Questions_and_Answers.pdf

Answers to questions concerning solicitation # Fine Art Conservation Services IDIQ

1. Q: On the second tab of the attached spreadsheet "Subfactors", are the bidders supposed to fill this section out, or is this for use by us to assess the relevancy?

A: if the vendor has had a previous contract that they are referencing, they need to tell us the Technical Subfactors that they had and how this relates to the PWS/SOW.

For instance, they may have a Government Contract, in which they would provide that contract number and that this contract covered TS subfactor 1. Examination and attach the verbiage for one examination report (their choice of report to include. This should be similar to the kinds of art in the PWS/SOW) TS subfactor 2 Treatment recommendations and they could attach the Treatment Proposal for the same treatment that they provided in TS subfactor 1 TS subfactor 3 Conservation Treatment and they can attach a Treatment report for the conservation completed for the artifact described in TS subfactors 1 and 2.

In essence, this page of the attached spreadsheet allows the vendor to attach up to 5 artifact treatment examinations, proposals, and treatment reports.

The successful vendor will be able to cite an example from their repertoire of work that matches the different types of art objects described in the PWS for this first task order;

re: 4.1.1.1.1. a full exam, proposal and treatment report for an oil painting on canvas, late 20th century vintage re: 4.1.1.1.2.; a full exam, proposal and treatment report for an oil painting on canvas re: 4.1.1.1.3.; a full exam, proposal and treatment report for an oil painting on canvas, mid 20th century vintage re: 4.1.1.1.4; a full exam, proposal and treatment report for an oil painting on canvas, early 20th century vintage re: 4.1.1.1.5 a full exam, proposal and treatment report for a Cartoon Drawing, Ink/Wash, on Paper re: 4.1.1.1.6 a full exam, proposal and treatment report for a Drawing, Pencil, on Paper re: 4.1.1.1.7 a full exam, proposal and treatment report for a Drawing, Pen & Ink, On Paper re: 4.1.1.1.8 a full exam, proposal and treatment report for a Drawing, Crayon, On Paper re: 4.1.1.1.9 a full exam, proposal and treatment report for a Drawing, Conte Crayon, on Paper re: 4.1.1.1.10 a full exam, proposal and treatment report for a Painting, Watercolor and Ink, On Paper Thereby verifying that the vendor can complete professional art conservation treatment per the AIC guidelines for multiple types of media and support structures as requested in the initial task order PWS that they wish to be awarded

2. Q: (reference: PWS – Section 3.3 – page 6) States that “Contractors and Subcontractor shall be insured or bonded.” Does this contract really require bonding for the Conservation firm that is awarded this contract, and if so how is the amount of bonding required calculated without a firm dollar figure for the amount of work annually or over a five year period?

A: The insurance and bond may be provided by the same company. What we are requiring is the following from the definition of bonded and insured:

That means they have a business license, have the proper insurance and have made payments to a surety company for protection by a bond. The insurance company or surety company will be responsible for covering any financial losses. For example: ... The bond may also cover damage or theft that occurs.

If the insurance covers the bond requirement (payment for any loss) then the company they contract with for their insurance and their bond are one and the same.

3. Q: (reference: PWS – Section 3.3 – page 6, and Part 5.1.1.4 – page 7) States that “Contractors and Subcontractor shall be insured or bonded.” What amounts of liability insurance is required for this project? Is documentation of annual blanket insurance coverages over a certain dollar amount acceptable for Corporate Liability Insurance, and Fine Arts Insurance, or must we show evidence of riders for “Fine Art Insurance” coverage for each task order received?

A: The amount of coverage needed is defined by the value of the contents in the studio of the vendor. It must be at least the amount of the sum of the initial PWS valuations. Most businesses will surpass this minimum because they will have multiple clients work on the premises. The must provide proof for this insurance. The insurance must be current so for multiyear task orders, the vendor may need to submit current proof with future task orders.

4. Q: (reference: PWS – Sections 4j & k, Sections 5b & c – page 25) Reference is made to paragraphs L.1.1.3.1 -.4, and to L.1.1.4., and then to PWC C.1.4.2 and PWC C.1.4.3. There are no such numbered sections in this document. Please clarify your meaning or the referenced sections.

A: L.1.1.3.1 -4 is erroneously described in the solicitation as “cited above". L.1.1.3.1-4 is possibly found in document "Attachment -Experience" , but it is not labeled this way. And Paragraph.1.1.4 is not found not in the solicitation documents.

A. The solicitation has been modified to remove the erroneous text.

5. Q: (reference: PWS – Section SF 1449 – pages 12 – 22) Reference is made to the CDRL – Contract Data Requirements Lists A001, A002, and A003 in section C. Where is this information?

A: This information is in Section C of the task order PWS

6. Q: For individual task orders, can the costs for non-routine supplies, materials, rentals, or equipment be added to the project cost and broken down as separate budget line items in addition to the normal established costs for labor?

A: No, just add more hours to compensate for that additional cost of treatment. In essence, your cost for an individual treatment includes all labor supplies, whatever it takes to complete that treatment divided by the FFP hourly rate.

7. Q: For individual task orders, can the cost of artwork transportation, that will require rented vehicles to move, be added to the proposed project costs as separate budget line items in addition to the normal established costs for labor?

A: Each task order will have two summed line items, also known as CLIN 1 and CLIN 2

1. CLIN 1 = hours that add up to the entire cost for treatment (to include labor, materials, supplies, etc)

2. CLIN 2= cost of transportation specific to that task order, per the last line in the PWS. In this solicitation: this case: 4.1.1.1.11. Pick-up, pack and shipping from Ft. Belvoir, VA and from Ft.

Sam Houston, TX. After conservation and framing is completed, return shipping to Ft. Belvoir, VA.

8. Q: For individual task orders, that will require overnight travel to locations to pick up artwork, it is assumed that it will be acceptable to bill staff travel time at the established hourly rate, charge for individual per diem travel costs at acceptable government rates, and charge for reasonable agreed upon costs for transportation (flights, car rentals), etc. to satisfactorily complete each task order. Is this correct?

A: No, that is not correct. All costs must be included in either CLIN 1 – treatment or CLIN 2 – transportation. What you are describing here sounds like CLIN 2 transportation

9. Q: Would it be acceptable to include a contracted project that treated multiple paintings as one of the submitted 3 projects, because each painting treated shows different types of pertinent conservation skills sets that would as a whole show the overall competence, breadth, and technical expertise of our firm?

A: See question #1 above. Sounds like you could break the one of the three projects into three of the five subfactors, thus offering examples of differ skill sets.

10. Q: We are a paintings conservation company that does subcontract paper conservation and archival framing on selected projects. We have read the solicitation carefully and note that the artifacts are “selected works of art on paper, oils and other media on canvas or board”. This indicates a mix of artifacts on paper and traditional paintings. However, the Basic Services requested in Section 5.1.1 Art Conservation Management for Works of Art on Paper and Archival Materials (p. 7-8) implies works of art on paper only. Also, Section 5.1.3 Art Conservation Treatment (p. 8-9) describes paper conservation treatment.

11. Q. In order to judge whether the project is viable for our firm and how to structure our subcontracting, we would like to know how many traditional paintings (on canvas or panels) might be treated over the course of the project. What percentage (roughly) of the overall number of artifacts might be traditional paintings appropriate to be treated by a paintings conservator? If this solicitation is very heavily slanted to paper conservation and archival framing of paper works/documents, is another solicitation for traditional paintings conservation services anticipated?

A: This is an IDIQ for Fine Art. The substrate will vary. It may be canvas, wood, illustration board, paper or other. The media will also vary. There are no current plans to submit any other solicitation that will focus solely on traditional paintings. This is as described, Indefinite Delivery, Indefinite Quantity so there is no estimate for the percentage of traditional paintings conservation services to the percentage of conservation services for works of art on paper.