes, beeswax and carnauba wax, contained acids which in time, could spoil original finishes on national historic collections of furniture. Unfortunately, these natural, saponifiable products would cause damage when acids arose spontaneously through oxidation or hydrolysis. He rejected them all and investigated the new so-called fossil or micro-crystalline waxes being refined out of crude oils. With their distinct characteristics depending on their geographical origins, the new “man made” waxes could be accurately blended to meet the needs of many industries, from cosmetics and pharmaceuticals to heavy engineering. Thus the waxes combined Natures best qualities with the advantages of modern technology.
The blend that emerged from the research was designed for long term protection for all classes of museum exhibits. At last, museum technicians and others caring for important collections could use wax polish that neither caused future conservation problems nor detracted from the intrinsic values of their treasures.
Commercial production and distribution of the polish was ultimately undertaken in 1963 by the Londonbased company Picreator Enterprises Ltd, under its trade name Renaissance. The product was quickly accepted in the international museum world and has become a universally respected standard conservation material, probably the most widely specified because of its almost unlimited uses.
What makes Renaissance wax so different?
It has a crystalline structure much finer than totally natural waxes, a property that confers a highly efficient moisture resistance. Countless statues and monuments in city streets are now protected by Renaissance wax from weathering corrosion. Arms and armour, steel and kitchen equipment of brass and copper in historic house museums are kept bright and corrosion-free.
When thinly applied and rubbed out to full lustre, the wax film is, and remains glass-clear, with no discolouration either of the wax or the underlying surface. Renaissance wax is free from acids, pH neutral, and will not damage even sensitive materials. For example, photographs for exhibition or of historic value to protect the image from the natural acidity of hand or environmental pollutants. The wax does not stain or darken even white paper.
On furniture and wood carvings the wax delicately enhances grain or flame patterns. It protects existing finishes such as French polish and it can be applied directly to sanded, unfinished hardwoods without need of sealers. Waxing is the last process in hand-made furniture and in the creation of wood, stone or metal sculptures. But it is the first aspect to be appreciated by hand and eye. The clarity and lustre of Renaissance wax makes an instant visual appeal. The silk-smooth touch of the matured wax film gives added pleasure, compared to the drag of fingers leaving trails across the softer beeswax products.
No matter how often the wax is used there is no loss of clarity, so that fine surface detail is never obscured. Repeated use of the wax deepens the lustre, reflecting more light from surfaces and making them livelier.
Picreator receives hundreds of enquiries from around the world asking if Renaissance wax is suitable for a specific surface or project. Invariably the answer is “yes”. Its unique qualities make it ideal for protecting all surfaces from environmental attack or handling. The wax is for example replacing the preservative oiling of arms and armour in museums. The wax film is hard and dry and does not, like oil, remain sticky and attract atmospheric acidity. Exhibits are comfortable to handle.
Greasy dirt on waxed surfaces is easily removed by gentle use of a soft rag dampened with paraffin; alternatively, warm water with a little liquid soap. Neither cleaning method will harm the wax film.
Should surface repair or restoration be needed, Renaissance wax can be completely removed by rubbing with white spirit, a petroleum distillate. In professional fine-art conservation all treatments must be reversible without damage to the original surface, to allow use of a better technique.
New ideas for using the wax continually reach the manufacturers. For instance a model ship maker reported that dipping the small diameter wood drills into the wax almost eliminated drill breakage when working on hardwoods. Steel tools in the workshop no longer suffered from rusting.
Paper kits and model aeroplanes can be waterproofed. The wax reduces drag on model boats racing in the water.
Leather shoes of all colours are protected positively with a brilliant shine by use of Renaissance wax. There is no fall out of coloured waxes from brushes to spoil clothes. Ladies leather/plastic handbags are proofed against rain.
Marble is easily stained by contact with coloured liquids. The stains can quickly sink into the surface, which will usually need regrinding which is both expensive and inconvenient, to eliminate the marks. Makers and restorers of marble-top furniture appreciate the highly protective qualities of Renaissance wax to avoid staining.
Makers and restorers of violins, cellos and guitars use the wax to protect the varnish from player’s natural acid contact and also from the sticky powdery residue of rosin on bow hair.
On the motorcar, Renaissance produces a great shine with an unrivalled service life in all weathers. It can be used successfully on all surfaces: coachwork paint, bright metals, rubber or plastic seals. Inside the car the wax is perfect everywhere, especially on leather upholstery. The wax’s micro-crystalline structure has amazing plasticity. The dry film flows under pressure and will not fracture when the seat is sat upon.
When applied correctly, in thin layers, the wax is extremely economical in use. At room temperature, with the can firmly capped, Renaissance wax has a shelf life of many years. This is due mainly to the extraordinary solvent retention power of the wax. It will remain in perfect condition long after other waxes have caked hard and become useless.
Cleans Beautifully
Renaissance wax will lift oil, dirt and the murky accretions of other polishes. The surface detail remains crystal clear through unlimited applications of this translucent wax. It removes previous wax build-up and reveals fine detail and wood grain and is both non-staining and non-abrasive.
Restores and Enhances
Renaissance wax will revitalize and return your objects to pristine condition. Renaissance wax buffs easily to a hard, transparent finish that will not discolour, It renews fading colours and tired finishes and retains matte finish when unpolished but buffs to a high gloss and will reduces the shine of new picture varnish.
Polishes and Protects
Renaissance wax will guard your precious pieces against the damaging effects of humidity, heat, dust, environmental destruction, aging, and ordinary wear. Renaissance wax provides a barrier against fingerprints and the devastation of water, wine, alcohol and other spills. With its high moisture resistance, it forms a durable, lustrous protective coating and prevents tarnish, corrosion and bloom. It remains completely waterproof; retards weathering on exteriors and objects exposed to climatic abrasion.
A Little Goes A Long Way – And Lasts A Long Tine
Excellent spread and indefinite shelf life make Renaissance wax economical and convenient, even for very large objects and infrequent use. A small dab goes a long way, unlike most waxes that need generous application. Use a minimal amount of Renaissance wax, rub lightly, and buff if a gloss is desired. The long-lasting preservation reduces the need for frequent maintenance. Airtight container keeps the wax in perfect condition; always spreadable, no caking or drying out; indefinite shelf life; no polish smell; no added fragrance to endanger material.
Sally III was built in 1921 and her 12 metre mahogany hull along with the mast and boom are now protected with several layers of Renaissance micro-crystalline wax
