Pic 5 recto and verso.
Microclimate enclosing George Inness’s Landscape of 1860. Inness’s artwork is just barely larger than the opening of the period frame, and it is not square. Once added, the spacer necessary to keep the Optium Museum Acrylic off the artwork became visible on one side. A removable toned fillet was added to the period frame to compensate for the out-of-square dimensions of Inness’s original wood panel and to ensure a finished look. Photo documentation and work by The Fine Arts Conservancy.
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