OpenTwo archives, queried live.
Every record below comes from The Met or Smithsonian Open Access and was filtered on that archive’s own rights field before it reached this page. 24 shown for “Drawing for an Oratory (Memorial Chapel)” — 64 records examined, 15 dropped by the rights gate.
Archives queried 2026-09-02 07:55 UTC · fetched live for this request
isPublicDomain field is true for this object.metadata_usage.access reads CC0 — a waiver, not an expired term.
Relief from the North Wall of a Chapel of Ramesses I
Artist not stated in the record · ca. 1299–1290 BCE
Drawing for an Oratory (Memorial Chapel)
Artist not stated in the record · ca. 1820
Relief from the West Wall of a Chapel of Ramesses I
Artist not stated in the record · ca. 1299–1290 BCE
Design for an Oratory (Memorial Chapel)
Artist not stated in the record · ca. 1820
Relief from the South Wall of a Chapel of Ramesses I
Artist not stated in the record · ca. 1299–1290 BCE
Designs for Decoration of a Chapel and Garden Statuary
Jean-Charles Krafft, French, 1764 - 1833 · 1812
The Entombment
Moretto da Brescia (Alessandro Bonvicino) · 1554
Oratory Chapel
Artist not stated in the record · 1794
Evening: Landscape with an Aqueduct
Théodore Géricault · 1818
Photomechanical print of Jack's Memory Chapel
Artist not stated in the record · 1960s
Reliefs from a Chapel of Ramesses I
Artist not stated in the record · ca. 1299–1290 BCE
Project for an altar in a side chapel
Artist not stated in the record · 1725–1750
Equestrian Portrait of Cornelis (1639–1680) and Michiel Pompe van Meerdervoort (1638–1653) with Their Tutor and Coachman
Aelbert Cuyp · ca. 1652–53
An oratory dedicated to the Virgin
Artist not stated in the record · 1800–1830
An Egyptian Peasant Woman and Her Child
Léon Bonnat · 1869–70
Project for the decoration of a chapel
Artist not stated in the record · 1700–1730
The Assumption of the Virgin
Bernardo Daddi · 1337–38
Design for a Chapel Wall
Giovanni Battista della Rovere, Italian, ca. 1561–ca. 1630 · late 16th century
The Crucifixion; The Last Judgment
Jan van Eyck · ca. 1436–38
Project for an altar in a side chapel
Artist not stated in the record · 1725–1750
Virgin and Child
Bartolomé Estebán Murillo · 1670s
Project for the decoration of a chapel
Artist not stated in the record · 1700–1730
West wall of the chapel of Nikauhor and Sekhemhathor
Artist not stated in the record · ca. 2465–2389 BCE
An Altar Lamp in the Family Chapel of the Honorati in the Cathedral in Jesi
Luigi Valadier, Italian, 1726 – 1785 · ca. 1775
Where these records came from.
Two archives are wired, and only two. Each one is filtered on its own rights field — never on a title match, and never on the presence of an image file.
- The Met Collection API (Open Access)Rights field:
isPublicDomain. 1143 matched · 24 examined · 3 dropped by the rights gate. Kept only where isPublicDomain === true and a file URL was published.12 shown - Smithsonian Open Access API (api.si.edu)Rights field:
content.descriptiveNonRepeating.metadata_usage.access. 543049 matched · 40 examined · 12 dropped by the rights gate. Kept only where metadata_usage.access === "CC0" and an image resource was published.12 shown
These figures describe the pass run at 2026-09-02 07:55 UTC, during this request. A completed pass is kept for 24 hours and replayed for an identical search, which is what keeps repeated queries inside Smithsonian’s 30-requests-per-hour allowance. A pass in which either archive failed to answer is never kept — an outage must not be replayed as though it were a finding about the catalogue.
Wikimedia Commons and the Library of Congress are deliberately not wired. Wikimedia was confirmed, on a live query, to return CC-BY material inside the same result set as genuine public domain works, and filtering it safely has not been designed yet. loc.gov was blocked by bot detection during the source evaluation, so its rights vocabulary has never been observed — and nothing here is built on a field nobody has read.
An image file is a rights claim. It never travels without its field.