
Two Alternative Designs for a Cartouche Decorated with a Frame, Statues, and Volutes
Michelangelo Colonna (d. 1687)
1624–87 · Pen and brown ink, over black chalk
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
257 ms. The Metropolitan Museum of Art, Collection API (Open Access)
640 ms. The Cleveland Museum of Art, Open Access API
2 of 2 providers answered live. 13,122 matching records exist across the two collections.
Institutions answered newest-first by record, interleaved

Two Alternative Designs for a Cartouche Decorated with a Frame, Statues, and Volutes
Michelangelo Colonna (d. 1687)
1624–87 · Pen and brown ink, over black chalk
Cleared · Public Domain
live
Two Alternate Designs for a Doorway
Anonymous, Italian, Piedmontese, 18th century (d. 1800)
ca. 1730–60 · Pen and brown ink, brush and brown, gray, yellow, and red wash, over leadpoint or graphite
Cleared · Public Domain
live
Two Alternative Designs for a Mirror or Screen with Family Coat of Arms
Giovanni Battista Natali III (d. 1765)
1698–1765 · Pen and brown ink, brush with gray and brown wash, over traces of graphite or black chalk
Cleared · Public Domain
live
Two Alternative Designs for a Mirror Stand
Giovanni Battista Natali III (d. 1765)
1698–1765 · Pen and brown ink, brush with brown and gray wash, over traces of graphite or black chalk
Cleared · Public Domain
live
Candelabrum with Alternative Designs for the Arms
Henri Auguste (d. 1816)
ca. 1770–1800 · Pen and black ink, brush and gray wash. Framing lines in pen and black ink.
Cleared · Public Domain
live
Alternative designs for the painted decoration of a ceiling
Jules-Edmond-Charles Lachaise (d. 1897)
19th century · Pen and ink, watercolor, and gold paint on laid paper; inlaid in blue wove paper
Cleared · Public Domain
live
Designs for two panels painted in rinceaux
Jules-Edmond-Charles Lachaise (d. 1897)
1830–97 · Pen and ink and watercolor on laid paper; mounted on blue wove paper
Cleared · Public Domain
live
Twenty-two designs for the painted decoration of interiors
Jules-Edmond-Charles Lachaise (d. 1897)
1830–97 · graphite, pen and ink, and wash on various papers; mounted on cardboard
Cleared · Public Domain
live
Two alternative designs for the painted decoration of a ceiling
Jules-Edmond-Charles Lachaise (d. 1897)
1830–97 · Graphite and watercolor on tracing paper; mounted on wove paper
Cleared · Public Domain
live
Two alternative designs for the painted decoration of a panel (one with the intertwined initials CL)
Jules-Edmond-Charles Lachaise (d. 1897)
19th century · Pen and ink, watercolor, and gold paint on paper; mounted on wove paper
Cleared · Public Domain
live
Two designs for paneled ceiling with painted decoration
Jules-Edmond-Charles Lachaise (d. 1897)
19th century · pen and ink, watercolor, and gold paint on two sheets of tracing paper; mounted on wove 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.
Two Designs for Hinges
Edgar Gilstrap Simpson (d. 1945)
1899 · Graphite and gouache
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.