A recent restoration of a 17th‐century Japanese lacquer cabinet revealed various later treatments over the original black coating to maintain and preserve the high gloss of the oriental cabinet over the course of time and to meet changing tastes. The comprehensive investigation on a series of coating samples was executed by means of two hyphenated techniques: gas chromatography – mass spectrometry (GC–MS) and pyrolysis combined with GC–MS (Py‐GC–MS). The results showed that the original lacquer is based on urushi and linseed oil, while the past interventions are composed of sandarac, shellac and dammar. Additional microscopic studies proved the multi‐layer structure of the lacquer and the use of different pigments.

The study gives an overview of the tests and analyses undertaken in the past 20 years to establish the presence of blood in the foundation layers of Chinese lacquer artefacts and also shows the development of analytical methods over that period. When undertaking the conservation of lacquer objects it is crucial to know the type of binding medium as this influences the selection of any consolidants that may be required in the treatment. Microchemical tests to identify blood using benzidine and luminol, various chromatographic and mass spectrometric techniques and DNA analyses were assessed on selected Chinese lacquer objects, and the results gained are summarized.

Miklin (2016) The technical investigation of an eighteenth-century Chinese imperial carved lacquer screen and its role in developing an appropriate conservation treatment, Studies in Conservation, 61:sup3, 97-108,

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This work presents a comprehensive, multi-analytical scientific approach for determining the type of lacquer and artistic materials used by Jean Dunand on his work “The Return of the Hunters” (1935). For this purpose, thermally assisted hydrolysis and methylation – gas chromatography/mass spectrometry (THM-GC/MS), optical microscopy (OM) in visible (Vis) and ultraviolet light (UV), and scanning electron microscopy - energy-dispersive X-ray spectroscopy (SEM-EDX) were selected. Furthermore, a novel application of micro attenuated total reflection Fourier transform infrared (µATR-FTIR) spectroscopic mapping by univariate and multivariate analysis was applied for studying the complex lacquer paint stratigraphy. The results show that Vietnamese lacquer was used as a binder, mixed together with linseed oil and pine resins as additives in combination with inorganic pigments, and that shellac was included on the top of the paint; they document an important step in the story of the transfer of Vietnamese lacquer painting techniques to Europe.