
The Arrival in Bethlehem
Master of the Brussels Calling of Saint Matthew (d. 1549)
ca. 1540–50 · Oil on wood
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
342 ms. The Metropolitan Museum of Art, Collection API (Open Access)
283 ms. The Cleveland Museum of Art, Open Access API
2 of 2 providers answered live. 781 matching records exist across the two collections.
Institutions answered newest-first by record, interleaved

The Arrival in Bethlehem
Master of the Brussels Calling of Saint Matthew (d. 1549)
ca. 1540–50 · Oil on wood
Cleared · Public Domain
live
Welcome panel
Anonymous, Swiss (d. 2050)
early 17th century · Stained and enameled glass
Cleared · Public Domain
live
Bacchanal: Arrival at the Wine Vat
Joseph Marie Vien (d. 1809)
ca.1755 · pen and brown ink, brush and brown wash
Cleared · Public Domain
live
The Arrival of the Wine Vat
Joseph Marie Vien (d. 1809)
ca.1755 · Etching
Cleared · Public Domain
live
The Welcome, from "The Vicar of Wakefield"
Thomas Rowlandson (d. 1827)
May 1, 1817 · Hand-colored etching and aquatint
Cleared · Public Domain
live
Welcome Footsteps (Well-known Footsteps)
Sir Lawrence Alma-Tadema (d. 1912)
May 7, 1883 · Engraving on chine collé
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.
Arrival Scene
Thomas Rowlandson (d. 1827)
ca. 1820 · Etching; early state
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.
The Welcome Arrival
John Dalbiac Luard (d. 1860)
1863 · Etching and engraving
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.
Welcome Footsteps (Well-known Footsteps)
Sir Lawrence Alma-Tadema (d. 1912)
1891 · Etching on chine collé; proof
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.
The Welcome
Paul-Albert Besnard (d. 1934)
1899 · Etching; only state
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.
Prichod Noci
Josef Sudek (d. 1976)
1948–64 · Gelatin silver print
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.
Welcome to the Wadsworth
Andrea Fraser (d. 9999)
1991 · Single-channel digital video, transferred from Hi-8 tape, color, sound, 25 min.
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.