This one comes straight from the book "How to Restore and
Repair Practically Everything" by Lorraine Johnson.

English, Italian, and French Lacquers

English Lacquer

Mix five volumes lampblack with one and one half volumes
burnt umber japan, one-half volume japan drier, one half
volume clear gloss varnish, and mineral spirits for
thinning.  Apply four or five coats and smooth when dry
with fine wet-and-dry abrasive paper and a non-detergent
soap solution.  Dry with a soft cloth and apply a final
coat of the of the following formula, heated to room
temperature (70f or 21c):  three-quarters volume raw
umber japan, one-quarter volume lampblack japan, two
volumes asphaltum, one volume spar varnish, one volume
mineral thinner, one quarter volume japan drier.  After
48 hours, rub with a mild abrasive such as rottenstone
or pumice powder and oil, and allow another 24 hours
before smoothing with fine wet-and-dry paper and pure
soap solution.  Protect with one coat of shellac mixed
with an equal volume of denatured alcohol (methylated
spirits).

Italian lacquer

This lacquered effect resembles the Italian method of
the eighteen century.  It was usually applied over a
gesso layer, which concealed poor workmanship or the
bad quality of the wood or plaster beneath.  It is a
lengthy process, only worth undertaking for extensive
damage.  

1.  Begin by soaking two or three rabbit skin glue
sheets overnight in 14 fl oz./420 ml water.  Dissolve
gently over heat by standing pan in another, larger,
pan of boiling water, to obtain a size which is
applied with a stiff bristle brush and left overnight
to dry.  Make a casein mixture by stirring 6 oz/170 g
of kaolin powder into 1 qt/1 liter white casein past,
then add 2 1/2 oz/70 g casein emulsion, 3 drops of
pine oil, 1/4 tsp/1.25 ml ox gall, 1/4 tsp/1.25 ml
fungicide (crushed in 1/2 tsp/2.5 ml water) and 12 fl
oz/36 0ml water.

2.  Strain through a nylon stocking into a glass jar,
forcing it through the mesh with the aid of a stiff
brush.  The mixture should have the consistency of
double cream.  Coat the object with an even coat film
of the mixture.  

3.  After one hour, apply a second coat, brushing the
other way.  Altogether, apply five coats in this
manner, sanding gently after every other coat with
finest abrasive paper.  Sand again after final coat.

4.  Dissolve white aniline powder in hot water.  If
light tones are required, add cold water.

5.  Next, rub the aniline solution over the casein
base, using a fine-grained natural sponge, and wipe
off instantly with an absorbent cloth.  When dry,
after two hours, coat the piece with thinned white
shellac, diluted fifty-fifty with denatured alcohol.
Apply five coats in all allowing each coat to dry
overnight before rubbing with the finest steel wool.
When the last coat of shellac is thoroughly dry,
apply two coats of gloss varnish and rub down the
top coat with rottenstone and lemon oil.  If desired,
a tinted lacquer can be applied over this finish.

French Lacquer (Vernis Martin)

This is a modern approximation of the Martin Brothers
famous seventeenth-century formula:

Apply five coats of thinned japan pigment of middle
value, allowing 24 hours between applications.  Sand
every second coat lightly with fine wet-and-dry
abrasive paper and a non-detergent soapy solution.
Seal with shellac solution thinned fifty-fifty with
denatured alcohol (methylated spirits) using a soft
shellac brush.  When dry, rub with fine steel wool.

1.  Then apply a glazing medium, tinted with
1/2 oz/14 g japan in a shade a little darker then the
base coat, using a brush or fine-grained natural
sponge.  Leave to dry for one week.  Next apply a coat
of thinned clear varnish.

(See bottom for notes on Glazing)

2.  Leave to dry for 24 hours and apply second coat,
splattering, when tacky with metallic powders, or for
authenticity, gold leaf, crushed to fine particles.
Cut a cardboard tube diagonally at one end and cover
the other with fine cheese cloth, fixed with a rubber
band, to act as a sieve. 

3.  With a folder paper funnel, tip the particles into
the tube and then scatter them lightly over the tacky
varnish by gently tapping the tube.  When dry, smooth
very lightly with finest wet-and-dry abrasive paper
and soapy water.  Apply several additional coats of
varnish, smoothing each one, until the desired
translucency is achieved.

Notes: Glazing

1.  The glaze itself can be shiny or matte, and more or
less transparent, according to the amount of white
pigment it contains.  It can be purchased as a thick
golden liquid or white cream, or can be made as
directed below.  Either way, when applied it should
appear transparent, unless tinted.  To make a glazing
liquid, mix one part linseed oil, one part turpentine,
one part drier and optionally, one part whiting.  This
may be thinned with white spirits, bearing in mind
that the thinner the glaze, the faster it will set.

2.  Purchased or home-made glaze is tinted with
universal strainers or artists' oil paints.  Squeeze a
blob of desired shade into a dish or pan, add a drop
of white spirit to dissolve it, then add a cupful of
the thinned glazing liquid.  Stir well and test on a
piece of white cardboard.  If a softer shade is
desired, thin with more glazing liquid.

3.  To apply glaze, take a small amount on the end of
a large paintbrush and smooth it lightly over the
entire surface.  The effect should be "liney" or
striated; if the result is undesirable, rub off with
a rag saturated with white spirit.  However, if the
soft dragged textured is pleasing, leave it to dry for
two days, then protect with proper coating.

Keep in mind I do take request.

Regards,

Tim Sweet
Member NAWCC/BHI
Timekeepr2@aol.com
M.O.S.T. Watch and Clock Co.
Web site:  http://www.cyberportal.net/watches/timhome.html