In my field, a "sandarac" varnish would be sandarac only. If that's not the meaning here, I wish a better and more accurate term could be used for this discussion, a recipe, even.
A couple of observations from my own field:
-Modern (often acrylic) varnishes have fared very poorly in the art restoration field, losing clarity due to microfracturess, and their inability to be reversed after their faults were discovered, resulting in a relatively serious art disaster. There are recent varnishes that claim to avoid problems and are regarded as safe. . . . just as acrylics were when they were originally used, before their reputation went bad. I wouldn't touch unproven synthetics with a ten-foot pole for at least 50 years, until the actual long-term results are known. A lot of restorers are jumping on that bandwagon, but I"m not one of them.
-Sandarac may be neutral and it's an important component in reversible varnishes, but used alone it has a strong tendency to abrade in really ugly ways.
-Shellac alone proves to be one of the most durable things out there, but when ozidized over time becomes impossible to remove except by abrasion . . . but it doesn't develop optical defects. It is, however, forever.
--Shellac and sandarac together, about 50:50, has been one of the mainstays of violin restoration for almost a century because of it's durability and reversibility. Since it's reversed with alcohol, carefully, that might be a problem in photo applications from what I'm reading here.
I don't pretend to know how any of this applies to picture varnish, but it's worth knowing, and so I thought I'd insert it.
Bookmarks