Skip to content
OpenPlate

Rights clearance desk for images

A painting can be out of copyright and thephotograph of it can still be protected.

Museums publish two different things about the same artwork: whether the work is in copyright, and whether their picture of it is. OpenPlate reads both, does the arithmetic on the published term, and shows you the sentence behind every point of the score.

Where this page got its records

  • The Metlive

    218 ms. The Metropolitan Museum of Art, Collection API (Open Access)

  • Clevelandlive

    281 ms. The Cleveland Museum of Art, Open Access API

Your defaults

United States, editorial use, 10,000 reach.

Change on the terms page

2 of 2 providers answered live. 18 matching records exist across the two collections.

Results for "A Blasted Tree (recto) Floorplan (verso)"12 records

Institutions answered newest-first by record, interleaved

Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso) by Leonardo da Vinci, The Metropolitan Museum of Art

Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso)

Leonardo da Vinci (d. 1519)

1496 · Pen and brown ink (recto and verso)

Cleared · Public Domain

live
The MetSimilar
A Blasted Tree (recto) Floorplan (verso) by Jasper F. Cropsey, The Cleveland Museum of Art

A Blasted Tree (recto) Floorplan (verso)

Jasper F. Cropsey (d. 1900)

1851 · Drawing, pen and brown ink, brown wash and graphite, heightened with white

Cleared · CC0

live
Cleveland Museum of ArtSimilar
Temptation of St. Anthony (recto); Fantastic Landscape (verso) by Jan Wellens de Cock, The Metropolitan Museum of Art

Temptation of St. Anthony (recto); Fantastic Landscape (verso)

Jan Wellens de Cock (d. 1527)

ca. 1520 · Pen, or point of the brush, and gray ink, heightened with white gouache, on green prepared paper; verso: pen and brown ink

Cleared · Public Domain

live
The MetSimilar
Saint Sebastian (recto); sketches of a male head and a standing figure in a short cape; a copy of the figure on the recto (verso) by Sodoma (Giovanni Antonio Bazzi), The Metropolitan Museum of Art

Saint Sebastian (recto); sketches of a male head and a standing figure in a short cape; a copy of the figure on the recto (verso)

Sodoma (Giovanni Antonio Bazzi) (d. 1549)

early–mid-16th century · Pen and brown ink, brown wash, over black chalk (recto); pen and brown ink, black chalk (verso)

Cleared · Public Domain

live
The MetSimilar
Two Women Annointing the Wounds of Saint Sebastian (recto); Study of a Nude Male Figure (verso) by Giovanni Biliverti, The Metropolitan Museum of Art

Two Women Annointing the Wounds of Saint Sebastian (recto); Study of a Nude Male Figure (verso)

Giovanni Biliverti (d. 1644)

1585–1644 · Pen and brown ink, brush and brown wash, over black chalk (recto); red chalk (verso); squared in red chalk

Cleared · Public Domain

live
The MetSimilar
Study of a Palm Tree (recto); Mountain Landscape (verso) by Nicolas Poussin, The Metropolitan Museum of Art

Study of a Palm Tree (recto); Mountain Landscape (verso)

Nicolas Poussin (d. 1665)

ca. 1635–40 · Pen and brown ink, over traces of black chalk (recto); pen and brown ink (verso)

Cleared · Public Domain

live
The MetSimilar
Witches' Sabbath (recto); Figures Gathered around a tree (verso) by Salvator Rosa, The Metropolitan Museum of Art

Witches' Sabbath (recto); Figures Gathered around a tree (verso)

Salvator Rosa (d. 1673)

1615–73 · Pen and brown ink, brush and brown wash (recto and verso); framing lines in black chalk

Cleared · Public Domain

live
The MetSimilar
Landscape with a Traveler Crossing a Bridge (recto); Sketches of a Gate, a Bridge, and a Town Hall (verso) by Anthonie Waterloo, The Metropolitan Museum of Art

Landscape with a Traveler Crossing a Bridge (recto); Sketches of a Gate, a Bridge, and a Town Hall (verso)

Anthonie Waterloo (d. 1690)

1629–90 · Black chalk, watercolor and gouache; framing lines in black ink (recto); black chalk (verso)

Cleared · Public Domain

live
The MetSimilar
Large Forest (recto); A tree-lined lane with figure (verso) by Johannes Leupenius, The Metropolitan Museum of Art

Large Forest (recto); A tree-lined lane with figure (verso)

Johannes Leupenius (d. 1693)

17th century · Pen and brown ink, brush and brown wash, white heightening. Verso: pen, brown ink and brown wash over black chalk

Cleared · Public Domain

live
The MetSimilar
Study of Oak Trees (recto) by Carl Wilhelm Kolbe, The Metropolitan Museum of Art

Study of Oak Trees (recto)

Carl Wilhelm Kolbe (d. 1835)

1800 · Black chalk

Cleared · Public Domain

live
The MetSimilar
Studies of a tree (recto and verso) by Paul Cézanne, The Metropolitan Museum of Art

Studies of a tree (recto and verso)

Paul Cézanne (d. 1906)

1887–90 · Graphite with green, blue and yellow washes (recto); graphite with green, blue and purple washes (verso)

Cleared · Public Domain

live
The MetSimilar

No open reproduction

The institution withholds the image for this record, which is itself the answer: the picture on their page is not theirs to give away.

Recto: Joshua Has the Five Kings Hung in a Tree; verso: The Five Kings Lie Dead at Joshua's Feet from Illustrations to the Old Testament

Sebald Beham (d. 1550)

1550 · Woodcut

In copyright

live
The MetSimilar

1. Pin the work

Choose the record and say what you are actually going to do with it. The product re-reads the work live and stores a snapshot, so your docket records what the institution said today.

2. Read the arithmetic

Six weighted factors: the institution's own claim, the creator's term, the publication-age rule, the restrictions in their statement, your use, and whether a credit line is even possible.

3. Seal and export

Record the decision into a SHA-384 chain, then export a dated docket as JSON, CSV or Markdown with the credit line and the seal a colleague can re-verify.