Fitz Henry Lane, Gloucester Harbor from Rocky Neck 1844

“Our project’s core need was a flexible, fully searchable database of Fitz Henry Lane’s work incorporating all the proper catalogue raisonné protocols. In addition we wanted to be able to include far more historical and reference information than the traditional catalogue raisonné. After looking at numerous cataloging database software solutions, it became clear that the “one size fits all” architecture of commercial database software was going to need extensive adaptation for our needs, far beyond the expertise or budget of our project.

“We were introduced to panOpticon through their Mary Cassatt Catalogue Raisonné project that was still in process. It was immediately apparent that they had confronted and solved all the myriad problems associated with style protocols and had created extraordinary search capabilities that opened up numerous new avenues for understanding an artist’s work. Perhaps most importantly, the software has a user interface that automatically applies correct formatting and style to all the entries.

“The panOpticon team is very easy to work with—prompt and responsible in follow-through on all issues. The training is straightforward and the software can answer most questions itself going forward. Most importantly, they understand the field of art scholarship as only an insider can. I can’t imagine what it would be like to try to explain the nuances of style and organization necessary to a catalogue raisonné to an ordinary software programmer or consultant. The amount of time and effort we have saved in the start-up phase alone is incalculable and the ongoing efficiency of the data input and organization continues to allow us to focus our resources on the core research.”

Sam Holdsworth
Project Director & Editor
Fitz Henry Lane: An online project under the direction of the Cape Ann Museum



“It’s nice to see the Tom Thomson Catalogue Raisonné featured in [your email blast]. There has been quite a lot of research interest in Thomson in connection with an upcoming exhibition at the Art Gallery of Hamilton, so this is timely. Unfortunately, along with much of the world we are unable to host researchers in person under pandemic conditions, but we are able to make selective research scans on demand, so I suppose in a sense the research files are available for consultation. Hope your new year is off to a good start.”

Amy Marshall Furness
Rosamond Ivey Special Collections Archivist and Head of Library & Archives at the
E.P. Taylor Library & Archives, Art Gallery of Ontario
Tom Thomson Catalogue Raisonné


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Mary Cassatt, The Boating Party, 1893–94, National Gallery of Art

“I can’t imagine finding anyone more qualified or capable of creating an online catalogue raisonné than panOpticon. Someone else might have programming skills, but the panOpticon staff combines superior programming knowledge with a profound understanding of what a catalogue raisonné is and how it should function for a wide range of audiences.
“panOpticon has done far more than create an online system that suits our needs, they have transformed the catalogue raisonné into a 21st Century scholarly process.”

Pamela A. Ivinski
Research Director
Mary Cassatt Catalogue Raisonné Project



“One of our challenges was to create a complex online source of information which covers numerous aspects of Roy Lichtenstein’s work – and at the same time, to establish a clear and integrated architecture. We are making great progress with the help of our panOpticon database ”

Andrea Theil
Director of the Roy Lichtenstein Catalogue Raisonné Project
Roy Lichtenstein Catalogue Raisonné Project



“Our primary goal with the Catalogue Raisonné of Works on Canvas by Jack Tworkov was to make our extensive research publicly accessible and offer a forum for a renewed interest in the work of one of America’s great Abstract Expressionists. panOpticon converted and migrated years of research into their precise and easy-to-navigate program. I was astonished by how quickly and efficiently it all was transformed into a concise design, professional presentation, and manageable system. This is where panOpticon’s online software outstrips by far any other on the market.”

Jason Andrew
Archivist / Curator
An online project under the auspices of the Estate of Jack Tworkov



Luxembourg Garden with the Towers of Saint-Sulpice in the Background

“The designers of the panOpticon information management system clearly understand the complexities of a catalogue raisonné. Their IMS conveniently organizes the rich levels of detail and documentation required by scholars, and it presents the information in formats that appeal also to general audiences. We consider it a strong and flexible foundation for the preservation and presentation of our work. The panOpticon support staff is always responsive to our questions and needs.”

Florence Castellani
Director, Philippe Smit Endowment Fund, Paris
Philippe Smit Catalogue Raisonné



“The Sam Francis Foundation joins the other testimonials with our praise of panOpticon’s system. Using the database they have created has made our documentation and research immensely organized and extremely useful on a daily basis due to its layered search and linking capabilities. We have been working with them for a few years to assemble the Sam Francis catalogue raisonné of unique works on paper, and can’t imagine a better system for this process.
“The ease with which we can document works of art, upload images, create lists and notes as part of our daily research has allowed us to expand our archival database in so many ways. We are looking forward to launching the information online, another incredible aspect of the system that we are so excited about. Not only is the system intuitive and easy to access and learn, the staff at panOpticon are always willing to tweak the categories and develop ways for us to input data to fit our specific needs. And, if there are ever any questions they are so proficient and quick in their responses and assistance.
“It is a dream system—perfect for the extensive amounts of information one must organize when creating a catalogue raisonné. We highly recommend panOpticon and their team.”

Debra Burchett-Lere
Director, Sam Francis Foundation
Sam Francis: Online Catalogue Raisonné Project



“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 on line (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 (2002-2018)
David Smith Catalogue Raisonné



John F. Folinsbee. Canal and River,

“We could not be happier with panOpticon’s incredibly intuitive and easy to use software for our catalogue raisonné. The transition of our data from our old database was practically seamless, and panOpticon responded to questions and concerns quickly. Both the public and the administrative pages are professional in design and presentation, and we are very excited to launch our new site in 2013.”

Kirsten M. Jensen
John F. Folinsbee Catalogue Raisonné
An online project under the auspices of the John F. Folinsbee Art Trust



“I have been personally involved with the John Singer Sargent Catalogue Raisonné and the various incarnations of the database since the late 1980s. When we sat down to view our new Sargent backend, we were thrilled with the work that the panOpticon team had done. They have a visually organized and intuitive information management system that we expect to use for many years to come.”

Elizabeth Oustinoff, Director, Adelson Galleries
The Complete Works of John Singer Sargent


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“panOpticon is the gold standard — the premier catalogue raisonné database.”

Betty Krulik
Betty Krulik Fine Art Ltd.
Appraisers Association of America, Past President
Willard Metcalf Catalogue Raisonné



Paul Cézanne. La Montagne Sainte-Victoire vue du chemin de Valcros,

“The work panOpticon did for us in setting up a database for our catalogue raisonné of Paul Cezanne was brilliant. They clearly understand the concept of a catalogue raisonné and the system they have set up for us is easy to use, flexible in its application, and amazingly comprehensive. We are thrilled with the final product and, in fact, would probably not have been able to produce this catalogue at all without their help.”

David Nash
Project Director and Co-author
The Paintings, Watercolors and Drawings of Paul Cezanne
An online catalogue raisonné under the direction of Walter Feilchenfeldt,
Jayne Warman and David Nash



“panOpticon’s information management system made implementing, tracking, and cross-referencing our research so effortless. A pleasure to use!”

Debra Bricker Balken
Arthur Dove, A Catalogue Raisonné of Paintings and Things
Yale University Press



Starting a project? Already have data and wondering what to do next? Simply have a question? Contact us here.

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.



From top of page:

1. 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).

2. Tom Thomson, Tea Lake Dam, Spring 1917, Oil on wood panel, 8 3/8 x 10 5/16 in. (21.3 x 26.2 cm). Inscription verso: three graphite sketches of birds (barn swallows?); t., in graphite, Thundercloud in spring at chute where Muskoka River flows out of Lake / looked at from the left side the rush of water and the feeling of daylight is / very marked as well as the feeling of spring – In the trees or bushes in the foreground on right / side of creek I found a poacher’s bag with beaver-skins +c – sketched just before his drowning / JMM.; Backing label, Dr James MacCallum McMichael Canadian Art Collection, Kleinburg (1970.1.4)

3. Mary Cassatt. The Boating Party, 1893–94. Oil on canvas, 90 x 117.3 cm (35 7/16 x 46 3/16 in.). National Gallery of Art, Washington DC: Chester Dale Collection (1963.10.94).

4. Roy Lichtenstein. Brushstrokes, 1967. Screenprint, composition: 21 15/16 x 30″ (55.7 x 76.2 cm); sheet: 23 x 31″ (58.4 x 78.7 cm). Publisher: Leo Castelli Gallery, New York, Pasadena Art Museum, California. Printer: Aetna Silkscreen Products, Inc., New York. Edition: proof outside the edition of 300. The Museum of Modern Art, New York: Gift of Philip Johnson (347.1973).

5. Jack Tworkov, Three Five Eight #2 (Q3-75 #7), 1975. Oil on canvas, 80 x 80 in. (203.2 x 203.2 cm); signed and dated verso upper right: “Tworkov / 75.” Labels verso: Solomon R. Guggenheim Museum, New York. Estate Number: 139, Collection of the Estate of Jack Tworkov, New York.

6. Philippe Smit. Jardin du Luxembourg avec les tours de Saint-Sulpice en arrière-plan | Luxembourg Garden with the Towers of Saint-Sulpice in the Background (detail), n.d. Pastel sur carton | Pastel on cardboard, 25 x 32.5 cm (9 7/8 x 12 13/16 in). Photo: Studio Sebert/Paris.

7. Sam Francis, Untitled, 1948. Watercolor on paper, 48.26 x 65.41 cm (19 x 25 3/4 in.). Collection of Judith Ann Corrente, New York, NY.

8. David Smith. Tanktotem IV, 1953, 7/29/53, 1953, and Tanktotem III, 1953, Bolton Landing Dock, Lake George, New York, photo by the artist, c. 1953. Gelatin silver print, sheet size: 8 x 10 in. (20.3 x 25.4 cm).© Estate of David Smith / Licensed by VAGA, New York, NY.

9. John F. Folinsbee. Canal and River, 1930. Oil on canvas. 32 x 40 in. (81.28 x 101.6 cm). Signed lower right: John Folinsbee. Private collection.

10. John Singer Sargent. Venetian Canal 1913. Watercolor and graphite on off-white wove paper.
15 3/4 x 21 in. (40 x 53.3 cm). The Metropolitan Museum of Art: Joseph Pulitzer Bequest, 1915 (15.142.10).

11. Willard Metcalf. Garden of Dreams, 1908. Oil on canvas, 24 x 24 in. (61 x 61 cm). Signed and dated lower left: W. L Metcalf 1908. Private collection, Pennsylvania.

12. Paul Cezanne. La Montagne Sainte-Victoire vue du chemin de Valcros (et la bastide La Générale) 1878–79.
Oil on canvas. 22 13/16 x 28 5/16 in. (58 x 72 cm) Pushkin Museum, Moscow.

13. 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).

14. Arthur Dove. Moon, 1935. Oil on canvas, 35 x 25 in. (88.9 x 63.5 cm) . National Gallery of Art, Washington, DC.: Collection of Barney A. Ebsworth (2000.39.1)