B08_Attachment_1_SOW_Conserve_Art_EDIS.pdf

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

PMIS PROJECT 143840B

Request for Proposal

June 5, 2024

1.0 BACKGROUND

2.0 SCOPE/RFP REQUIREMENTS AND EVALUATION CRITERIA

3.0 OBJECTIVES

4.0 TASKS

5.0 DELIVERY

6.0 GOVERNMENT-FURNISHED PROPERTY

7.0 SECURITY

8.0 PLACE OF PERFORMANCE

9.0 DELIVERY/PERIOD OF PERFORMANCE

10.0 PAYMENT SCHEDULE

1.0 BACKGROUND

The purpose of the contract is to conserve 18 top priority works of art in the Edison family home, Glenmont, as per a 2023 survey of the works of art in this museum collection. Due to these objects’ direct association with the Edison family, as well as their association with the overall interior decorating scheme for the Edison home, these artifacts play a key role in both the interpretation and the academic study of Glenmont. In many cases, this art is part of the historic scene that is interpreted to the public and is also available for examination by researchers who study the history of art as well as artistic movements and genres from this historic period.

Thomas Edison National Historical Park is a National Park Service site located in West

Orange, New Jersey. The park consists of two separate sites, approximately one mile apart. Thomas Edison’s home, Glenmont, is located in a private residential community known as Llewellyn Park. Built in 1880, Glenmont is a 29 room Queen-Anne style mansion which remains intact, complete with interior furnishings and finishes that reflect the rich historic decorative period during the years when Thomas Edison and his family resided in the home.

A portion of the work will be performed off-site, in the conservator’s studio. This includes producing a detailed treatment report for each work of art, complete with before and after photographs of the work performed.

The selected vendor has the option of conserving these two-dimensional works of art on site, during the work hours cited in this contract, by advanced appointment only.

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. 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).

Additionally, the contractor must provide all of the labor and equipment for these associated tasks.

On-site work for the project will also include: de-installing the works of art from their current locations (eleven are located in third floor storage, the other seven are currently on exhibit in various locations throughout the first and second floor of this fully furnished mansion) and re-installing 17 of the works of art on exhibit in their historic locations (one work of art will be returned to storage on the third floor of Glenmont). Please note that for 16 of these works of art, this involves re-installing the art on the walls in this historic home.

In all instances, the selected contractor will be responsible for protecting-in-place adjacent artifacts, historic finishes and surfaces, historic architectural features, and historic floors in areas within Glenmont where they are performing work associated with this project. Protect-in-place measures that are the responsibility of the contractor also include protecting-in-place historic areas and artifacts along the path of travel, as required, if deemed necessary to prevent damage to any aspect of the historic interior of

Glenmont, during the course of the project. It is important to note that the mansion includes original historic architectural features, surface finishes, fully furnished period rooms, fragile artifacts, stained glass, historic staircases, etc. with narrow spaces commonly found in Victorian homes. The selected vendor will also be required to adhere to park safety and security policies which will be further detailed in this document.

1.1 HISTORIC BACKGROUND (GENERAL)

During their lifetime, the Edisons collected a wide variety of art which was displayed in their 1880 Victorian home, Glenmont, during the historic period (1880-1947). Their collection includes a wide variety of engravings and lithographs as well as pastel works and oil paintings. The collection contains portraits of Edison family members and also works of art that are representative of various artistic movements such as the Hudson

River School movement. Many of these works of art are still on exhibit to the public today, hanging in their original locations in the fully furnished period rooms at Glenmont.

In 2023, the park hired a team of conservators to complete a survey of 167 works of art in the collection at Glenmont. Based upon the results of this survey, 18 works of art were selected for conservation as part of this project. The works of art were selected based upon their condition and also their interpretive value.

Existing Conditions (General):

It appears that, prior to 2023, no comprehensive object condition survey had been completed for the works of art at Glenmont. The 2023 survey revealed pockets of conservation initiatives that were undertaken for a select number of works over a series of multiple decades. However, the rationale for their selection is unknown. In general, many of the paintings currently require curatorial cleaning and have yellowing varnish. Many of the paper works of art contain acidic materials, such as mats and backing, which must be updated. Other specific condition issues were also identified for each of the individual works of art during the survey.

HISTORIC BACKGROUND: “The Morning After the Ball” painting:

Artist Abraham Archibald Anderson, a New Jersey native, was a personal friend of

Thomas Edison. In addition to painting “The Morning After the Ball”, Anderson produced a portrait of Thomas Edison working on a tinfoil phonograph which is now in the collection of the Smithsonian’s National Portrait Gallery. The portrait of Edison was painted during the Paris Exposition of 1889 where Edison developed one of the most popular exhibits at the exposition, spending over $100,000 to finance a memorable exhibition that displayed inventions. Thomas Edison purchased “The Morning After the

Ball” during this exposition where it was prominently displayed. In a letter to Anderson in November of 1890, Edison’s secretary remarked that the painting “now occupies a prominent place in Mr. Edison’s residence, where it is much admired by everyone who sees it”.

The painting, which measures approximately 62 inches by 84 inches, is an oil on canvas work. It dates back to the year 1889 and is signed by the artist. The painting is framed in an ornate gilt frame, which is original to the piece, and includes a three-dimensional wreath motif at its top center. The painting has been displayed on the plaster wall in the landing of the mansion’s original 1880 staircase since the year 1890. The majority of the brown stippled wall treatment on the wall behind the painting is a historic motif dating back to the Edison era and shall remain in place and unaltered.

This project shall assist the park in achieving their overall goal to preserve and protect the furnished interiors of Glenmont in order to provide opportunity for future generations to understand their decorative arts significance and also their relationship to Thomas Edison and his private time spent at the Glenmont estate. The painting shall remain on exhibit for public view and shall also be maintained for academic study.

Existing Conditions for “The Morning After the Ball” painting:

“The Morning After the Ball” is installed on a historic wall that is original to Thomas

Edison’s home, Glenmont (circa 1880). The plaster wall is finished in a brown stipple finish treatment. The majority of the brown stippled wall treatment on the wall behind the painting, and adjacent to it, is a historic motif dating back to the Edison era and shall remain in place and unaltered.

NPS records for “The Morning After the Ball” include a note indicating that the painting was removed by the NPS and transferred to a local paintings conservator for conservation work in 1978. The conservator "delivered" the painting back to Glenmont in December of

1978 when his work was complete. There is no record of the weight of the painting or the method of de-installation/re-installation. There are no details known, regarding the painting’s conservation.

1.2 SOLICITATION PROPOSAL REQUIREMENTS AND EVALUATION

FACTORS:

A. To facilitate consistent review and comparison of responses, proposal submissions must correspond in format to the heading sequence, and content of the following outline.

Respondents to the Request for Proposals (RFP) must include, at a minimum, the following:

Relevant Past Performance (Required):

Submit evidence of comparable past work including a minimum of five year’s experience conserving works of art from the historic period (c. 1880-1947) of which two projects are examples of conservation of oil paintings and two projects are examples of conservation works of art on paper.

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 on paper from the associated historic period, including conducting cleaning tests to determine the appropriate cleaning method to perform this task. One project must also demonstrate work with the removal and replacement of a varnish as well as disassembling and reassembling historic works of art in their historic frames. One project must demonstrate the de-installation and re-installation of works of art (c. 1880-1947) from fully furnished historic period rooms or spaces in a National Historic Register listed museum property.

All comparable past work examples must demonstrate conservation work that was performed in AAM accredited museums or in collections within properties listed on the

National Register of Historic Places/or equivalent, and are also projects of similar scope, complexity, and historic resource value to that required by this solicitation. Work completed in private residences, art galleries, frame or art shops, local historical societies, or local religious institutions cannot be used as comparable past work examples in order to meet this requirement.

Bids will also be evaluated on the bidder’s knowledge and use of in-kind materials and techniques to complete project work and their emphasis on using the least invasive approach to accomplish the work while adhering to NPS preservation and safety standards.

The lead conservator overseeing this project must have a minimum of three years of paintings conservation training obtained through a degree program or a comparable period of apprenticeship with a reputable conservation services provider. This lead conservator shall be considered the key personnel for this contract and is responsible for performing the associated conservation work. This qualified conservator shall have conservation or restoration experience in conformance with the American Institute for

Conservation (AIC) Code of Ethics and Guidelines for Practice (website address -http://www.conservation-us.org/docs/default-source/governance/code-of-ethics-and-guidelines-for-practice.pdf). Applicant must also demonstrate familiarity with the NPS conservation and preservation standards and the Secretary of the Interior Standards for the Treatment of Historic Properties (See NPS Museum Handbook at https://www.doi.gov/museum/npshandbooks and https://www.nps.gov/tps/standards.htm for more information).

Please include:

*Point of Contact (with verifiable telephone number and email address)

*Company Name and Address

*Company Telephone Number and Email Address (verifiable)

*Identification of Historic Resource Treated

*Brief Description of the Project with Illustrations which demonstrates similarity in scope and complexity to this project

*Dates Work Was Performed

Cost proposal:

Contract Type

The government anticipates awarding a firm-fixed price contract.

SAM Registration

Contractor shall be registered in SAM.gov prior to contract award.

http://www.conservation-us.org/docs/default-source/governance/code-of-ethics-and-guidelines-for-practice.pdf http://www.conservation-us.org/docs/default-source/governance/code-of-ethics-and-guidelines-for-practice.pdf https://www.nps.gov/tps/standards.htm

B. Pre-Proposal meeting:

All Proposers are strongly encouraged to visit the site in preparation for submitting a proposal to view the works of art in their current locations and also to view the areas where the works of art will be re-installed, after conservation work is complete. During this on-site visit, the bidder will also review the areas available for on-site conservation work and any associated limitations. This visit will also allow the potential bidder to assess the spacial constraints/fully furnished period room constraints that must be safely navigated in order to pack, conserve, transport, de-install and install the historic works of art. Please note that most of the works are currently on display in a fully furnished period room, located either on the first or second floor of Glenmont and should be viewed in person for further assessment. Failure to do so shall not relieve the Contractor from responsibility for having estimated properly the difficulty or cost of successfully performing the work.

The contractor must arrange a site visit at a date and time to be determined. Please contact Beth Miller should you plan to attend a site visit. 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.

Beth Miller

Curator of Thomas Edison’s Home, Glenmont

973-809-4360 beth_miller@nps.gov

C. Limitations of Liability:

The Government assumes no responsibility and no liability for costs incurred by

Proposers in responding to this RFP.

D. Evaluation of Solicitation Proposals (Selection criteria):

Award of the contract to complete this project will be made on the basis of technical qualifications of the Proposer and on the basis of the Proposal offering the best value to the government with technical and price factor being approximately equal.

Proposals will be evaluated based on the following Factors and Sub-factors:

Factor 1: Experience

The lead conservator overseeing this project must have a minimum of three years of paintings conservation training obtained through a degree program or a comparable period of apprenticeship with a reputable conservation services provider. This lead conservator shall be considered the key personnel for this contract and is responsible for performing the associated conservation work. The lead conservator must demonstrate textile object conservation experience in conformance with the American Institute for

Conservation (AIC) Code of Ethics and Guidelines for Practice (website address -http://www.conservation-us.org/docs/default-source/governance/code-of-ethics-and-guidelines-for-practice.pdf). Applicant must also demonstrate familiarity with the NPS conservation and preservation standards and the Secretary of the Interior Standards for the Treatment of Historic Properties (See NPS Museum Handbook at https://www.doi.gov/museum/nps-handbooks and https://www.nps.gov/tps/standards.htm for more information).

Factor 2: Relevant Past Performance

Submit evidence of comparable past work including a minimum of five year’s experience conserving works of art from the historic period (c. 1880-1947) of which two projects are examples of conservation of oil paintings and two projects are examples of conservation works of art on paper.

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 on paper from the associated historic period, including conducting cleaning tests to determine the appropriate cleaning method to perform this task. One project must also demonstrate work with the removal and replacement of a varnish as well as disassembling and reassembling historic works of art in their historic frames. One project must demonstrate the de-installation and re-installation of works of art (c. 1880-1947) from fully furnished historic period rooms or spaces in a National Historic Register listed museum property.

All comparable past work examples must demonstrate conservation work that was performed in AAM accredited museums or in collections within properties listed on the

National Register of Historic Places/or equivalent, and are also projects of similar scope, complexity, and historic resource value to that required by this solicitation. Work completed in private residences, art galleries, frame or art shops, local historical societies, or local religious institutions cannot be used as comparable past work examples in order to meet this requirement.

Bids will also be evaluated on the bidder’s knowledge and use of in-kind materials and techniques to complete project work and their emphasis on using the least invasive approach to accomplish the work while adhering to NPS preservation and safety standards.

Factor 3: Price http://www.conservation-us.org/docs/default-source/governance/code-of-ethics-and-guidelines-for-practice.pdf http://www.conservation-us.org/docs/default-source/governance/code-of-ethics-and-guidelines-for-practice.pdf https://www.doi.gov/museum/nps-handbooks

A price evaluation will be performed to determine the reasonableness of the proposed price. Reasonableness will be determined considering other competitive prices received and comparison to the Independent Government Estimate.

Any proposal containing suggestions, approaches, options, or ideas that do not conform with National Park Service, the Secretary of the Interior, and AIC conservation and preservation standards will not be considered.

Background materials attached to the scope of work include a copy of Rules for

Contractors in Historic Buildings (Attachment B) which identifies specific guidelines that must be followed by Contractors when they work on-site. In general, no food, drink, or smoking is permitted within site work areas. Contractor must protect-in-place adjacent artifacts in immediate work areas and areas required for transport, installation, and de-installation, as needed to prevent damage to the resource and its artifacts (such as historic floors, plaster walls and ceilings, stained glass, historic light fixtures, historic staircases and steps, etc.), and refrain from storing project equipment on-site during the course of the project. The Contractor is responsible for the cost of all supplies related to the project, including the any packing supplies that will be used by the vendor to pack and transport the works of art.

When working on-site, Contractor shall be responsible for removal of all trash debris on a daily basis. Please note that on-site hot work, including use 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.

2.0 SCOPE

On-site work for this project, will take place inside of Glenmont, inside of the fully furnished mansion. Contractor is responsible for safely navigating through historic spaces in order to complete tasks associated with this project (including, but not limited to, the packing of the art, moving the art within the mansion, de-installing the art from the walls in the period rooms, and re-installing the art back on the historic walls in their original location and configuration - when the conservation work is complete). Contractor must protect in place the architectural features, historic finishes, adjacent artifacts, surfaces, and floors when completing this work in the first and second floor period rooms/areas, in the third floor storage areas, and also along the path of travel to and from these locations, to the extent required to prevent damage to any of these components during the course of the project.

Conservation tasks associated with the works of art for this project, may be performed on-site or off-site (with the exception of “The Morning After the Ball” painting which must remain on-site located in the interior of Glenmont for the duration of this project).

The conservation tasks that are associated with each specific work of art are identified in the chart included in Section Four of this document.

When packing the objects for transport, if the contractor is opting for off-site conservation, the contractor must use a museum grade archival packing supplies, to prevent damage during the safe transport of these items to and from the contractor’s studio.

Bidder must include the cost of the packing supplies for transport of the art and any cost of supplies and include to funding required to purchase all materials and supplies related to completing the identified tasks for this project.

Selected vendor is responsible for the preservation of and the protection-in-place of adjacent artifacts, adjacent historic finishes, historic surfaces, walls, and ceilings as well as other built-in features, such as historic floors and steps and architectural components like historic staircases and light fixtures, modern carpeting, etc. to the extent required to prevent damage to any aspect of the interior of Glenmont and its artifact collection. This includes along the path of travel used to enter and exit the mansion which will be used during the course of any on-site work. All stated in the statement above is the responsibility of the Contractor. Contractor is responsible for any damage that occurs to these historic areas, non-historic areas, buildings, artifacts, and site components or architectural features during the course of their work. This includes features on the grounds of Glenmont.

Selected vendor will complete a treatment report for each work of art (described as deliverables in section 5.3 below).

Selected vendor will also be responsible for obtaining pre-approval by NPS staff for selected repair techniques and for anticipated results of any finish work associated with the project that could alter the appearance, functionality, or stability of the historic works of art. The intent is for the art to be displayed in their historic locations inside the period rooms of Glenmont hanging on the walls, either from a picture rail or hook(s) or displayed on top of a historic surface. One work of art will be returned to storage on the third floor. Additionally, in the case of “The Morning After the Ball”, the contractor will develop a new hanging system for this painting and gain NPS approval prior to making this upgrade.

Selected vendor must comply with National Park Service standards, the Secretary of the

Interior standards, and AIC standards for preservation and conservation which govern this project. Any proposal containing suggestions, approaches, options, or ideas that do not conform with National Park Service, the Secretary of the Interior, and AIC conservation and preservation standards will not be considered.

The goal of the NPS is to maintain the original appearance of these historic works of art using in-kind materials and methods with an emphasis on retaining as much original historic fabric as is possible. This includes retaining the historic glass fronts, historic frames, historic mats, and historic hanging mechanisms associated with these works of art, as much as is feasible and safe, while accomplishing the overarching goals of the project.

3.0 OBJECTIVES

The goal is to conserve and, stabilize these works of art in order to safely and securely return them to the period rooms in order for them to be displayed as they were historically. One work of art will be packed/prepared for long term storage and returned to the third floor of Glenmont. Once conservation is complete, the vendor will re-install the rest of the works of art inside of the period rooms in their historic locations and configurations.

This project enables the park to continue the work of actively preserving and maintaining the park’s museum collections while maintaining and improving exhibit areas such as the period rooms. The end products, namely the treatment reports, will improve the documentation for this collection and assist in the development of conservation projects for similar collections.

4.0 TASKS

4.1 A qualified conservator will complete the conservation of 18 historic works of art at

Glenmont, as per the specifications identified in the chart below as well as in the addendum included in Section 4 of this document which relates directly to “the Morning

After the Ball” painting. Work will use appropriate NPS approved museum techniques and NPS approved materials. Please note that measurements are approximate. All conservation work also includes dissembling and reassembling the works of art from their frame and other components. All conservation work includes any testing required to safely and successfully complete these conservation tasks such as removing varnish or the curatorial cleaning of the work of art. Please note that if an existing varnish needs to be removed, in order to apply a new varnish, the cost of performing this work must also be included in the bidder’s fixed cost proposal. Costs for labor and supplies for all of these tasks shall be included in the bidder’s fixed cost bid.

Cat. # Title/Artist: Type: Current Location:

Conservation required:

EDIS 102274 “On the Beach” by S. R.

Gifford; will be hung in the Drawing Room from a picture rail at the end of the project

Oil painting;

framed; 9 ¼ X 18 5/8 inches

Third floor oversized painting rack address deformation resulting from something trapped behind stretcher bar, stabilize frame, flatten deformation, clean, remove yellowed varnish, in-paint areas of loss, apply UV protective varnish, address unsafe hanging hardware/rewire

EDIS 102557 “Wooded Landscape and Pond” by H. Geyer;

will be hung in third floor main hall from a picture rail at the end of the project

Oil painting;

framed; glass front; 36 ¼ X 22 ¼ inches

“ upgrade hanging mechanisms as required, rewire;

address craquelure and cupping if feasible; address deformation, stabilize frame as required to safely rehang the painting, apply mending plates to secure painting, clean, remove old varnish and apply UV protective varnish;

apply acid free backing board

EDIS 102393 “Coastal Scene with Sailboats” by Brewert;

will be hung in the third floor main hall landing from a picture rail at the end of the project

Pastel on paper;

framed; glass front; 23 X 35 inches

“ clean, replace stained and acidic mat, address any glazing separation on frame that threatens the object’s stability, address any issues with hanging mechanisms/rewire

EDIS 102632 “Santa Margherita della Salute, Grand Canal, Venice” by McKay (Framed Pastel #1) that will be hung in Reception Room from a picture rail

Pastel on paper;

framed; under glass; 19 ½ X 14 inches

“ analyze and address any potential glazing separation on frame if this poses an unsafe condition, replace acidic materials, address flaking pastel loss, address the warping of the work and adjust its positioning (work has dropped out of liner)

EDIS 102634 “Santa Margherita” by McKay (Framed Pastel #2) that will be hung in Reception Room from a picture rail

Pastel on paper;

framed; glass front; 9.5 X 14 inches

“ analyze and address potential glazing separation on the frame if this poses an unsafe condition, address flaking pastel loss

EDIS 102990 “Portrait of Alva Edison” (Edison’s grandfather?) by J. M.

White; will be hung in the third floor main hall over the stair railing from a picture rail

Charcoal over photo print with white heightening;

framed; glass front; 24 ¾ X 18 ¾ inches

“ install new archival mat to replace liner, clean, address foxing, upgrade hanging mechanisms as required/rewire

EDIS 102994 “Milk Maid with Cattle” by Douglas; will be hung in the third floor main hall from a picture rail

Engraving;

framed; glass front; 23 ¼ X 26 ¼ inches

“ replace backing board and any other acidic materials, address unsafe hanging mechanisms/rewire, clean, address glazing separation on frame/glass if it poses an unsafe condition and also address the foxing

EDIS 103397 “Jane Eliza Miller, sister of Mina Miller”, pack for long-term storage and returned to third floor storage

Grissaile, painted on canvas;

framed;

24 ¼ X 29 ¼ inches

Third floor storage clean (if possible), address flaking paint, inpaint in areas of loss, apply UV protective varnish (may involve removing old varnish), install acid free backing board, develop method of packing for long-term storage and execute

EDIS 102344 “The Morning After the Ball” by A. A.

Anderson; will be re-hung in first floor stair landing, mounting

Oversized oil painting; in frame; 62 X 84 inches

In-situ on wall in landing

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)

EDIS 103120 “Sea Shacks with Sailboat” by Ebert; will be re-hung in Theodore’s Room from a picture hook

Oil impasto;

framed; 16 X 12 inches

Third floor storage update hanging hardware/rewire, change mending plates to proper backing board, clean, flatten canvas, remove yellowing varnish if possible

EDIS 105093 “Mary Valinda Miller”;

will be re-hung at top of stairs in second floor hall from a picture rail

Oil painting;

framed; 36 X 28 ¾ inches

In-situ at top of stairs flatten, apply temporary tacking edge and stretch on working strainer, clean, inpaint as needed, apply UV protected varnish (may involve removing old varnish), stretch on new mechanically keyed stretcher update to acid free backing, address deformations

EDIS 105096 “Thomas A. Edison and Family” by Lucius Hitchcock; will be hung from hook(s) over the mantel in the Family Living Room

Oil painting;

framed; 32 ¼ X 22 ¼ inches

In-situ over fireplace in Family Living Room reactivate lining if possible, stretch on new mechanically keyed stretcher, flatten painting, clean, apply consolidants to areas of flaking paint, inpaint in areas of loss, test for varnish removal, if viable – remove old varnish and replace with UV protective varnish, install in new frame to stabilize work (work with NPS curator to source new frame which is historically sympathetic, frame cost/glass front/hanging mechanisms is included in vendor’s bid)

EDIS 105099 “Mary Valinda Miller” portrait in Family Living Room to be re-installed leaning against the wall on top of a bookcase in this room

Oil painting;

framed; glass front; 12 X 16 inches

In situ on top of bookcase address paint loss and tenting, clean, stabilize cracking, paint consolidation, in-paint losses, install acid free backing board and replace any other acidic materials as needed, apply UV protective varnish (may involve removing old varnish)

EDIS 105103 “Mr. Lewis Miller” portrait by Silvette in West Bedroom; to be re-installed over the fireplace from a picture rail in the West Bedroom

Oil painting;

framed; 25 X 30 inches

In-situ; hung on wall in West Bedroom over fireplace add in missing keys to address deformation, flatten painting, update to acid free backing, clean, consolidate and line with Beva, apply UV protective varnish (may involve removing old varnish), replace mending plates and upgrade unsafe hardware/rewire

EDIS 105102 “Portrait of Madeleine and Charles” by Champney; on wall in Edison Bedroom to be re-installed on the wall using picture hook(s)

Pastel on paper;

framed; glass front; 22 5/8 X 19 5/8 inches (oval)

In-situ; hung on wall in Edison Bedroom under bookstand update with new mat and replace other acidic materials, update wires and screws for safe hanging, address light foxing and potential mold growth/damage in some areas

EDIS 105094 “Portrait of Nancy Edison” by Page Wingrove; to be re-hung in second floor hall from a picture rail

Charcoal, pastel, and gold paint over photo lithograph;

framed; glass front; 19 X 15 inches

In situ; hung in second floor hall address punctures and abrasions, clean, replace acidic mat, address paper wrapped mat in poor condition, install an extra separator to separate gold liner from frame (if possible), install UV filtering glass or plexi, if possible (cost of this upgrade should be included in the bidder’s fixed cost estimate)

EDIS 102992 “Daniel Avant Balthazar” by H.

Schopin; to be hung in third floor main hall from a picture rail

Engraving; framed glass front; 24 X 35 inches

Third floor painting rack

Replace stained mat and any acidic materials or backings, address foxing and paper distortion, treat glue from old repair on center right in image which has discolored, clean, address tear on lower right of image, assess for glazing separation on frame and address if it poses a safety or instability issue, upgrade hanging mechanisms/rewire

EDIS 102993 “Castle and Cathedral above Lake”, to be hung in third floor main hall from a picture rail

Engraving; framed glass front; 24 X 35 inches

Third floor painting rack

Replace stained mat and any acidic materials or backings, address any foxing and paper distortion, clean, address any tears, assess for glazing separation on frame and address if it poses a safety or instability issue, upgrade hanging mechanisms/rewire

Addendum:

For the “Morning After the Ball: painting:

Project work shall include:

• Safely de-installing the painting from its historic location in the stair landing of Glenmont using industry standard and approved curatorial methods and materials, as well as using a certified rigging specialist, if required

• Safely transporting the framed painting to an NPS designated first floor work area and constructing a stand to support the painting during conservation work. Conservation work will include regaining tension of the canvas support over the stretcher (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 painting may also be keyed out as part of this process, based upon the findings of the vendor’s assessment. Vendor will also be required to address cracking of the surface paint, cleaning the painting, reseating/reattaching the painting to the frame as required, upgrading the hanging mechanism(s) for the painting and frame to ensure that it hangs safely on the wall in its original location.

• Weighing “The Morning After the Ball” with its frame attached and recording its weight

• Upgrading the failing hanging system (inadequate hanging bracket(s)/mechanism(s), which currently adhere “The Morning After the Ball”, an oversized oil painting, to the historic wall above the stair landing in Thomas Edison’s home, Glenmont with an industry grade hanging system such as a new “D” ring hanging system or link hanger system (upgrade brackets attached to wall if required to safely rehang the painting).

•Re-installing the painting, in its original location on the stair landing, when the upgrade of the hanging system has been completed and the painting is ready to be re-installed

•Contractor is required to submit a one page briefing paper detailing the approach and methodology for de-installing and re-installing this oversized work of art. This approach must be pre-approved by the

NPS prior to this work commencing. Please note that the contractor’s team who shall de-install and re-install “The Morning After the Ball” must include a minimum of three people.

•Contractor is required to submit a one page briefing paper with an attached diagram or plan, detailing the proposed upgrade to the hanging mechanism(s) for this painting. This brief must include a detailed description of the materials that will be used and their associated specifications. This approach must be pre-approved by the NPS, prior to this work commencing. The vendor’s newly installed upgraded hanging system for this painting shall ensure that the painting hangs safely on the historic wall, is properly secured, and adequately supported. Results of the project shall improve the safety, stability, security and preservation of one significant decorative arts object on exhibit, enabling the park to continue the work of art’s exhibit, and accurately depict the original historic interiors of Glenmont for study by scholars and for viewing by the visiting public.

•The upgrade of the hanging system for this painting shall ensure that the painting hangs safely on the historic wall, is properly secured, and adequately supported. “The Morning After the Ball”, a work of oil on canvas, was painted by American artist A. A. Anderson. The painting has been displayed in the

Glenmont stair landing for over a century, beginning in the year 1890. Work shall use appropriate approved NPS museum techniques and NPS approved conservation grade materials, in accordance with

NPS and Department of Interior Preservation Standards.

•Based upon the bidder’s approach and methodology, the project may include: staging the historic staircase area with scaffolding, lifts, or other equipment; using equipment or machinery to remove and/or support the painting during the work, plastering and/or in painting areas of loss on the historic finish on the wall where the painting is installed if loss is a result of work performed by the selected vendor during this project, the removal of any equipment used for the project when complete, fabricating custom hanging mechanisms(s) to rehang the work of art in the landing and/or purchasing suitable and safe hanging mechanism(s) that are appropriate for re-hanging the painting (with the painting frame). In all cases, the new or updated hanging mechanism(s) selected and/or created, as well as installed on the painting by the vendor, must meet current industry standards and must be able to safely support the weight of the painting and its associated frame when it is hanging on the historic wall in the landing of Glenmont.

•In all instances, the selected vendor shall be required to successfully and safely de-install/re-install the painting from its original position/location in the stair landing of Glenmont, applying industry standards and using approved curatorial methods/materials. This also includes using a certified rigging specialist

(if required) for the de-installation/re-installation of “The Morning After the Ball” from the wall (please note that this includes adhering to the safety requirements outlined in this document). For safety purposes, using a certified rigging specialist for this portion of the project is deemed necessary if it is required to ensure that the work is safely performed and does not result in any damage or injury. As part of this project, the selected vendor will also be responsible for safely re-installing the work of art, in its original location and configuration, in the historic stairwell of Glenmont.

•In all instances, after the painting is removed from the wall, the selected vendor shall also be required to safely transport the painting/frame to an NPS designated first floor holding and/or work area, without damage to the work of art or its frame nor any surrounding historic features or objects, construct a stand to support the painting during conservation work, and complete the installation of the upgraded hanging mechanism(s), and the re-installation of the painting in its original location and configuration in the historic stairwell of Glenmont.

•In all instances, the selected vendor shall also upgrade the failing hanging system on the back of the painting/painting frame with a new “D” ring hanging system or link hanger system (industry standard), so it is fully attached, fully operable, and ready for hanging, and is one which will safely adhere “The

Morning After the Ball”, an oversized oil painting to the wall in its original location in the stair landing, in order to accomplish the project goals outlined in this document. As per the bidder’s approach to the project, work may also include upgrading the existing brackets on the wall behind the painting, if work is deemed necessary to safely re-hang the painting.

•In all instances, the selected vendor shall also be responsible transporting it to an adjacent NPS designated first floor room for temporary storage/to support it during any necessary conservation work, which is included in this project as part of the conservation work outlined in Section 4 of this document.

•In all instances, the selected vendor shall also be responsible for weighing the painting with its associated frame, as well as recording the weight for documentation purposes.

•The original 1880 mahogany main staircase in Glenmont is a fine example of architect Henry Hudson

Holly’s interior features. A stained glass window that dates from this period is also located within the immediate vicinity of the painting. In all instances, the selected vendor shall be responsible for protecting-in-place adjacent artifacts, built-in features such as the stained glass window and the main staircase, structural elements, historic surfaces and floors, other historic features, and modern carpeting, both in the staircase landing as well as along the path of travel used for project work, and in any other designated work spaces. Protect-in-place measures shall also be implemented during the installation and de-installation of any project equipment. This is required in order to prevent damage to the artifacts, historic surfaces, built-in features, original parquet flooring, and modern carpeting during this project.

The selected vendor shall also be required to adhere to park safety and security policies which shall be further detailed in this document. Please note that as per Section 5.0 of this document, the protect-in-place plan must be NPS approved to ensure its methods and materials are in accordance with the NPS and the Secretary of Interior conservation, preservation, and storage standards. Work shall not proceed until the approved plan is executed.

•The selected vendor shall also be responsible for the protection, safe handling, and the preservation of the painting “The Morning After the Ball” and its associated frame during the course of the project.

•Documentation work for this project, which can be performed off-site, shall include producing a 1-2 page synopsis, in narrative form, which details the methodology that will be used to de-install and re-install “the Morning After the Ball”. This synopsis will be produced at the midway point of the project and the de-installation of this work of art cannot commence until this approach is approved by the NPS.

A second report shall also provide the specifications for the products used to upgrade the painting’s failing hanging system and must demonstrate that the vendor’s newly installed upgraded hanging system is safe and suitable for hanging a painting and a frame of this weight and for use for this specific application, hanging in this stairwell inside of this historic house. This 1-2 page report must include a diagram or plan of the newly proposed hanging mechanism for “the Morning After the Ball”. The work related to upgrading the hanging mechanisms shall not commence until this methodology is approved by the NPS.

Documentation work for this project also includes providing a document which certifies the weight of the “The Morning After the Ball” painting with its associated frame.

•Selected vendor shall also be responsible for obtaining pre-approval by NPS staff for any finish work anticipated with the project that could alter the painting, its frame, or the historic wall’s appearance.

Project work cannot jeopardize the structure or stability of the painting or its associated frame, or the wall behind it. The majority of the work shall be performed on-site (on location), in the main staircase landing of Glenmont which is located between its first and second floor and also in an NPS designated first floor workspace in Glenmont. The painting “The Morning After the Ball or its frame,” shall not be removed from the interior of Glenmont during the course of this project for any reason. Any proposal containing suggestions, approaches, options, or ideas that do not conform to this above stated requirement shall not be considered.

• The selected vendor shall also be responsible for the protection, preservation, and additional structural support of the painting “The Morning After the Ball” at all times during the project (even when detached from the wall, during conservation or transportation of the work of art, or while it is in the process of being detached from the wall). Selected vendor is responsible for the safe handling, on-site transport

(within Glenmont), temporary support of, “The Morning After the Ball” using curatorially appropriate methods as per NPS standards. Selected vendor shall ensure that the painting and its frame are not damaged during the project. The selected vendor shall also be required to adhere to park safety and security policies which are further detailed in this document.

• 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. Existing hanging mechanisms also includes any hooks or fasteners used to secure hanging wire. Upgrade of existing mechanisms and the addition of new hanging mechanisms (such as a “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.

•Selected vendor is responsible for choosing a method or approach for this project that ensures “The

Morning After the Ball” is safely and securely adhered to the historic wall in its original location with a reasonable expectation that, under normal circumstances, the painting shall not fall off the wall after the work is completed. Upon completion of the project, the painting is expected to remain in place, without adjustment, for a number of years. In all instances the selected vendor shall upgrade (by replacement) any existing hanging wire or other connective equipment, such as rope, string, or chain, or any hanging bracket, in order to ensure these elements can support the weight of the painting and its frame when hanging on the wall.

•Selected vendor shall ensure that they provide sufficient labor (ie number of individuals required) to safely complete all aspects of this work. Safety precautions taken to prevent loss or damage to Glenmont artifacts and to minimize risk of accident or injury should be included in the bidder’s proposal. Bidders are encouraged to justify the soundness of their approach based upon its ability to result in the safe exhibition of “The Morning After the Ball” in its original location. In these circumstances, the park advocates using the least invasive method to complete the work while maintaining safety and preservation standards.

•During the project, the selected vendor shall ensure that “The Morning After the Ball” and its original frame are properly packed, stored, secured, supported (even when detached from the wall), and handled during the project in order to preserve and protect the artifact. The same holds true regarding the preservation of and protection of adjacent artifacts, adjacent historic finishes and built-in features, modern carpeting, parquet flooring, and the wall behind the painting, including its historic finish.

•Selected vendor shall complete a final synopsis in narrative form, detailing their work for the project, and a document certifying the weight of the painting (described in section 5.3 below).

•Selected vendor shall also be responsible for obtaining pre-approval by NPS staff for selected hanging mechanism upgrade/installation and de-installation techniques, and/or for anticipated results of any finish work associated with the project that could result in altering the painting “The Morning After the

Ball”, its frame, or the appearance of the wall behind it or adjacent to it. Applicant shall also demonstrate familiarity with the NPS conservation and preservation standards and the Secretary of the

Interior Standards for the Treatment of Historic Properties (See NPS Museum Handbook at https://www.doi.gov/museum/nps-handbooks and https://www.nps.gov/tps/standards.htm for more information).

Inspection and Acceptance Processes:

During work progress on “The Morning After the Ball”, the Contractor shall furnish upon request: a daily report detailing work attempted or accomplished. At the conclusion of the contract the Contractor shall provide a final synopsis in narrative form, detailing the work executed which outlines its process and also the materials (with product specs) used to complete the work that also verifies its safety and stability for use in this specific application. The vendor shall also produce a document certifying the weight of the painting when weighed with its associated historic frame. Vendor shall also be responsible for obtaining pre-approval by NPS staff for selected methods of de-installation/re-installation, producing the painting stand, as well as pre-approval of the selected hanging mechanism(s) used for this update.

For all works of art associated with this project:

All works of art must be de-installed, re-installed, and transported using safe handling practices associated with handling museum artifacts and two-dimensional works of art.

https://www.doi.gov/museum/nps-handbooks

All hanging…