who use panOpticon to archive online
are raising the bar for the entire art industry
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 and tax advisors, and all those who have a stake in the industry.
verifiably accurate data are needed every day for —––
art experts and the courts
authority to sell (title)
bankruptcy, creditors’ rights, and security interests in works of art
collateralization of art
copyrights in works of art and reproductions of works of art
cultural patrimony laws
customs service regulations concerning the import and export of art
defamation and concerning works of art and their provenance
divorce and other family disputes
droit moral and the Visual Artists Rights Act
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
Native American Graves Protection and Repatriation Act
private dealer sales
Presidential Commission on Holocaust Assets in the US
panOpticon tools power the knowledge behind these websites —
“Sam Francis Catalogue Raisonné Goes Online” — ARTnews
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Top of page 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.