publishing

“he loved the act of painting”

Portrait of Lyonel Feininger 1932

Bates Museum is cataloging the artworks of Marsden Hartley

“Thanks to a major grant, Bates College Museum of Art in Lewiston, Maine has begun work  on The Marsden Hartley Legacy Project: The Complete Paintings and Works on Paper. The Project is the first-ever comprehensive, publicly accessible guide to all known artworks by Marsden Hartley, a pioneer of American Modernism.

“One of the biggest foundation gifts ever received by the Museum, this grant is the Bates museumʼs second from the New York City-based Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts.

“The initial phase of the Hartley Legacy Project will be an annotated online catalog of all known paintings and works on paper by the prolific artist, with publication as a book being a longer-term goal.

“Gail R. Scott of Portland, Maine, an independent art historian and curator and an authority on Hartley, is partnering with Bates and will direct the project. Bates museum curator William Low says that Scott ‘has almost unparalleled knowledge of Hartleyʼs artwork and writing.’

“Scottʼs work with Bates on the Legacy Project will be based, in part, on Hartley research she has amassed over the decades. ‘Itʼs very important for scholars, galleries and museums, and even collectors to have this accessible,’ she explains.

“The Bates museum is widely recognized as an important Hartley resource thanks to the Hartley Memorial Collection, established at the college in the 1950s by a bequest from Hartleyʼs estate.

“‘As the home to the Hartley Memorial Collection and the museum in Hartleyʼs hometown, Bates thought it was important to be the institution to initiate this project and establish it here,’ says Dan Mills, director of the Bates museum.

“‘In recent years, the museum has focused on stewardship, cataloging, researching and making available information about this important collection. The museum and the Memorial Collection have increasingly been a research destination for scholars from around the world.’”

• read the complete text of this article

Above:
Marsden Hartley
Paris Days . . Pre-War Pageant
1913
Oil on canvas in artist’s painted frame
39 1/2 x 37 7/8 in. (100.3 x 81 cm.) including artist’s frame
Collection of Deborah and Ed Shein

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we are pleased that the Marsden Hartley Legacy Project
has chosen panOpticon to power its online catalog

art in the time of pandemic

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the Cape Ann Museum in Gloucester, Massachusetts is currently closed due to the COVID-19 emergency

in the meantime, CAM invites you to discover Fitz Henry Lane Online
a freely-accessible, interactive, and interdisciplinary online resource created with the help of panOpticon

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Above: Fitz Henry Lane. Brace’s Rock. 1864. Oil on canvas. 10 x 15 in. (25.4 x 38.1 cm). No inscription found. Cape Ann Museum, Gloucester, Mass., Gift of Harold and Betty Bell, 2007 (2007.10).

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Pol Bury Online CR Launched

“We all know that there are two forms of modern sculpture, one moves, the other does not. Pol Bury, touched by genius, discovered a sculpture which moves so little that at first sight you will rank it with those that do not move. This does not sound exciting when you read about it, but to see it is as terrifying as a tale by Edgar Allan Poe.”

— Jean-François Revel on the 32nd Biennale in Venice, L’Œil, July/August 1964.

Born and raised in the region of La Louvière, Belgium, Pol Bury (1922–2005) spent the better part of his artistic career in France and the United States. Having participated in the landmark 1955 exhibition “Le Mouvement” at Galerie Denise René in Paris, he is considered one of the pioneers of kinetic art.

Through subtle, extremely slow movement, Pol Bury expressed our experience of time, which set him apart from other kinetic artists for whom movement was mainly a formal means of expression.

The new POL BURY ONLINE CATALOGUE RAISONNÉ has just been launched. Written and revised by Gilles Marquenie, the publication is currently focused on the paintings, reliefs, and sculptures of the artist.

As with any catalogue raisonné, the origins of Bury’s artistic career are retraced, from Surrealism to CoBrA, to geometric painting; from his first “Plans mobiles,” to his trademark “Punctuations” and intriguing moving sculptures.

The digital catalogue raisonné allows for an interactive approach, laying bare the genesis of Pol Bury’s oeuvre, spanning over sixty years of creation. Cross-referencing exhibitions, literature, and public collections, it also becomes a tool for researchers to discover his collaboration with galleries and fellow artists.

With over 1,000 published entries at the moment, the website will be continuously updated and completed as research advances.

Collectors and anyone who might provide further documentation of the artist and his oeuvre are invited to share useful information which will contribute to making this website the perfect vehicle for expanding our knowledge and deepening our appreciation of the artist’s work.

The Pol Bury Online Catalogue Raisonné is a project of the Patrick Derom Gallery, Brussels.

Contact: Gilles Marquenie Rue aux Laines I, B-1000 Brussels www.polbury.org info@polbury.org

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Top of page: Pol Bury 1971 acier inoxydable, aimant, moteur électrique 15,5 x 50 x 50 cm (6 1/8 x 19 11/16 x 19 11/16 in.) signé, justifié, et titré sous le plateau édition de 8

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We at panOpticon are extremely proud that the Pol Bury Online Project uses our unique information management system to power their Catalogue Raisonné.

Starting a catalogue raisonné project? Already have data and wondering what to do next? Simply have a question? Email us at enquire@panopticondesign.net.

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.

Feininger Catalogue Launched

Portrait of Lyonel Feininger 1932

A new online Catalogue Raisonné pays tribute to Lyonel Feininger

Born in New York City in 1871, Lyonel Feininger moved to Berlin in 1887 where he studied at the Royal Academy of Arts. His paintings were included in the Salon des Indépendants in Paris in 1911, and the Erster Deutscher Herbstsalon in Berlin in 1913. In 1917 Galerie Der Sturm in Berlin mounted his first solo exhibition.

Walter Gropius appointed Feininger as one of the first masters at the Staatliches Bauhaus in Weimar in May 1919, where he served as master of form in the printing workshop from 1919 to 1925. His woodcut Cathedral was used to illustrate the cover of the Bauhaus Manifesto of 1919.

In 1931 Feininger retrospectives were held in Dresden, Essen, and at the Nationalgalerie in Berlin. Soon thereafter, the National Socialists declared his art “degenerate,” and in 1937 he moved back to his native New York where he continued to work until his death in 1956.

Lyonel Feininger: The Catalogue Raisonné of Paintings by Achim Moeller was officially launched June 15, 2018. This first installment includes the basic details of those paintings created between 1907 and 1918. The Catalogue also includes a chronology and an exhaustive list of exhibitions and publications pertaining to Feininger.

This beautiful online catalogue will continue to be updated on a regular basis—it is a work in progress. Additional, more extensive information related to individual paintings, including provenance, exhibition histories, and references in literature, is available upon request through the catalogue.

The overall look and typographic style of Lyonel Feininger: The Catalogue Raisonné of Paintings is the work of the French graphic designer Philippe Apeloig. A longstanding member of the Alliance Graphique Internationale, Apeloig has created the visual identities for numerous international art institutions, including the Direction des Musées de France, the Institut National d’Histoire de l’Art, and the Instituto Universitario di Architettura di Venezia.

In addition to The Catalogue Raisonné of Paintings, the Lyonel Feininger Project is currently preparing The Catalogue Raisonné of Drawings and Watercolors, by Achim Moeller and Sebastian Ehlert, and The Catalogue Raisonné of Graphic Works, by Sebastian Ehlert.

Above: Portrait of Lyonel Feininger, inscribed on verso: Taken in my studio at Dessau, in front of a painting on the easel, 1932.

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we are pleased that the Lyonel Feininger Project
chose panOpticon to power it’s online catalogue raisonné

Paul Cézanne in his studio at Les Lauves

How to keep an artist’s work alive? — choose the right online tool

The Artist Estate: A Handbook for Artists, Executors, and Heirs, is a must read 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 industry.

Edited by Loretta Würtenberger, co-founder of The Institute for Artists’ Estates in Berlin, this invaluable book offers “appropriate financial models, possible legal frameworks, as well as advice on how to properly handle the art market, museums, and academia.” A whole chapter entitled “How to Keep an Artist’s Work Alive?” is devoted to the catalogue raisonné enterprise.

“Whether it provides an overview of the artist’s oeuvre in digital or print form, a catalogue raisonné establishes the fundamental categories of the art in the catalogue, as well as influences the way we discuss the art. Because it creates value, the originators and editors also carry a great ethical responsibility. In order to maintain the integrity of the artist and the authenticity of his or her work, the meticulous scholarly assessment must be carried out independent of any financial interests. As a ‘register of reason,’ the work on the catalogue raisonné requires diligence more than intellectual brilliance,” remarks the art historian Anette Tietenberg, who works in Braunschweig. Yet the catalogue raisonné also requires more than organizational abilities, as it must harness ‘the power of facts to ensure its future relevance.’

“Today, a catalogue raisonné should be digitized; it almost goes without saying that online databases can be expanded and updated easily. Moreover, the scope of the online catalogue raisonné should encompass the following:

1. Links to internal archival material
2. Links to documentation such as checklists and exhibition photographs
3. The integration of video and audio materials
4. The possibility of incorporating negative or inconclusive results, so that the limits of previous research are well understood
5. Links to external sources such as archival holdings and press articles or other publications, as well as public search engines and databases.

“… it is also imperative to select a database that can be used internally, but also provides a module for web publishing. Among other things, this module then helps determine which sets of information developed for internal use should be published online and for whom. [The New York archivist Caroline] Gabrielli recommends asking at the outset: Who should have full access to the catalogue raisonne? Should access only be local or should it be published on the web? Does the technology allow necessary information to be linked? How much does this particular solution cost? Does it necessitate ongoing technical support, or must separate IT providers be brought on?”

Now, take a look at the best example out there, bar none: The The Paintings, Watercolors and Drawings of Paul Cezanne: An online catalogue raisonné under the direction of Walter Feilchenfeldt, Jayne Warman and David Nash.

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Whether you are starting a catalogue raisonné from scratch, or looking for a more robust product for your current data, panOpticon has a package that will meet your exact needs.

   ”The Estate of David Smith is currently using panOpticon for our catalogue raisonné and archives databases and for more general inventory purposes.
“Although we don’t plan to publish the David Smith Sculpture catalogue raisonné online (it will be published as a three-volume book, by Yale University Press), we may decide post-publication to turn on the public-facing features of our panOpticon database in order to share updates and new finds.
“We’ve found panOpticon to be a remarkably good partner, working with us to migrate the data from our old system, and willing to add features and customize aspects of the basic panOpticon system so we could make it work well for our particular needs.”

 — Susan Cooke
Associate Director / The Estate of David Smith
David Smith Catalogue Raisonné

Contact us to schedule a demonstration.

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Above: Paul Cézanne in his studio at Les Lauves, in front of the Large Bathers now at the Barnes Foundation. Photo by Émile Bernard, 1904.

Philippe Smit Catalogue Launched


László Moholy-Nagy and Lucia Moholy Untitled 1925

The Complete Works of Philippe Smit Launched

Florence Castellani is co-author, with Andreas Narzt, of The Complete Works of Philippe Smit. The following remarks were made by Ms. Castellani at a reception hosted by Glencairn Museum, Bryn Athyn, Pennsylvania, on May 21, 2017. All those in attendance were there to celebrate the launch of this bilingual online catalogue raisonné.

Welcome ladies and gentlemen and distinguished guests to Glencairn Museum. We are happy to be hosted in this prestigious place for it was originally Raymond Pitcairn’s home and he was the dear brother of Theodore.

Theodore Pitcairn played such a major role in fostering Philippe Smit’s work. And today it is the same Pitcairn family who has so generously supported this project to bring Smit’s work to a larger audience.

It is at this point that I must declare a familial interest, for it was my aunt Marijke, who was Smit’s muse and it was her husband, Theodore Pitcairn, who became Smit’s patron. I grew up surrounded by Smit’s paintings and it is therefore with great pleasure that I am able to present the fruits of this project today.

Many decades ago I first discussed with my uncle Theodore the possibility of undertaking work to promote Smit’s paintings.

Unfortunately, although my uncle was a keen supporter of this idea, the momentum for the project lapsed with his death, and it was not until five years ago that the work was renewed in earnest.

Over the years, I often wondered why Smit’s works were not more widely known and for the longest time I remained eager to bring them to a broader audience and to ensure their future.

It was a fortunate meeting with the art historian Andreas Narzt, which made it possible for this project to be finally realized. Narzt agreed to undertake a crucial role in the project, becoming the director “scientifique” of the Catalogue Raisonné online.

But in order to publish the catalogue, it was first necessary to establish a comprehensive index of all of Smit’s works. As is so often the case with artistic works, it was not easy to establish the whereabouts of Smit’s paintings and the search has spanned not just years but also several countries, including the United States, the Netherlands, and France.

Today, after five years of work, I am pleased to announce the launch of the first free bilingual (French and English) Catalogue Raisonné online. We live now in a digital age, one that makes it possible to disseminate Smit’s work to a truly global audience. In this way, the scope of the project far exceeds what we could have imagined or hoped for so many years ago. In this way, the online catalogue is not only a testament to Smit’s work but also a tribute to his patron, Theodore Pitcairn.

Theodore Pitcairn’s generous patronage was a lifeline for Smit, sustaining him over so many years and allowing him to flourish as an artist, freed entirely from commercial constraints. And yet this artistic freedom also made Smit wholly indifferent to any need to find a larger audience. Smit’s concerns were artistic and religious, not worldly in nature. In hindsight, it is perhaps not a surprise that he was not more widely known in his lifetime. However, it would be a profound mistake to allow his work to remain overlooked.

Theodore would have loved nothing more than to bring Smit’s painting to the world and I am so happy that so many of his descendants’ children, grandchildren, relatives and friends in France and elsewhere have provided such generous support for this project.

Life has made a curious looping in the story of Philippe Smit. It was Theodore Pitcairn’s support that helped Smit to lead a tranquil life without the constant struggle to find favor with art dealers and exhibitors. And yet it was this same support that inadvertently helped obscure his possible fame. But, now with their gracious sponsorship of the Catalogue Raisonné, Theodore’s children and grandchildren, relatives and friends have helped to bring Smit’s work to the audience that it truly deserves.

Above: Philippe Smit. Castle la Roche Jagu, Brittany, 1933. Pen, black ink and watercolour on paper. 5 1/8 x 8 5/16 in. (13 x 21 cm), The Lord’s New Church, Bryn Athyn, PA. Photo: Christopher Burke Studios, NY; © FdDPS

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We at panOpticon are extremely proud that the Philippe Smit Catalogue Raisonné Project uses our unique information management system to power it’s online catalogue raisonné.

Starting a catalogue raisonné project? Already have data and wondering what to do next? Simply have a question? Email us at enquire@panopticondesign.net.

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.

NYARC reaches across the globe


archiving websites for research communities across the globe

NYARC (the New York Art Resources Consortium) unites the collections of the Frick Art Reference Library, the Brooklyn Museum Libraries & Archives, and the Museum of Modern Art Library. With funding from The Andrew W. Mellon Foundation, the Consortium was formed in 2006 to facilitate collaboration that results in enhanced resources to research communities.

Launched in 2009, ARCADE unites the collections of the three libraries under a single search. Containing more than 1 million records, ARCADE provides access to research collections spanning the spectrum of art history, from ancient Egypt to contemporary art. These resources, many uniquely held, include exhibition and art collection catalogs, monographs and periodicals, rare books, photograph collections, artists’ books, files on artists, auction catalogs, archives (textual and visual), digital resources and specialized databases.

ARCADE also links outside to The Metropolitan Museum of Art’s online catalog Watsonline, and to the International Art Discovery Group Catalogue.

A 2012 pilot study, also funded by The Mellon Foundation, demonstrated that the types of materials the NYARC libraries had been collecting in printed form were increasingly migrating to online versions available exclusively on the web. It concluded that there was an urgent need to document the dynamic web-based versions of auction catalogues, catalogues raisonnés, and scholarly research projects, as well as artist, gallery, and museum websites, because otherwise there is a real and imminent danger of a “digital black hole” in the art historical record.

panOpticon is proud to participate in this important documentation project. To date NYARC has archived six sites that use our software to power their catalogues raisonnés:

Paul Cézanne

Edwin Dickinson

John F. Folinsbee

Fitz Henry Lane

Joaquín Torres-Garcia

Jack Tworkov

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Whether you are starting a catalogue raisonné from scratch, or looking for a more robust product for your current data, panOpticon has a software package that will meet your needs. Contact us to schedule a demonstration.

Another Side of Lyonel Feininger


News Release: Lyonel Feininger’s Comic Strips Celebrated this Summer

NEW YORK – Moeller Fine Art Projects is pleased to announce “Pioneers of the Comic Strip: A Different Avant-Garde” at the Schirn Kunsthalle in Frankfurt am Main from June 23 to September 18, 2016. The exhibition will present approximately 230 pages of rare comic strips and related works, created between 1905 and the 1940s, by the early masters of comic strip art including Winsor McCay, Lyonel Feininger, Charles Forbell, Cliff Sterrett, George Herriman, and Frank King. The show intends to provide an overview of the stylistic developments within the medium, as well as to explore its relationship with the fine arts.

While the two series The Kin-der-Kids and Wee Willie Winkie’s World—which Lyonel Feininger (1871-1956) began in 1906 for The Chicago Sunday Tribune—were published for less than one year, they contributed a new artistic perspective. Feininger’s works will be prominently featured in the exhibition, including more than thirty works lent by Achim Moeller.

Alongside this exhibition, Moeller Fine Art Projects is also pleased to announce the publication of Your Uncle Feininger: Comic Strips for The Chicago Sunday Tribune (Kerber Verlag) by Achim Moeller and Sebastian Ehlert, designed by Philippe Apeloig and Yannick James. The book will include the complete run of Feininger’s comic strips for the first time together with previously unpublished preliminary drawings, as well as nature studies. Printed in German and English with a comprehensive introduction based on original sources and related newspaper articles, it will offer an in-depth look into the artist’s practice.

For further details, please contact The Lyonel Feininger Project or call (212) 644-2133.

Above: Lyonel Feininger, The Kin-der Kids in the Family Bathtub, 1906. Color crayons, ink, and pencil on paper,
9 3/8 x 17 5/16 in (23.8 x 44 cm)

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We at panOpticon are honored that Moeller Fine Art Projects uses our innovative software to manage the Lyonel Feininger catalogue raisonné.

Whether you are starting a catalogue from scratch, or looking for a more robust product for your current data, panOpticon has a software package that will meet your needs. Contact us to schedule a demonstration.

And check out our blog — catalog(ue) — a forum whose purpose is to help close the gap between traditional cataloging practices and the challenges we face when we use developing digital technologies to publish online.

Toys and Torres-García


toy elephant Joaquín Torres-García

News Release: Toys in the JTG Catalogue Raisonné

NEW YORK, NY — To celebrate the first anniversary of the launch of the Joaquín Torres-García Catalogue Raisonné, CECILIA DE TORRES LTD is pleased to announce that the artist’s toy production is now available online.

Combining play with pedagogy, Torres-García designed toys for children throughout much of his career. Over two hundred models ranging from locomotives to circus animals to a multi-figure café scene have been identified as belonging to his oeuvre.

The toys have been classified within the catalogue raisonné with a “T” number that reflects their period of production, such that works beginning with “T1.” date to the artist’s Barcelona years, c. 1917-1919; “T2.” date to his years in New York, c.1920-1922; “T3.” date to his period in Italy, c. 1924-1926; and “T4.” his years in Paris, c. 1927-1932.

When available, photographs of the toys positioned in multiple arrangements demonstrate their flexibility and interactivity. Supplemental diagrams, designed by Torres-García for the packaging of his toys, illustrate the various combinations that he envisioned, and are included within the catalogue raisonné records. Such characteristics reveal Torres-García’s aim for his toys as educational and developmental tools. Additionally, many of the toys are cross-referenced with catalogues, published and distributed by the toy companies Francisco Rambla (1919) and Aladdin (1922-1923).

As with the paintings and sculptures recorded in the catalogue raisonné, the provenance, exhibition history, and literature references are recorded for each toy, and further research remains ongoing. Research on the toy production has been led by Cecilia de Torres assisted by Madeline Murphy Turner, with Susanna V. Temkin.

In addition to the toys, in the one year that the catalogue raisonné has been available, research on the paintings and sculptures has remained ongoing. Numerous supplementary references have been added, including:

  • The identification of a new painting
  • Over one hundred new exhibition references
  • Approximately four hundred new literature sources
  • Thus far over 1,000 users have accessed the site, with new registrants added every day.

Access to the catalogue raisonné is free and available to the public at the website — Joaquín Torres-García Catalogue Raisonné

We continue to invite owners of works by Joaquín Torres-García to submit paintings and sculptures for inclusion in the catalogue raisonné of his oeuvre. Please contact info@torresgarcia.com

Fitz Henry Lane Launched


Fitz Henry Lane

News Release: Fitz Henry Lane Online

GLOUCESTER, MA – The Cape Ann Museum is pleased to announce the public launch of its
interactive website, Fitz Henry Lane Online, on February 15, 2016. Fitz Henry Lane (1804-1865) is regarded as one of the masters of 19th century American painting. This innovative online resource is comprised of several components including: a catalog of Lane’s paintings, drawings, and lithographs; an extensive database of historical information, images, and materials related to the subjects within Lane’s pictures; new scholarly essays; and a bibliography and archive of publications. The rich historical material is connected to the relevant paintings through easily clickable links. The 319 works currently on the site include all known Lane pictures in public collections. The Cape Ann Museum holds the single largest collection of Lane’s works, and the Museum hopes that this website will function as a central repository for information about Lane and a key resource for anyone (student, scholar, or museum visitor) interested in 19th century American art or history.

According to Project Director Sam Holdsworth:

A primary goal of the site is to highlight the marriage of Lane’s extraordinary attention to the details of the scenes he depicted with the formal aesthetics and sheer beauty of his artistic accomplishment. Almost every work tells a multi-layered story about the evolution of the maritime world of coastal New England as well as tracks his progression as an artist from the specific to the ephemeral as his work matured.

The project will continue to expand to include Lane paintings from private collections and additional scholarly essays and historical materials. Owners of Lane pictures, and individuals with information about Lane works, are encouraged to contact the project using the online form or completing the object information and submission agreement forms:
www.fitzhenrylaneonline.org/submission/

In conjunction with the website, the Museum is organizing a special exhibition of Lane’s lithographs featuring works from its permanent collection and those borrowed from other institutions. This wiil be the first time many of Lane’s lithographs will be shown together. Drawn on Stone: The Lithographs of Fitz Henry Lane will open on October 7, 2017 and run through March 4,2018. An illustrated catalog will accompany the exhibition and a symposium is scheduled for October 27-28, 2017.

The Cape Ann Museum, located in the heart of Gloucester, MA, celebrates the art, history and culture of Cape Ann—a region with a rich and varied culture of nationally significant historical,
industrial and artistic achievement. The Museum’s collections include fine art from the 19th century to the present, artifacts from the fishing & maritime and granite quarrying industries, textiles, furniture, a library/archives, and two historic houses. For more information visit:
www.capeannmuseum.org.

This project has been produced by the Cape Ann Museum with funds raised in its recent capital campaign and with major support provided by the Wyeth Foundation for American Art, the
National Endowment for the Arts, and the Institute ofMuseum and Library Services. Additional funding was received from the Danversbank Charitable Foundation and the John H. and H. Naomi Tomfohrde Foundation. The Cleveland Museum of Art contributed conservation studies
and the Museum of Fine Arts, Boston provided curatorial and conservation assistance.

The website design and database software are by panOpticon.

Above : Fitz Henry Lane, Gloucester Harbor from Rocky Neck, 1844. Oil on canvas 34 x 45 3/4 in. (86.4 x 116.2 cm) Signed and dated lower right: “F H Lane, 1844.” Cape Ann Museum, Gloucester, Mass., Gift of Mrs. Jane Parker Stacy (Mrs. George O. Stacy), 1948 (1289.1a)

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