Questions_and_Answers_0001.pdf

Questions – Conserve High Priority Works of Art at Edison’s Home, Glenmont

PMIS PROJECT 143840B

1. Under Section 1.0 BACKGROUND, Paragraph 4, it states, “Adversely, if the vendor elects to conserve the works in their off-site studio, they may exercise this option…If the contractor elects to transport the other works of art off-site for studio conservation, the contractor is responsible for the cost of packing the objects, supplies, transport and related insurance while the objects are in transit and in the off-site studio. This includes the costs associated with returning the objects to Glenmont and re-installing them in-situ in their identified locations (see chart in Section Four of this document for details).”

Does this mean that the contractor will not be reimbursed for the aforementioned costs above or does this mean that these costs need to be a part of the fixed firm price submitted in a proposal?

The contractor will not be reimbursed for any cost accrued for project work including, but not limited to, labor, supplies, transport, insurance, packing, etc. All accrued costs must be included in the contractor’s fixed firm price. Please see the statement of work for additional details.

2. Under Section 1.0 BACKGROUND, Paragraph 4, it states, “Adversely, if the vendor elects to conserve the works in their off-site studio, they may exercise this option, with the exception of “The Morning After the Ball” painting. This painting must remain on the premises at Glenmont, with the associated conservation work being completed at Glenmont, due to the painting’s oversized and fragile nature.” Under Addendum: For the “Morning After the Ball: painting:, it states, “(this likely will involve de-installing and re-installing the canvas from the frame, this may also involve reinforcing the tacking edge and re-stretching the painting)…The Vendor will also be required to address cracking of the surface paint,…” Under Section 1.2 SOLICITATION PROPOSAL REQUIREMENTS AND EVALUATION FACTORS:, the last paragraph before Section 2.0 SCOPE, it states, “Please note that on-site hot work, including the used of heat guns, tack irons, or other heat generating equipment or welding is prohibited for this project. Any bidding proposals that include on-site hot work shall not be considered.”

A. You have eluded to the fact that the painting may need to have its tacking edge reinforced (i.e. a strip lining). You also mention that the selected contractor must address cracks in the surface paint.

The selected contractor is not allowed to perform hot work on-site. In order to properly fix the tacking edges and the cracks, the use of a tacking iron will likely need to be used. How would you like the selected contractor to proceed with this treatment step?

If you propose to use a tack iron for on-site work, please include this information in your proposal.

Allowances can be made for on-site hot work (use of a tack iron) under specific conditions and specific requirements. Advanced notice is also required. Contractor must adhere to all NPS safety requirements associated when using the tack iron, including specific locations assigned for this work.

This work includes a one hour “fire watch” period after the tack iron has been turned off for the day.

See the attached Standard Operating Procedure for more guidelines (2 documents).

B. Further, if the canvas is weak and/or deteriorating at the tacking edge, it may also be weak and/or deteriorating everywhere else. This might imply that the canvas behind the painting is not strong enough to support the paint layer. If this is the case, then lining the painting may be warranted. If that is what is mutually determined to be needed, then the selected contractor cannot do this safely at your facility. How would you like the selected contractor to proceed?

This painting will not be taken off-site to complete this project. Please structure your bidding proposal, and your approach to the project accordingly.

C. Since cleaning the painting is required, a varnish coating will also be required (Not included in your treatment steps). If this is done, are there windows in your room so the selected contractor will have proper ventilation in the room?

If you propose this type of work, assume that ventilation is limited and that a fume hood/fume exhaust system may be required. Remember to include any associated costs in your fixed firm price if your approach requires this.

D. Can HVAC ventilation to that room be shut off from the rest of the house or does a sperate enclosure need to be built inside of that room (for purposes of cleaning fumes and varnishing)?

No, the suggestion for the ventilation is not feasible. How you address this issue is based upon your methodology and your approach to the work. Remember to include any related costs in your fixed firm price.

3. The Scope of Work does not mention any conservation of the frame for the Morning After the Ball painting. The frame is covered in a layer of dust with embedded dirt/soot/grime throughout its surface. There is also actively flaking gilded gesso throughout. The frame, in our expert opinion needs conservation treatment. Is it correct to say that the selected contractor is not to perform any conservation treatment to the frame?

The contractor is not expected to address the layer of dust or dirt on the frame. The contractor is not expected to address the gilded gesso. Please see the statement of work for other requirements, regarding the frame.

4. Under Section 4.0 TASKS, the provided chart lacks sufficient information in order for prospective bidders to bid on clear and concise steps needed for each piece to undergo conservation treatment. It also provides no condition reports from the 2023 assessment.

Bidders were invited to come to Glenmont and see this painting in person for assessment in order to supplement the summation. The bidder is encouraged to do so and also to use their expertise, experience, and knowledge in order to craft their bid and their approach to the project. This includes the bidder identifying the appropriate amount of labor hours to perform the work.

A. Is the “Conservation required:” table, a NPS staff’s summation of the conservator’s report that was done in 2023?

There is no traditional conservator’s report available. This is a summation of the conservator’s findings.

B. If the “Conservation required:” table is a staff summation, it does not give adequate and specific enough information for treatment steps required. Could you please provide the conservator’s 2023 report for each of these pieces? The “Conservation required:” is too vague and should contain more specific line items especially if a conservator did this. If the vague steps are the only thing to be provided then each conservator will be making their own recommendations which might vary from piece to piece, which would also have different labor hours.

The bidder is encouraged to use their expertise, experience, and knowledge in order to craft their bid for the project while completing the tasks identified in the statement of work. This includes the bidder identifying the appropriate amount of labor hours to perform the work.

C. When referring to the 5th box titled, “Conservation required:,” it mentions nothing about conservation on the frames, except for EDIS 102274 and EDIS 102557. These two pieces have, “stabilize frame”. Are we to assume this means that no cleaning of the frames will be happening?

Yes.

D. Please explain what stabilize frame means. Does this mean actively flaking cracks? Does this mean non-actively flaking cracks? Does this mean that the frame’s corners needs reinforcement?

Stabilize the frames to the extent that they are structurally stable enough to successfully and safely support the work of art when hanging on the wall for an extended period of time. See the additional information provided in the statement of work.

E. Can you also provide condition reports from the conservators 2023 assessment for each of the 18 pieces? This is needed to fully understand why the treatment steps for each of these pieces was formulated.

These reports were not written in a traditional format. The information included in the survey was shared in the summation table included in the statement of work. There is no additional information.

5. Under Section 4.0 TASKS, EDIS 105096, it states, “(work with NPS curator to source new frame which is historically sympathetic, frame cost/glass front/hanging mechanisms is included in vendor’s bid) In order to give you a price for this frame, we need to know exactly what you want before we bid on this. Otherwise we cannot provide a price for something that we do not know.

We can provide a not to exceed price based on commercially available frames that we feel are period appropriate for the painting. Since you have not provided specifications for this frame, if you select a choice that is more than our not to exceed price, that would be considered a change order. Is this correct? Or does the contractor have to pay the extra out of pocket?

It would be appropriate to cap the cost of the frame with a not to exceed price in order to develop your estimate. Keep in mind that all of the works of art are custom sizes and shapes. It is possible that a standard commercial frame cannot meet the needs for this project. Also, the frame must not detract from the historic scene and must mimic the existing frame. Any frame that does not, will not be considered. Bidder is responsible for the cost of the frame. Please see the statement of work for additional information regarding costs that are the responsibility of the contractor. Please include the cost of the frame in your firm fixed price.

6. Under Section 1.2 SOLICITATION PROPOSAL REQUIREMENTS AND EVALUATION FACTORS:, Section B. Pre-Proposal meeting:, Paragraph 2, it states, “Any questions that a Proposer has regarding the project must be submitted in writing to the Contracting Officer assigned to this project no later than five days prior to the closing date for this solicitation.” In the document, Combined Synopsis/Solicitation, Number 15), it states, “Any questions regarding this solicitation shall be directed to Mary Hallmon…no later than July 16, at 12:00pm.”

The first part explains that questions are allowed to be submitted up until the 22nd of July since the bid is due on the 26th of July. The second part explains that they are due July 16th. Which one is correct? It would be helpful to be able to have more time to ask questions especially once answers to these questions are provided and after a walk-through is scheduled.

Questions due by 22 July 2024.

7. Under Section 1.2 SOLICITATION PROPOSAL REQUIREMENTS AND EVALUATION FACTORS:, Factor 1: Experience, it states, “The lead conservator must demonstrate textile object conservation experience in conformance with the American Institute for Conservation (AIC)…”

Why is this required, when the scope of work has no conservation treatment of textiles and/or objects?

This is a typo. Remove the word textile from this statement and replace it with the term “Paintings”.

8. Under Section 1.2 SOLICITATION PROPOSAL REQUIREMENTS AND EVALUATION FACTORS, Letter A., Paragraph 3, it states, “Comparable past work must also include two examples of curatorial cleaning for two-dimensional works of art, citing examples for both oil paintings and works of paper from the associated historic period, including conducting cleaning tests to determine the appropriate cleaning method to perform this task.” The term “curatorial cleaning” is not something that is executed by conservators, but it is for curators. This has been mentioned several times in the Request for Proposal. Any cleaning performed by curators or curatorial staff would only include dry surface dusting since they are not trained as professional conservators.

Please clarify what you mean by “curatorial cleaning.”

Conservation grade cleaning of a work of art, executed by conservators, as per the specifications outlined in the statement of work, as per the evaluation factor information included in the statement of work.

9. Under Addendum: For the “Morning After the Ball: painting:, it states, “Existing hanging mechanisms for this work of art include the hook(s) or fastener(s) attached to the wall behind the painting, the hook(s) or fasteners attached to the painting itself, support brackets, and any additional connecting or mounting features…Upgrade of existing mechanisms and the addition of new hanging mechanisms (such as “D” ring mounting system or a link hanger system) shall be based upon the bidder’s methodology and approach which shall be outlined in detail in their proposal, with no deviation.”

What if it is found that your wall is in need of structural repair (outside the scope of work) How should the selected contractor proceed?

The NPS has determined that no structural repair is required.

10. Under section 4.1, the last paragraph, it states, “In these circumstances, the park advocates using in-kind materials and methods to complete the work while retaining…Any proposal containing suggestions, approaches, options, or ideas that do not conform with the above stated information, regarding the required use of in-kind materials or techniques, will not be considered.” In-kind materials would include traditional adhesives and materials which are no longer routinely used by professional conservators. The use of most in-kind materials goes against both current AIC and NPS standard guidelines as stated in section 4.3

When you say “in-kind” do you mean the appearance of the material, or the exact material? Please clarify. Your two statements seem to contradict each other.

Please refer to the links presented in the statement of work for a complete description of the term in-kind and its relationship to this project.

11. Under Section 7.0 SECURITY AND SAFETY, Paragraph 1, it states, “Contractors and their team shall be escorted at all times by a National Park Service staff member…”

If the selected contractor needs to have staff working in several locations at the same time, with advanced notice, can you provide additional monitoring staff so that we can continue our work without impeding our proposed timeline of events.

No. We plan to have the contracting team working in one location at a time with one monitoring NPS staff member. Please consider this when crafting your fixed firm price.

12. In the Request for Proposal document, Under Section 9.0 PERIOD OF PERFROMANCE, it states, “…complete the entire project within a ten month timeframe which begins on the date of the award.”

In the Combined Synopsis/Solicitation document, Number 8), it states, Period of Performance is anticipated to be 8 months, beginning August 5, 2024, or the day after the award, whichever occurs later,”

What is the official period of performance since both statements provide different timelines?

Within a ten month timeframe which begins on the date of the award.

13. Under Section 10.0 PAYMENT SCHEDULE, it states, “Upon completion and NPS approval of all 18 works of art. This means that the small business is footing the majority of the bill upfront (without payment). It could be up to 7 months without getting paid.

Since we are a federally registered small business, would you be willing to entertain the contractor to submit a preliminary invoice of documented expenses for equipment rental, travel, and supplies and materials incurred at the beginning of this project. This would be an additional payment to the first 50% and second 50% project completion payment schedules.

No. This is not permissible as per our requirements. Please see the statement of work for the payment schedule information.

14. If I am using a subcontractor to assist with the de-installation and the re-installation of "The Morning After the Ball" - do I need to provide the name of the subcontractor and their credentials in my proposal?

Yes, please provide as much specificity as you can. There are evaluation factors identified in the statement of work that relate to the team who will be de-installing and re-installing this oversized work of art.

15. Can you clarify, the “The Morning After the Ball”, can the work be performed at our location or does the work need to be performed at Glenmont?

The work associated with "The Morning After the Ball" must be performed on-site at Glenmont. This information is outlined in great detail in the statement of work. Please read all sections of the statement of work in order to fully understand all of the requirements that are associated with this project.

16. What work needs to be performed on the, “The Morning After the Ball” , there is no Conservation required information listed.

See details for this conservation work and associated tasks outlined in Section 4.0 of this brackets/hooks/system TBD by project document (“The Morning After the Ball” addendum).