Renaissance wax - the Conservators choice

Renaissance wax polish was originally formulated in the British Museum research laboratories in the early 1950's, in response to a discussion amongst museum technicians at an international conference on fine-art conservation.

In accelerated ageing tests, the British Museum scientist 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. He rejected them all and investigated the new so-called 'fossil' or microcrystalline waxes being refined out of crude oil. 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 Nature's best qualities with the advantages of modern technology.

The blend which emerged from that research was 'designed' for long term protection of 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. 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 make's Renaissance wax so different?

It's crystalline structure is much finer than totally natural waxes, a property that confers a highly effective moisture resistance. Countless monuments and statues 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 houses and 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 like photographs or 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 the need for sealers.

No matter how often the wax is applied there is no loss of clarity so fine surface detail is never obscured In fact repeated use deepens the lustre

Renaissance wax is suitable for all types of surfaces and protects from environmental attack and handling damage It does not, like oil, reamain sticky and attract atmospheric acidity so is ideal to replace preservative oiling on arms and armour in museums. Greasy dirt on waxed surfaces is easily removed by the gentle use of a soft rag dampened in paraffin or a little warm water and soap. neither method will harm the wax film

Renaissance wax can be easily removed for surface renovation by rubbing with white spirit. (an essential requirement in museum conservation)

Coloured leather shoes are ideal candidates for treatment with Renaissance wax as are fine leather handbags and other leather apparel. In the car leather seats can be protected from soiling since the wax flows under pressure and does not crack when sat on.