Digital BW, The Print

I've been wanting to have exhibition prints face-mounted on acrylic (plexi-=
glass) here in 
Bangkok but have practically given up because I'd have to do each step myse=
lf and deal 
with five different dealers and shops (acrylic, aluminum, adhesive, laminat=
ion, framer). 
Instead, I've been thinking of mounting Ultrachrome ink prints on thin alum=
inum sheets 
and then using Renaissance wax for protection. (I've ruled out Lyson Print =
Guard or 
PremierArt Print Shield sprays because they are not available in Bangkok, a=
nd I would not 
be allowed to bring them back in my luggage on a flight.)

I've seen "bare prints" exhibited and like the look; and this way of exhibi=
ting leaves the 
buyer free to frame any way he or she likes: with Renaissance Wax protectio=
n the buyer 
can frame with a matte under glass, frame without glass, or simply hang the=
 print as is.

Having tried  Renaissance Wax I found that it also eliminates bronzing of B=
&W Ultrachrome 
inks completely on glossy-type papers -- I'm using Epson Premium Semi-Matte=
.

The first time I tried Renaissance Wax I used a cotton handkerchief to appl=
y and buff the 
wax, and had scuff marks all all over the surface of the print. Some time l=
ater I waxed the 
same print again, this time using a softer cloth and the scuff marks were g=
one. Questions:

1. What is the best type of cloth to use for applying the wax and buffing?

2. I'll be waxing 24x36 inch prints which is quite a lot of work for 20-30 =
prints. Can one 
use any type of mechanical buffer?

3. Any other suggestions on how to apply and buff the wax?

4. When I arrived in Bangkok with the wax the weather was of course very ho=
t and, 
thoughtlessly, I stored the it in the fridge for several days before openin=
g it, when I found 
that it was in the form of a "cake" as opposed to a "cream." Subsequently, =
stored at 
temperatures of 75-95°F, the wax has remained in cake form. How was the wax=
 when you 
got it: cake or cream?

--Mitch/Bangkok