what’s new

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Now, everywhere in the art industry, shareholders are able to exchange credible information and give feedback to one another.

The results are no longer static collections of records and documents to be occasionally referenced by a few, but are instead, organic processes that play a dynamic and public role in both the appreciation and the business of art.

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That’s what’s new.

starting a project of your own?
already have data and wondering what to do next?
simply have a question?
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Top of page from left to right: Roy Lichtenstein drawing from the projection for the mural. © Estate of Roy Lichtenstein. Photography by Michael Abramson, courtesy Gagosian Gallery; Roy Lichtenstein, Times Square-42nd Street, 2002 (Collage 1990, fabricated 1994). Porcelain enamel on wall of N, Q, R, S, W, 1, 2, 3 mezzanine; Susannah Shepherd of panOpticon (right) working with Andrea Theil, Director of the Roy Lichtenstein Catalogue Raisonné Project at the Roy Lichtenstein Foundation, New York City. Photography © panOpticon.

celebrating a long, active life in art

Boatmen on the Missouri 1846

the Margaret Lefranc Catalogue Raisonné is launched

Born in Brooklyn, New York, March 15, 1907, Lefranc died in Santa Fe, New Mexico,
September 5, 1998. A prodigious artist whose “lifetime of imaging” spanned more
than 85 years beginning at age six, Lefranc produced a diverse oeuvre that provides
a clarifying window on modernist art and its evolution throughout much of the
20th 
century. She created portraits and landscapes in a variety of styles, reflecting
cubist and other avant-garde influences; her media included oil, watercolor, gouache,
pastel, etching, monotype, etc. Lefranc’s circumference also included Europe and
New York, where she participated in that artistic vanguard during the 1920s and 1930s
(well before her 1939 vacation in Taos where she stayed with Frieda Lawrence and
before she settled in Nambe, near Santa Fe, in 1945 and later maintained the family
home in Hunter, New York and another in Miami, Florida).

Susan Ressler, Professor Emerita, Purdue University

This first installment of the online catalogue includes over 200 paintings by Lefranc that reside in the collection of the Margaret Lefranc Art Foundation. The remaining paintings — held in private and public collections (or works that are currently un-located) — will be addressed in updates to the website. Future installments will feature specific selections from Lefranc’s large body of works on paper, such as preparatory drawings, the landscapes of New Mexico and New York, book illustrations, and abstract monotypes to name a few.

Above:
Margaret Lefranc
Remembrance
1991
Oil on canvas
24 1/4 x 36 in. (61.6 x 91.4 cm)
Margaret Lefranc Art Foundation

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

new Arthur Dove CR in print

Arthur Dove, Sunrise I, 1936

the transcendent catalogue raisonné Arthur Dove deserves

“The Arthur Dove Catalogue Raisonné Project, launched in early 2013, aims to build on and revise the earlier compendium of the artist’s work overseen by Ann Lee Morgan in 1984. After curating two major exhibitions featuring his work—Arthur Dove: A Retrospective (1997-98) and Dove/O’Keeffe: Circles of Influence (2009)—I knew firsthand that America’s foremost abstract artist of the early twentieth century required an updated catalogue that definitively chronicled his output as a painter. With Morgan’s volume as a foundation, I sought not only to add to her entries on Dove’s known corpus of paintings and assemblages, which he called “things,” but also to illustrate each work in color. For an artist who declared in 1930, midway through his career, that his primary interest was to capture the “condition of light” elusive within nature, this seemed essential. Black-and-white reproductions, after all, can hardly allude to the metaphysical properties and sensation of transcendence that lay at the heart of Dove’s aesthetic program.

“The format of any catalogue raisonné is inherently fixed, with its prescribed chronological listings, and thereby resists invention and variation. It must prove an inventory of excavated facts—ownership histories and transactions, as well as notable exhibitions—all to serve the scholar, student, collector, and dealer. As I saw it, part of my challenge was to relieve this serial structure through some modicum of vitality. My response has been to include an essay that ties Dove’s work to the critics who (mostly) bolstered his painting during his lifetime as well as a lengthy biographical timeline that traces his career and its intersections with relevant modernist developments and preoccupations. Additionally, I have written twenty-four short essays on paintings deemed to represent some of Dove’s monuments whose formal resolution and emotional uplift stretched the known territories of American abstraction before midcentury.”

– Debra Bricker Balken
Director, The Arthur Dove Catalogue Raisonné Project

Arthur Dove: A Catalogue Raisonné of Paintings and Things
by Debra Bricker Balken; with contributions by Jessie Sentivan
Distributed by Yale University Press for the Arthur Dove Catalogue Raisonné Project
ISBN: 9780300251654 Hardcover

“… the true revelation here lies in the full-color illustrations, which track the painter through his marvels and misfires alike.” — from “BOOKFORUM CONTRIBUTORS on this season’s notable art books,” BOOKFORUM MAR/APR/MAY 2021

Above: Sunrise I, 1936, oil and wax emulsion on canvas, 25 x 35 in. Collection of Deborah and Ed Shein

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panOpticon has developed innovative digital cataloging tools
and a range of effective ways to share cultural content with others.
And, thanks to our unique user interface, you can manage and publish everything yourself.

The best way to understand what our tools can do is to see them at work —
contact us to schedule a demonstration.

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

“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.