The Welcome, from "The Vicar of Wakefield"
Thomas Rowlandson (d. 1827)
May 1, 1817 · Hand-colored etching and aquatint
Cleared · Public Domain
liveThe MetSimilar
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
437 ms. The Metropolitan Museum of Art, Collection API (Open Access)
- Clevelandlive
654 ms. The Cleveland Museum of Art, Open Access API
2 of 2 providers answered live. 232 matching records exist across the two collections.
Results for "The Welcome"12 records
Institutions answered newest-first by record, interleaved
Beaker ("Welcome Glass") with Arms and Inscriptions
Unrecorded maker
1616 · Glass, enameled glass
Cleared · CC0
liveCleveland Museum of ArtSimilar
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.
The Welcome Arrival
John Dalbiac Luard (d. 1860)
1863 · Etching and engraving
In copyright
liveThe MetSimilar
Embroidered Welcoming Descent of Amida Triad
Unrecorded maker
1400s · Embroidery, Hanging scroll; silk and human hair embroidery
Cleared · CC0
liveCleveland Museum of ArtSimilar
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.
The Welcome
Paul-Albert Besnard (d. 1934)
1899 · Etching; only state
In copyright
liveThe MetSimilar
Abraham Welcoming the Three Angels
Francesco Guardi (d. 1793)
1750s · Painting, oil on canvas
Cleared · CC0
liveCleveland Museum of ArtSimilar
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.
Caught One Lost One for the Fast Student or Star Catcher, from the ¦Welcome to the Water Planet¦ series
James Rosenquist (d. 2017)
1989 · Color lithograph with collage of pressed paper pulp
In copyright
liveThe MetSimilar
Processional Mask of a Bodhisattva
Unrecorded maker
late 1100s · Sculpture, wood, lacquered and painted
Cleared · CC0
liveCleveland Museum of ArtSimilar
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.
Skull Snap, from the ¦Welcome to the Water Planet¦ series
James Rosenquist (d. 2017)
1989 · Collage of colored, pressed paper pulp with lithograph
In copyright
liveThe MetSimilar
Hollyhock-shaped Cup
Unrecorded maker
1400s · Ceramic, porcelain
Cleared · CC0
liveCleveland Museum of ArtSimilar
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.
Skull Snap, State I, from the ¦Welcome to the Water Planet¦ series
James Rosenquist (d. 2017)
1989 · Colored, pressed paper pulp, lithograph, relief, collage
In copyright
liveThe MetSimilar
Welcoming Descent of Amida (Amida Raigō)
Unrecorded maker
1300–1333 · Painting, hanging scroll; ink, color and gold on silk
Cleared · CC0
liveCleveland 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.