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

Leaf from a Beatus Manuscript: Seven Angels Hold the Cups of the Seven Last Plagues; The Hymn of the Lamb

Unrecorded maker

ca. 1180 · Tempera, gold, and ink on parchment

Single Leaf with Scenes from the Last Supper

Simon Bening (d. 1561)

c.1525–30 · Manuscript, tempera with liquid gold and silver on vellum, mounted on old wood board

Manuscript Leaf with the Last Supper and the Washing of the Apostles’ Feet Leaf, from a Royal Psalter

Unrecorded maker

ca. 1250–70 · Tempera and gold on parchment

Manuscript Leaf with Scenes from the Life of Saint Francis of Assisi

Unrecorded maker

ca. 1320–42 · Tempera and gold on parchment

Manuscript Leaf with the Last Judgment, from a Book of Hours

Unrecorded maker

ca. 1400 · Tempera and gold on parchment

Panel with the Last Supper

Unrecorded maker

early 16th century · Oak

The Last Supper

Bernard van Orley (d. 1542)

ca. 1525–28 · Wool, silk, silver-gilt thread.

The Last Supper

Livio Agresti da Forlì (d. 1580)

1582 · Copper

The Last Supper

Unrecorded maker

second half of the 16th century · Copper alloy, the obverse gilt, the reverse with a reddish brown patina and remnants of solder in the corners.

The Last Supper

Morazzone (Pier Francesco Mazzucchelli) (d. 1626)

ca. 1608 · Pen and brown ink, brush and brown wash, highlighted with white gouache, some black chalk or graphite

The Last Supper

Nicolaas van der Horst (d. 1646)

early to mid-17th century · Pen and brown ink, brush and brown washes, over black chalk; incised; rubbed with black chalk for transfer; fragment of sheet with Christ and five apostles behind him cut out, backed, and redrawn by the artist

The Last Supper

Philips Koninck (d. 1688)

late 1650s · Pen and brown ink, brush and brown wash, over traces of red chalk, heightened with white gouache; framing lines in pen and brown ink. Laid down.