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. 21 shown for “Fragment from scene of Queen Neferu having her hair done - see 26.3.353-5” — 64 records examined, 31 dropped by the rights gate.
Archives queried 2026-08-27 12:30 UTC · fetched live for this request
isPublicDomain field is true for this object.metadata_usage.access reads CC0 — a waiver, not an expired term.
Fragment from scene of Queen Neferu having her hair done - see 26.3.353-5
Artist not stated in the record · ca. 2051–2030 B.C.
Una and the Lion, from Spenser's "Faerie Queen"
Artist not stated in the record · ca. 1780
Relief of Queen Neferu having her hair done
Artist not stated in the record · ca. 2051–2030 B.C.
Textile
Bromley Hall, Middlesex, England, 1712–1763 · late 18th–early 19th century
Relief fragments from an elaborate false doorway
Artist not stated in the record · ca. 2051–2030 B.C.
Eijiri, from the series, "The Highest Ranking Geisha's Journey"
Keisei Eisen, Japanese, 1790 – 1848 · ca. 1830
Relief scene from the tomb of Queen Neferu: fragments from two registers showing male and female attendants moving to the right
Artist not stated in the record · ca. 2051–2030 B.C.
Sampler
Artist not stated in the record · 1737
Relief fragments from the tomb of Neferu showing richly adorned attendants moving right to left
Artist not stated in the record · ca. 2051–2030 B.C.
Magazine clipping advertising The Plantation Club, NYC
Artist not stated in the record · May 1924
The Adoration of the Magi
Joos van Wassenhove · 1472–74
Mariko, from the series, "The Highest Ranking Geisha's Journey"
Keisei Eisen, Japanese, 1790 – 1848 · ca. 1830
The Flagellation
Master of the Berswordt Altar · ca. 1400
Sampler fragments
Artist not stated in the record · ca. 1650
The Marriage Feast at Cana
Juan de Flandes · ca. 1497
Jeanne d'Arc
Charles Abraham Chasselat, French, 1782–1843 · 1817
The Crucifixion
Master of the Berswordt Altar · ca. 1400
Sampler
Artist not stated in the record · 1799
Scene from a Novella
Liberale da Verona
The Crucifixion; The Last Judgment
Jan van Eyck · ca. 1436–38
Mars and Venus United by Love
Paolo Veronese (Paolo Caliari) · 1570s
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. 60 matched · 24 examined · 0 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. 2983446 matched · 40 examined · 31 dropped by the rights gate. Kept only where metadata_usage.access === "CC0" and an image resource was published.9 shown
These figures describe the pass run at 2026-08-27 12:30 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.