What kind of wood is it? I ask, because if it is a dark wood, the wax will leave a white residue in the pores. It will in light woods also, but it will not be noticeable there.
I have a large flat piece of wood that will be a clock. I want to finish it with Renaissance Wax after sanding. Should I apply by hand or use a power buffer? If buffer, then what kind? Like a car buffer?
Thanks
I know you didn't ask for opinions so excuse the post if not appropriate but I can think of a dozen waxes to use that would be better than Renaissance wax.
I've been making furniture for close to 30 years now and have used wax finishes on quite a few pieces. I've had great success with the likes of MinWax paste finishing wax which is developed to provide protection to pieces that I just don't see Renaissance wax doing. I started using Renaissance wax on my pens a while back but don't see where it provides any protection other than keeping finger prints to a minimum. I use an 8" buffing bonnet chucked into a hand drill motor when buffing Minwax and would assume it would work as well with Renaissance if there was a thick enough coat to keep you from buffing down to bare wood.
Another benefit is the Minwax is about $7 for a huge can while Renaissance is around $24 for a small 200ml can.
That's my $.02
I know some of this may be hype but I find it hard to believe that so many prestigious museums would use it to protect both wood and metal objects in their collections if paste wax were superior.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. Prevents tarnish, corrosion and "bloom;" remains completely waterproof; retards weathering on exteriors and objects exposed to climatic abrasion.
JMHOPrior to 1950, the only polishes available were based on beeswax and carnuba wax. Unfortunately, these natural, saponifiable products could cause damage when acids arose spontaneously through oxidation or hydrolysis. To solve the problem, a consortium of international conservationists directed a scientist from the British Museum to conduct research and find the "perfect wax." When he could not find any that met their exacting standards, he created a new wax in his laboratory. The revolutionary formula he invented is a semi-synthetic microcrystalline fossil-origin wax entirely free of, damaging acids.
It remains chemically neutral and is therefore completely safe, even on vulnerable surfaces.
The British Museum approved manufacture for its own use and for distribution to the public. That "perfect wax" is now available internationally under the name RENAISSANCE WAX.
According to RENAISSANCE Wax:
I know some of this may be hype but I find it hard to believe that so many prestigious museums would use it to protect both wood and metal objects in their collections if paste wax were superior.
JMHO
According to RENAISSANCE Wax:
I know some of this may be hype but I find it hard to believe that so many prestigious museums would use it to protect both wood and metal objects in their collections if paste wax were superior.
JMHO
According to RENAISSANCE Wax:
I know some of this may be hype but I find it hard to believe that so many prestigious museums would use it to protect both wood and metal objects in their collections if paste wax were superior.
JMHO
Dear Mr Metcalf,
My apologies for taking some time to reply to your enquiry regarding Picreator Enterprises' 'Renaissance Wax', I have been making some enquiries amongst my colleagues in Conservation here at the Museum. This product is indeed used in the Department on certain materials and types of object. It is not employed very frequently and is used very sparingly, but it has some applications under certain circumstances and has been applied to various types of historical metalwork (such as arms and armour), some types of wood and leather and some types of stone.
The product's connection with the British Museum seems to originate in the early seventies. It is mentioned as a footnote to an appendix describing recipes for microcrystalline polishing waxes in 'The Conservation of Antiquities and Works of Art' (2nd ed.), by Plenderleith and Werner (former Keepers of the British Museum Research Laboratory), Oxford University Press, London, 1971.
Yours sincerely,
Marilyn Hockey
Head of Ceramics, Glass and Metals Section (temp.)
Dept. of Conservation, Documentation and Science
The British Museum
Great Russell Street
London
WC1B 3DG
United Kingdom
Tel: +44 (0)20 7323 8344
Fax: +44 (0)20 7323 8636