Japanning

[1] It is distinct from true East Asian lacquer, which is made by coating objects with a preparation based on the dried sap of the Toxicodendron vernicifluum tree, which was not available in Europe.

The European technique uses varnishes that have a resin base, similar to shellac, applied in heat-dried layers which are then polished, to give a smooth glossy finish.

Originating in India, China and Japan as a decorative coating for pottery, authentic East Asian lacquered ware made its way into Europe by the 17th century.

In the late 17th century, high European demand (along with rumors that East Asian manufacturers reserved their higher-quality work for their domestic markets) led to the production of imitation pieces starting in Italy.

A large amount of early amateur japanning can be attributed to the rise of the artform as a suitable pastime for young ladies between the late 17th and 18th century.

Molly Verney is noted as one of these early adopters of the craft which was subsequently taught in London, but a number of pattern books such as Art's Master-piece.

[4] These mock lacquerware techniques were often suggested to be applied to textiles, and by the 18th century are found on cabinets, tea-trays, powderboxes, drawers, and large flat English household furniture in the manors and houses of the landed gentry.

[7] According to Samuel Timmins' book Birmingham and the Midland Hardware District, published in 1866, there were 2000 people employed in the japanning and tin-plate industries in Wolverhampton and Bilston at the time.

Japanning firms ranged in size from small family workshops, which often adjoined the proprietor's home, to a few large factories employing over 250 people.

[8] The technique was also developed to protect metal objects such as sewing machines, hand planes, builders' hardware, and in North America, electricity meters made before the mid-1930s.