panOpticon is structured to help you
document the data around the artworks of an individual artist
and make that data useful for others to interpret and reuse



Establishing and managing control over data is of vital importance for artists, their family members and their heirs, artist’s studio managers, artist’s estate executives, artist-endowed foundation managers and board members, gallerists, and gallery/artist liaison managers, service providers for artists’ estates, art lawyers & tax advisors, and all those who have a stake in the art industry.


Where works of art are involved, reliable data are indispensable –

  • appraisals
  • art experts and the courts
  • art insurance
  • artists’ estates and foundations
  • auction sales
  • authority to sell (title)
  • bankruptcy, creditors’ rights, and security interests in works of art
  • catalogues raisonnés
  • collateralization of art
  • consignment agreements
  • copyrights in works of art and reproductions of works of art
  • cultural patrimony laws
  • curating exhibitions
  • customs service regulations concerning the import and export of art
  • defamation and product defamation concerning works of art and their provenance
  • divorce and other family disputes
  • droit moral and the Visual Artists Rights Act
  • exhibition agreements
  • donor restrictions on use or display of donated works
  • import and export of art
  • International cultural treaties
  • Internet sites concerning art and art sales
  • investment management and financial planning
  • joint ownership of works of art
  • legal disputes over responsibility and ownership
  • loans for art buyers and dealers
  • loans and gifts of artwork to museums
  • looted and confiscated works of art from the Nazi era
  • lost and stolen works of art
  • misappropriation of artwork and design
  • monographs
  • Native American Graves Protection and Repatriation Act
  • private dealer sales
  • Presidential Commission on Holocaust Assets in the US



Starting a new project? Already have data and wondering what to do next? Simply have a question? Email us at

The best way to fully grasp what our product can do is to see it in action. Fill out a form to request a demonstration. We can come to you if you are in New York City. If not, we can demonstrate our software online. We’ll show it to you wherever you are.


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Top: from left to right in descending order: Paul Cézanne (1839–1906) Still Life with Apples 1895-98, The Museum of Modern Art: Lillie P. Bliss Collection (22.1934); László Moholy-Nagy (1895–1946) Head (Lucia Moholy), c. 1926 The Museum of Modern Art: Anonymous gift (505.1939). © 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn; Kay Sage (1898–1963) The Great Impossible 1961, The Museum of Modern Art: Kay Sage Tanguy Bequest (1132.1964); Peter Campus (1937– ), video installation created 1975, acquired 1993 SFMOMA: Accessions Committee Fund: gift of Barbara Bass Bakar, Doris and Donald Fisher, Pam and Dick Kramlich, Leanne B. Roberts, and Norah and Norman Stone. © Peter Campus; Eugen Schönebeck (1936– ), Untitled, pen and tusche on paper, 1962. Photo courtesy Galerie Judin, Berlin; Larry Bell (1939– ) Standing Walls (detail, from 6 X 6 an improvisation). Photo © Alex Marks, courtesy The Chinati Foundation, Marfa, TX; Fitz Henry Lane (1804–65) Lighthouse at Camden, Maine 1851. Yale University Art Gallery, New Haven, Conn., Gift of the Teresa and H. John Heinz III Foundation (1992.122.1). Photo: Yale University Art Gallery; Roy Lichtenstein (1923–97) Girl with Ball, 1961. The Museum of Modern Art: Gift of Philip Johnson. (421.1981); John Singer Sargent (1856–1925) The Daughters of Edward Darley Boit, 1882. Museum of Fine Arts, Boston: Gift of Mary Louisa Boit, Julia Overing Boit, Jane Hubbard Boit, and Florence D. Boit in memory of their father, Edward Darley Boit. Photo: Museum of Fine Arts, Boston.