
Leda and the Swan
Jacques Sarazin (d. 1660)
ca. 1640–50 · White marble
Cleared · Public Domain
liveRights 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
316 ms. The Metropolitan Museum of Art, Collection API (Open Access)
296 ms. The Cleveland Museum of Art, Open Access API
2 of 2 providers answered live. 298 matching records exist across the two collections.
Institutions answered newest-first by record, interleaved

Leda and the Swan
Jacques Sarazin (d. 1660)
ca. 1640–50 · White marble
Cleared · Public Domain
live
The Tomb of Nero
Giovanni Battista Piranesi (d. 1778)
1747–48 · Print, etching with engraving and drypoint
Cleared · CC0
live
Monument–Ruin, near Rome
Richard Cooper II (d. 1822)
1774–75 · Counterproof of an iron gall ink drawing, with graphite
Cleared · Public Domain
live
Ruin–Monument, near Rome
Richard Cooper II (d. 1822)
1774–75 · Pen and iron gall ink over graphite
Cleared · Public Domain
live
Ruined monument near Rome (Smaller Italian sketchbook, leaf 5 recto)
Joseph Wright (Wright of Derby) (d. 1797)
1774–75 · Brush and gray and yellow ink wash or watercolor, over graphite
Cleared · Public Domain
live
Torre dei Schiavi, The Roman Campagna (from Cropsey Album)
Jasper Francis Cropsey (d. 1900)
1853 · Graphite, white gouache, and brown and gray ink washes on dark buff wove paper
Cleared · Public Domain
live
Girgenti (The Temple of Juno Lacinia at Agrigentum)
William Stanley Haseltine (d. 1900)
1881 · Watercolor, gouache, and graphite on blue paper
Cleared · Public Domain
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.
Partie des Aqueducs de Neron prés la Porte Majeure, 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.
Temple de Minerve Medica prés la Porte Majeure, 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.
Ancien Temple de la Déesse de la Toux auprès de Tivoli, plate 2 from "Recueil de divers Monumens Anciens répandus en plusieurs endroits de L'Italie"
Dominico Montagu
1770 · 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.
View from the Colosseum toward the Palatine
German Painter
1830 · Oil on paper, laid down on cardboard
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.