Rights clearance desk for images
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
237 ms. The Metropolitan Museum of Art, Collection API (Open Access)
303 ms. The Cleveland Museum of Art, Open Access API
2 of 2 providers answered live. 30 matching records exist across the two collections.
Institutions answered newest-first by record, interleaved
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.
Autel d'Apollon, from "Les Plus Beaux Monuments de Rome Ancienne ou Recueil des plus beaux Morceaux de l'Antiquité Romaine qui existent encore"
Jean Barbault (d. 1762)
1761 · Etching
In copyright
liveNo 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.
Autel de Bacchus, from "Les Plus Beaux Monuments de Rome Ancienne ou Recueil des plus beaux Morceaux de l'Antiquité Romaine qui existent encore"
Jean Barbault (d. 1762)
1761 · Etching
In copyright
liveNo 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.
Bacchus d'aprés l'Antique, from "Les Plus Beaux Monuments de Rome Ancienne ou Recueil des plus beaux Morceaux de l'Antiquité Romaine qui existent encore"
Jean Barbault (d. 1762)
1761 · Etching
In copyright
liveNo 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.
Fragmens Antiques, from "Les Plus Beaux Monuments de Rome Ancienne ou Recueil des plus beaux Morceaux de l'Antiquité Romaine qui existent encore"
Jean Barbault (d. 1762)
1761 · Etching
In copyright
liveNo 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.
Restes du Mausolée d'Adrien aujourd'huy Chateau St. Ange, from "Les Plus Beaux Monuments de Rome Ancienne ou Recueil des plus beaux Morceaux de l'Antiquité Romaine qui existent encore"
Jean Barbault (d. 1762)
1761 · Etching
In copyright
liveNo 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.
Douzième Cahier du Recueil d'Ornemens (Two Friezes from San Lorenzo fuori La Mura in Rome)
Louise Brinclaire (d. 1783)
ca. 1778–82 · Etching, soft-ground etching (crayon technique), printed in sanguine
In copyright
liveNo 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.
Douzième Cahier du Recueil d'Ornemens: Chapiteau Jonique de la Vigne Farnèse à Rome vü de face (Frontal View of an Ionic Capital in the Farnese Vineyard in Rome)
Louise Brinclaire (d. 1783)
ca. 1778–82 · Etching, soft-ground etching (crayon technique), printed in sanguine
In copyright
liveNo 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.
Douzième Cahier du Recueil d'Ornemens: Profil du Chapiteau Jonique de la Vigne Farnèse à Rome (Profile View of an Ionic Capital in the Farnese Vineyard in Rome)
Louise Brinclaire (d. 1783)
ca. 1778–82 · Etching, soft-ground etching (crayon technique), printed in sanguine
In copyright
liveNo 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.
Huitième Cahier du Recueil d'Ornemens: Soffite de l'Architrave de la Place de Nerva (Decoration on the Soffit of an Architrave on the Forum of Nerva)
Elisabeth Brinclaire (d. 1851)
ca. 1778–82 · Etching, soft-ground etching (crayon technique), printed in sanguine
In copyright
liveNo 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.
Plates 1 and 2 from "Troisième Cahier du Recueil d'Ornemens [Guichets de Clagny]" (Designs for decorated wall panels from the Castle of Clagny)
Elisabeth Brinclaire (d. 1851)
ca. 1778–82 · Etching, soft-ground etching (crayon technique), printed in sanguine
In copyright
liveNo 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.
Plates 3 and 4 from "Troisième Cahier du Recueil d'Ornemens [Guichets de Clagny]" (Designs for decorated wall panels from the Castle of Clagny)
Elisabeth Brinclaire (d. 1851)
ca. 1778–82 · Etching, soft-ground etching (crayon technique), printed in sanguine
In copyright
liveNo 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.
Quatrième Cahier du Recueil d'Ornemens: Ornements de la Colonne Trajane (Ornaments from Trajan's Column)
Elisabeth Brinclaire (d. 1851)
ca. 1778–82 · Etching, soft-ground etching (crayon technique), printed in sanguine
In copyright
live1. 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.