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

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

  • Clevelandlive

    418 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. 809 matching records exist across the two collections.

Results for "Crucifix"12 records

Institutions answered newest-first by record, interleaved

Crucifix by an unrecorded maker, The Metropolitan Museum of Art

Crucifix

Unrecorded maker

ca. 1125–50 · Limewood and birch with traces of paint (corpus); spruce with traces of paint (cross)

Cleared · Public Domain

live
The MetSimilar
Crucifix by an unrecorded maker, The Cleveland Museum of Art

Crucifix

Unrecorded maker

late 1800s-early 1900s · Sculpture, Copper alloy, wood, upholstery studs, and iron alloy

Cleared · CC0

live
Cleveland Museum of ArtSimilar
Crucifix by an unrecorded maker, The Metropolitan Museum of Art

Crucifix

Unrecorded maker

ca. 1150–1200 · White oak with paint, gold leaf, and tin leaf (corpus); softwood with paint and tin leaf (cross)

Cleared · Public Domain

live
The MetSimilar
Crucifix with Scenes of the Passion by an unrecorded maker, The Cleveland Museum of Art

Crucifix with Scenes of the Passion

Unrecorded maker

c. 1230–40 · Painting, tempera with gold on panel

Cleared · CC0

live
Cleveland Museum of ArtSimilar
Crucifix by an unrecorded maker, The Metropolitan Museum of Art

Crucifix

Unrecorded maker

ca. 1200–1220 · Wood with polychromy

Cleared · Public Domain

live
The MetSimilar
Corpus from a Crucifix by an unrecorded maker, The Cleveland Museum of Art

Corpus from a Crucifix

Unrecorded maker

c. 1130–1140 · Sculpture, polychromed wood

Cleared · CC0

live
Cleveland Museum of ArtSimilar
Crucifix by an unrecorded maker, The Metropolitan Museum of Art

Crucifix

Unrecorded maker

ca. 1300 · Oak, polychromy

Cleared · Public Domain

live
The MetSimilar
Crucifix by an unrecorded maker, The Cleveland Museum of Art

Crucifix

Unrecorded maker

1500s · Sculpture, silver

Cleared · CC0

live
Cleveland Museum of ArtSimilar
Crucifix by an unrecorded maker, The Metropolitan Museum of Art

Crucifix

Unrecorded maker

16th century · Rock crystal, silver, enamel

Cleared · Public Domain

live
The MetSimilar
Saint Jerome in Penitence by an unrecorded maker, The Cleveland Museum of Art

Saint Jerome in Penitence

Unrecorded maker

c. 1480–1500 · Print, engraving

Cleared · CC0

live
Cleveland Museum of ArtSimilar
Crucifix by an unrecorded maker, The Metropolitan Museum of Art

Crucifix

Unrecorded maker

late 16th–early 17th century · Corpus: ivory; cross: ebony and ivory

Cleared · Public Domain

live
The MetSimilar
Saint Eustace by Albrecht Dürer, The Cleveland Museum of Art

Saint Eustace

Albrecht Dürer (d. 1528)

c. 1501 · Print, engraving

Cleared · CC0

live
Cleveland Museum of ArtSimilar

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.