Attachment 1 Statement of Work SOW.pdf

SCOPE OF WORK

Conserve Two Large Oil Paintings and Associated Frames

Lowell National Historical Park

I. INTRODUCTION

This project will conserve two paintings and associated frames from the museum collection at Lowell National Historical Park (LOWE). As a National Register historic district, LOWE’s national significance lies in the areas of industry, community planning, architecture, and social history from 1822 to 1900.

LOWE’s history museum collection contains a small, carefully chosen site-associated art collection. John Ingersoll Coggeshall’s two large oil paintings, Cause and Effect (see ills.

1-2), completed in 1913 as a commission for the Lowell Sun newspaper, are significant to the collection because they were painted by a Lowell artist, document Lowell at a point in time not often given scholarly or artistic attention (1870-1920), and address the park’s interpretive themes related to innovation, technological development, and commodification of natural resources.

Coggeshall had an early and important relationship with the Lowell Sun because the heading for the first issue in 1878 was printed from a Coggeshall engraving of the same year. Coggeshall’s subjects for the Lowell Sun commission depict Pawtucket Falls (Cause), the 32-foot waterfall the Boston Manufacturing Company chose to power the textile mills at the heart of the planned industrial city, and the “Mile of Mills” (Effect) including Boott Cotton Mills along the Merrimack River downriver from the falls. The paintings graced the walls of the Lowell Sun office from 1913 to 2016. They document and comment on Lowell’s condition after its heyday but before de-industrialization set in.

The paintings retain their original gilt plaster frames which also require conservation.

In 1877, John Ingersoll Coggeshall arrived in Lowell at the age of 21 after completing an engraving apprenticeship in Boston. Over his career Coggeshall was a painter, engraver, and photographer and he actively participated in Lowell’s growing art scene. He was a member of The Lowell Art Association chartered in 1878 and the local Camera Club established in 1892. By 1905 Coggeshall was teaching art in Lowell and founded a summer camp on the seacoast in Gloucester. Coggeshall was a prolific artist who exhibited widely during his lifetime, primarily in Lowell and Boston, and sold most of his work.

The Coggeshall paintings and frames require conservation prior to public exhibit because they are dirty, torn, and deteriorated in a manner that detracts from their appearance.

II. PROJECT

A paintings conservator conducted a conservation condition survey (included below) of the two Coggeshall paintings and associated frames in May 2016. The conservation work undertaken in this project is to conform to the recommendations in this report. Due to the

ATTACHMENT 1

08/06/2020 historic and interpretive importance of these paintings, the park seeks to have them conserved by a professional paintings and frame conservation vendor to allow for public exhibit.

The park does not desire for the paintings to be perfectly flat or like new. The least invasive treatment with the greatest amount of original material retained is the preferred approach. The intent is for them to be physically stable and have a visual appearance consistent enough to display to the public, i.e., mitigate the visual distractions of tears, cracks, and aging former repairs.

The frames should have a uniform appearance with an aged patina. Missing elements should be reproduced, attached, and treated with a coating to integrate them into the overall appearance of the frame. The desired outcomes are frames that are presentable and period appropriate. Removal of overpaint, loss compensation and inpainting with mica pigments is preferred. No re-gilding is required as the painting and frame are to retain a historic appearance.

Effect/Mile of Mills (LOWE 28255), by John I. Coggeshall 1913 (signed lower right) Oil on canvas, ~ 10’ x 44” (unframed measurement) (see ill. 1) Condition: The painting is stretched over a six-member butt-joined stretcher. Several of the keys are missing. The canvas support consists of a medium weight, plain weave fabric, probably linen. There are numerous large complex (previously mended) tears throughout the composition as follows: a 19” x 14” complex tear in the sky, through the green-capped tower in the upper left quadrant of the painting; other complex tears are located in the center sky extending to the right edge and the building to the right of center; a 17” x 17” area of water ~2’ from the right edge; 2-3” of repaired tears in the bottom right and paint losses; and other small scattered repaired tears throughout the composition. It is lined onto a similar weight fabric with an orange colored glue paste. It is unclear what kind. The tacking margins appear to have been removed during the lining process. The adhesive appears to be failing along a 7-9” section of the upper left edge.

The paint layer is moderate in thickness with no appreciable impasto. There is little cracking of the paint layer. There is flaking in the dark sienna colored building in the center of the composition and in the upper right sky ~1’ to the right of the smoke stack.

There is extensive overpaint, which is probably oil, covering the mended tears and beyond.

The surface coating consists of a discolored natural resin varnish. There is a layer of grime and staining on the surface, the worst of which is probably the result of the glue used to mend the tears.

Frame: The 10” wide gilded leaf wood frame has been radiator painted in the past and now appears dark and dull. There are a few small losses along the top edge.

Treatment recommendations: Remove the painting from the frame; consolidate the unstable paint; remove surface dirt and accretions; remove the discolored varnish and overpaint; inject adhesive between the painting and the lining where lining adhesive is failing; adjust tears if possible; fill paint losses; apply an isolating varnish layer; inpaint losses using dry pigment ground in a synthetic resin; apply a final spray coating of varnish; replace missing keys; attach an acid free backing board to the reverse of the stretcher; surface clean the frame, fill losses and tone to match the surrounding areas; re-frame.

Cause/Pawtucket Dam (LOWE 24254), by John I. Coggeshall 1913 (signed lower right) Oil on canvas, 101 ½” x 31 ½” (unframed measurement) 117 ½” x 55” (framed) (see ill.

2) Condition: The painting is stretched over a six-member butt-joined stretcher. Several of the keys are missing. The canvas support consists of a medium weight, plain weave fabric, probably linen. There are numerous (previously mended) large complex tears throughout the composition as follows: along right side of the top edge in an area 3 ½” x 23”; a 7 ½” x 4” x 2 1/2” vertical tear at the end of the building in front of the paddle boat; and a 14 ¼” x 19 ½” x 13” x 7” complex square shaped tear in the water of the lower right quadrant. There are other smaller scattered repaired tears throughout the composition. The painting is lined onto a similar weight fabric with an unknown glue paste adhesive. The tacking margins appear to have been removed during the lining process.

The paint layer is moderate in thickness with no appreciable impasto. There is flaking along the right edge; in the rocks, lower right; along the top edge; the left edge and in the center of the bottom edge. The paint is abraded or topped in a ~10” area of the lower left corner. There is a nail from framing in the lower left, along the bottom edge that is causing paint loss. There is extensive overpaint generously covering the mended tears and elsewhere.

The surface coating consists of a discolored natural resin varnish. There is a layer of grime on the surface and scattered areas of staining throughout the composition.

Frame: The 8” wide gilded leaf wood frame has been radiator painted in the past and now appears dark and dull. There is a 3 ½” chunk along the upper right edge, a 2” chunk missing from the upper left corner, missing ornamentation along the back of the top edge and numerous other scattered losses of composition material.

Treatment recommendations: Remove the painting from the frame; consolidate the unstable paint; remove surface dirt and accretions; remove the discolored varnish and overpaint; adjust fills if possible; fill paint losses; apply an isolating varnish layer; inpaint losses using dry pigment ground in a synthetic resin; apply a final spray coating of varnish; replace missing keys; attach an acid free backing board to the reverse of the stretcher; surface clean the frame, consolidate unstable areas of ornamentation; fill losses and tone to match the surrounding areas; re-frame.

III. LOCATION:

Due to their size and difficulty in transport, the paintings and frames will be conserved on site in dedicated space at the Boott Cotton Mill Museum in Lowell, MA.

IV. STATEMENT OF WORK

Base Project

A. The project will provide conservation of the paintings and frames by a professional conservator with demonstrable experience in this specialization of art conservation, i.e., large-scale American oil paintings. Experience will be demonstrated by successful completion of paintings conservation projects of comparable complexity and scale.

B. The contractor shall furnish all labor, materials, support furniture, and supplies necessary to complete all aspects of the contract in accordance with established American Institute for Conservation (AIC) guidelines for the treatment of museum objects.

C. Contractor must supply information on all products used during the conservation process and the park reserves the right to disapprove any product or procedure.

All work completed, while approved by the park, must meet the standards and current best practices of professional conservation societies (AIC). Contracting Officer Representative (COR) and National Park Service conservator/subject matter expert must approve treatments and products prior to purchase and application.

D. Contractor must respect the historical integrity of the paintings and frames and take all reasonable precautions to protect the historic fabric. The contractor shall inform the COR of any damage to the fabric immediately; and will be responsible for in-kind repairs of any and all damage.

E. The contractor shall inform the COR before any work is performed that could disturb the historic fabric.

Option Inpaint discolored glue areas if they cannot be safely removed.

V. GOVERNMENT RESPONSIBILITIES

The National Park Service is responsible for providing access to the paintings at the site to qualified contract bidders. Potential contractors must make an appointment with the park to view the paintings.

The government shall facilitate contacts between the contract conservator and any other contractors or park staff working in the museum to insure access to work areas during conservation work.

Park is responsible for monitoring contract work and ensuring that historic fabric and integrity of the paintings and frames are protected and secure during survey work.

VI. CONTRACTOR RESPONSIBILITIES

Following contract award, the project shall be accomplished in two phases:

1. The contract conservator will examine the paintings and frames and undertake material testing and analysis necessary for the development of a Conservation Treatment Proposal to return the paintings(s) and frames to a structurally stable and visually appropriate condition for exhibition. The Proposal will include a time and cost estimate with written and photographic documentation of the conservation approach, methods and materials recommended for each painting and frame for review by the COR and National Park Service conservator/subject matter expert. The proposal must be accompanied by digital photographs in accordance with AIC Standards and Guidelines. The NPS will own copyright to the images and report produced under this contract. Commencement of conservation treatment work will take place only after treatment proposals have been approved by the NPS.

2. Implementation of the Conservation Treatment Proposal will be contingent on the agreed levels of treatment and availability of funds. Following approved treatment, preparation and submission of a Conservation Treatment Report for each painting and frame will be submitted which will include written and photographic documentation of the conservation approach, methods and materials used. The report must be accompanied by digital photographs in accordance with AIC Standards and Guidelines. The NPS will own copyright to the images and report produced under this contract.

The contractor shall adhere to all facility operating procedures and park specific rules during work on site.

Should damage occur during the conservation process, the COR shall be notified immediately. Contractor is responsible for all costs to repair or replace historic fabric damaged by the work of this project. COR and National Park Service conservator/subject matter expert will coordinate in-kind replacement materials and all work necessary to restore to the original appearance any damaged historic fabric.

VII. PAYMENT SCHEDULE

Upon completion of examination of the paintings and frames, materials testing, and approval of Conservation Treatment Proposals: 30%

Upon completion of all conservation treatment including submission of final conservation treatment reports: 70%

VIII. PERIOD OF PERFORMANCE

Within 30 days of contract award: Complete paintings examination and materials testing.

Within 60 days of contract award: Submit Conservation Treatment Proposals for two paintings and two frames.

Within 75 days of contract award: COR and NPS conservator/subject matter expert complete review and approval of Conservation Treatment Proposals including materials.

Within 85 days of contract award: Treatment work begins.

Within 6 months of contract award: Treatment work is complete and treatment completion reports are submitted.

IX. CONTACTS:

Primary point of contact LOWE and COR:

Laurel Racine, Chief of Cultural Resources Lowell National Historical Park 67 Kirk Street Lowell, MA 01852 978-970-5055 Laurel_racine@nps.gov

Subject Matter Expert:

Margaret Breuker, Senior Conservator Historic Architecture, Conservation, and Engineering Center 115 John Street, 4th Floor Lowell, MA 01852 978-970-5162 margaret_breuker@nps.gov

Illustrations

Illustration 1: Effect/Mile of Mills (LOWE 28255), by John I. Coggeshall 1913 Oil on canvas, ~ 10’ x 44” (unframed measurement)

Illustration 2: Cause/Pawtucket Dam (LOWE 24254), by John I. Coggeshall 1913 Oil on canvas, 101 ½” x 31 ½” (unframed measurement) 117 ½” x 55” (framed)