website

an amazing site – it takes a village

Fitz Henry Lane – Gloucester Harbor 1847 (detail)

A single website can make a significant contribution to the digital humanities

Fitz Henry Lane Online is a freely-accessible interactive and interdisciplinary online resource created by the Cape Ann Museum. The website is organized around a catalog of the paintings, drawings, and lithographs of nineteenth-century American painter Fitz Henry Lane (1804–1865). The Cape Ann Museum, located in Gloucester, Massachusetts (Lane’s birthplace and home for most of his life) has the world’s largest collection of Lane’s paintings, drawings, lithographs, and related archival material. The website is intended to provide information of interest to a broad audience, and to serve as a resource for study of Lane’s work. The website focuses on both the formal, aesthetic qualities and the historical context of Lane’s pictures.

“One of the advantages of an online resource is that new information can be added at any time. It is intended that this site will evolve as writers, historians, and art scholars pursue new research and use this site as a forum and important resource for the work of Fitz Henry Lane and the related art and history of mid-nineteenth-century New England.

“With funding from generous donors, early conservation and curatorial work by the Museum of Fine Arts, Boston, and conservation work donated by the Cleveland Museum of Art, the website now includes hundreds of high-resolution images, including details and conservation (infrared, x-ray, and magnified) images; provenance records; selected exhibition and literature histories; annotated entries for key works; and extensive historical materials related to the subjects of Lane’s pictures. This project could not have been launched without the tireless contributions of project and Cape Ann Museum staff and the wide circle of advisors and volunteers who have so generously devoted their time and expertise, for which we are ever grateful.”

Sam Holdsworth
Fitz Henry Lane Online Project Director
“About the Project” (see the full article with list of staff, sponsors, and donors)

 

Above : Fitz Henry Lane. Gloucester Harbor (detail),1847. Oil on canvas, 28 1/2 x 41 in. (71.8 x 104.1 cm). Signed and dated lower right: F H Lane, 1847 [could have been FHL originally]. Cape Ann Museum, Gloucester, Mass., Gift of Estate of Samuel H. Mansfield, 1949 (1332.20). Photo: Cape Ann Museum

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we are pleased that the Fitz Henry Lane Catalogue Raisonné project
chose panOpticon to power its online catalogue

scholarship builds on reliable data

an exemplary catalogue raisonné takes off online

The research files that support the Catalogue Raisonné of the Canadian painter
Tom Thomson (1877–1917) are available for consultation by appointment
at the Edward P. Taylor Library & Archives, Art Gallery of Ontario

“From 1970 on, I had the work of Thomson in private collections brought into the Art Gallery of Ontario to be photographed. In examining this material, and the Gallery collection of works by Thomson, I found myself fascinated with the inscriptions (often written by Dr. J.M. MacCallum, Thomson’s great patron and friend), on the backs of works and I began to believe they were important to the record. After I left the Gallery and became Director of The Robert McLaughlin Gallery in Oshawa from 1974 to 2000, and afterwards, I continued to record Thomson inscriptions and labels wherever I could, especially in works as they appeared at auction and in private collections. Even in 2009, incredibly it seemed to me, genuine Thomsons came my way to be recorded. Like every cataloguer who attempts omnipotence, the discovery of this work helped me realize my shortcomings. I would like to believe that I have included all the works by Tom Thomson that exist, but I realize that the field is open. New material will show up with time.”

Tom Thomson Catalogue Raison: Researched and written by Joan Murray

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Above: Tom Thomson
Round Lake, Mud Bay
Fall 1915
Alternate titles: Geese, Round Lake, Mud Bay
Oil on wood
8 7/16 x 10 5/16 in. (21.5 x 26.2 cm)
Inscription recto: l.r., Tom Thomson / 15 (incised) Inscription verso: u.l., in ink, by Mrs. Frank Cooper, Round Lake, Mud Bay / Painted as the First Flock of of [sic] / Geese flew back from the South [crossed out] North / Painting By The World’s Best Artist / Tom Thomson “1915″ He was Drowned at / Algonquin park July 8th 1916 [sic]; incised on frame (in 1970); Cat. 86; label, Art Gallery of Toronto, J.S. McLean
Art Gallery of Ontario, Toronto (L69.51)

 

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we are pleased that the Tom Thomson Catalogue Raisonné project
has chosen panOpticon to power its online catalogue

19th century life in living color

Boatmen on the Missouri 1846

the George Caleb Bingham Catalogue Raisonné is launched

“George Caleb Bingham (1811-1879) is recognized today as one of the most important 19th century American artists. He is distinguished among the first generation of painters of the early American West for his classic narrative scenes drawn from his actual observation and experience.

“The primary goal of this project is to strengthen public and scholarly access to Bingham’s authenticated paintings and to ensure the lasting heritage of Missouri’s greatest 19th century artist, an artist who holds a high place among the pantheon of America’s enduring Old Masters. Each of Bingham’s nearly 600 paintings will be documented by a high-resolution color photograph, combined with each painting’s physical description, provenance, history of exhibitions, and full bibliography; and in the case of his many portraits, biographical and genealogical data will be included. Image-wise, this is a significant improvement in presentation over the predominantly black & white reproductions in the previously published 1986 edition.

“This new online Catalogue Raisonné builds on and reproduces, and in some cases updates and revises, the masterful scholarship developed over four decades by Professor of Art History E. Maurice Bloch (1925-1989). The Paintings of George Caleb Bingham: A Catalogue Raisonné, published in 1986 by University of Missouri Press. Since 2005, under the direction of distinguished art historian and Bingham scholar, Fred R. Kline, and supported by an advisory board of scholars, some 30 previously unknown and unnoticed paintings have been added to Bingham’s works—including many new discoveries, notably his first river-themed painting from 1841, Baiting the Hook. As Bingham did not sign most of his paintings, it is expected that future works will rise to the surface and be identified and added to this catalogue.

“This project is undertaken by the Riverbank Foundation, a 501(c)(3) organization created specifically to undertake the new Bingham Catalogue Raisonné and other future projects dealing with American art and art history.”

Above:
George Caleb Bingham
Boatmen on the Missouri
Oil on canvas
1846
25 x 30 in. (63.5 x 76.2 cm)
Fine Arts Museums of San Francisco – The de Young Museum

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we are pleased that the George Caleb Bingham Catalogue Raisonné project
has chosen panOpticon to power its online catalogue

the ‘Painter of the National Parks’

Gunnar Widforss, Desert Vista, n.d.

Gunnar Widforss Catalogue Raisonné Launched

“Although Gunnar Widforss (1879–1934) was known as the ‘Painter of the National Parks’ in the United States in the 1920s and 1930s, very little art-historical writing or scholarship has been focused on the artist. His extraordinary paintings of western national parks in the United States and scenes of European and Swedish landscapes have suffered from decades of obscurity following his death in 1934. Throughout his career (1904–1934), Widforss swam against the powerful tide of modernism as tastes in art focused on the European avant-garde. His first significant exhibition in Stockholm in 1913, featuring landscape scenes of southern France and Capri, took place shortly after Picasso and Braque’s early period of experimental Cubism peaked, and it coincided with the intense artistic dialogue spawned by the 1913 Armory Show in New York.

“The Museum of Northern Arizona, located in Flagstaff, Arizona, currently has the largest collection of Widforss paintings, drawings, and related archival material, with twenty-two works of art in the fine art collection. The Museum’s relationship with the artist dates back to the late 1920s.

“The catalogue raisonné is a comprehensive catalogue of all of Widforss’ work known at this time. At the date of publication (September 2020), the catalogue includes over 1,200 works from private and public collections, and many for which the present location is unknown. As research continues, works will be added and information updated.”

Above:
Gunnar Widforss, Desert Vistan.d.
Watercolor
13 1/4 x 20 3/4 in. (33.7 x 52.7 cm)
Signed lower left: Widforss
Northern Arizona University Art Museum, Flagstaff, Arizona

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we are pleased that the Gunnar Widforss Catalogue Raisonné project
has chosen panOpticon to power its online catalogue

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.

Friedrich Gräsel CR Online

The Complete Work of German sculptor Friedrich Gräsel can now be accessed on the artist’s official website managed by Van Ham Art Estate (Cologne).

For immediate release | October 2018

Friedrich Gräsel (1927–2013) is firmly rooted in his hometown of Bochum. He found inspiration for his minimalist objects in the Ruhr area. He is one of the first German artists to succeed in translating industrially manufactured products, with their functional implications, into freeform, often monumental works of art.

From 1952 to 1956, Gräsel studied at the Kunsthochschule in Munich and Hamburg under Werner Haftmann, Ernst Wilhelm Nay and Fritz Winter, among others. Especially in the Rhine-Ruhr region, he designed numerous sculptures for public spaces. In 1972 Gräsel created the German contribution to “Skulptur in der Stadt” (Sculpture in the City) on the occasion of the 36th Venice Biennale. His works are represented, among others, in Lehmbruck Museum Duisburg, Folkwang Museum Essen, Skulpturenmuseum Glaskasten Marl, Sprengel Museum Hannover, Hamburger Kunsthalle, and Kunstmuseum Bonn.

Van Ham Art Estate has managed the artistic estate of Friedrich Gräsel since 2016. This includes his sculptures, works on paper and the outdoor projects. The artist’s complete oeuvre is now compiled in the first Van Ham Art Estate online catalogue of works and can be viewed on the official artist’s homepage www.friedrich-graesel.de. The creation of such an online catalogue goes far beyond previous standards and offers art historians and collectors new opportunities and ways to explore Friedrich Gräsel’s work.

Van Ham Art Estate is a branch of Van Ham Fine Art Auctioneers – the only German auction house that offers the entire range of services from the administration to the art historical appraisal of an artist’s estate and has now developed one step further by providing the digitization of information on official websites and online catalogues raisonnés.

More online catalogues raisonnés of estates managed by Van Ham Art Estate are coming soon.

for further inquiry, contact:
Anne Rinckens
a.rinckens@van-ham.com
Press and Public Relations
VAN HAM Fine Art Auctioneers
www.art-estate.org
Hitzelerstraße 2
50968 Cologne | Germany
Tel. +49 (221) 92 58 62-88
Fax +49 (221) 92 58 62-4

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We at panOpticon are extremely proud that Van Ham Art Estate uses our unique information management system to power the Friedrich Gräsel Catalogue Raisonné online.

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

Sam Francis Online CR Launched

A new “living catalogue raisonné” embraces the creative spirit of Sam Francis

FOR IMMEDIATE RELEASE
April 18, 2018
MEDIA CONTACT
Brianna Smyk Reder
BriannaSmykReder@gmail.com
415.214.4144

On April 18th the Sam Francis Foundation released the inaugural stage of Sam Francis: Online Catalogue Raisonné Project – Unique Works on Paper and Expanded Version of Canvas and Panel Paintings 1945–1949.

“One of the twentieth century’s leading interpreters of light and color, American artist Sam Francis (1923–1994) was one of the first post-World War II painters to develop an international reputation. A truly international artist, he maintained studios in Bern, New York, Los Angeles, Paris, and Tokyo, and his work references New York Abstract Expressionism, Color Field Painting, Chinese and Japanese art, French Impressionism, and his own Bay Area roots. Francis created thousands of paintings as well as works on paper, prints, and monotypes, which are housed in major museum collections and institutions around the world.”

“SFCR is an interactive digital platform that presents for the first time unique works on paper and new information compiled by Editor Debra Burchett-Lere, Project Manager Beth Ann Whittaker, Contributors Leila Elliott and Stephanie Velazquez, and a team of photography editors, who have conducted extensive research with the Sam Francis Foundation’s in-house archives as well as the Getty Research Institute’s holdings. Embracing the artist’s creative and innovative spirit, the “living catalogue raisonné” will be amended regularly, both with new entries and with updates to existing pages, which will be time-stamped as they are modified.”

“We are thrilled to launch this first volume of Sam Francis’s digital catalogue raisonné, SFCR, which highlights the latest and most exhaustive research on the artist available to anyone, anywhere,” says Debra Burchett-Lere, Director of the Sam Francis Foundation. “It furthers the Foundation’s mission as it enables the international audience, to whom Francis was so significant, to access his vast oeuvre and learn new information about him as it is being discovered.”

Above:
SFF4.61 (Francis Archive SF48-002)
Untitled [Berkeley] 1948
Watercolor on paper
48.26 x 65.41 cm (19 x 25 3/4 in.)
INSCRIPTIONS: Reported to be signed, dated and inscribed in pencil on verso: Sam Francis 1948 Berkeley
ADDITIONAL NOTATIONS: Notated by studio assistant with the Litho Shop identification number and
an inventory number on blond wood frame verso: SF48-002 S4-33G
Stamped with the Sam Francis Estate logo stamp on verso
CREATION LOCATION: San Francisco Bay Area (Berkeley)
COLLECTION: Collection of Judith Ann Corrente, New York

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We at panOpticon are extremely proud that the Sam Francis Online Catalogue Raisonné Project uses our unique information management system to power it’s online project.

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.

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.