
Lovers Returning to a Palace
Unrecorded maker
late 18th century · Ink and opaque watercolor on paper
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
222 ms. The Metropolitan Museum of Art, Collection API (Open Access)
278 ms. The Cleveland Museum of Art, Open Access API
2 of 2 providers answered live. 457 matching records exist across the two collections.
Institutions answered newest-first by record, interleaved

Lovers Returning to a Palace
Unrecorded maker
late 18th century · Ink and opaque watercolor on paper
Cleared · Public Domain
live
Returning to the Trenches
Christopher Nevinson (d. 1946)
1916 · Print, drypoint
Cleared · CC0
live
Returning from the Review (Loyal Ducking)
Thomas Rowlandson (d. 1827)
June 1800 (?) · Hand-colored etching
Cleared · Public Domain
live
Returning to the Port
Eugène Isabey (d. 1886)
1833 · Lithograph in black; first state of two
Cleared · Public Domain
live
Diana and three nymphs from "Diana Returning from the Chase"
Anonymous
ca. 1750–1850 · Engraving
Cleared · Public Domain
live
Life in Camp, Part 2: In the Trenches
Winslow Homer (d. 1910)
1864 · Color lithograph
Cleared · Public Domain
live
Rebel Artillery Soldiers, Killed in the Trenches of Fort Mahone, Called by the Soldiers "Fort Damnation," at the Storming of Petersburgh, Virginia
Thomas C. Roche (d. 1895)
April 2, 1865 · Albumen silver print from glass negative
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.
Returning to Weigh, Jerome Park, New York
William C. Robertson (d. 1870)
1869 · Hand-colored lithograph
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.
"To Emigrants Returning New York to Dublin"
Benjamin Roth (d. 1900)
1880 · Watercolor
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.
Column on the March
Christopher Richard Wynne Nevinson (d. 1946)
1916 · Drypoint
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.
Returning to the Trenches
Christopher Richard Wynne Nevinson (d. 1946)
1916 · Drypoint
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.
[Diego Rivera's Fresco "In the Trenches," Ministry of Education, Mexico City]
Tina Modotti (d. 1942)
1924–28 · Gelatin silver print with applied color
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.