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 “Post route map of the Territory of Alaska” — 56 records examined, 18 dropped by the rights gate.
Archives queried 2026-09-01 13:37 UTC · fetched live for this request
isPublicDomain field is true for this object.metadata_usage.access reads CC0 — a waiver, not an expired term.
The Crucifixion; The Last Judgment
Jan van Eyck · ca. 1436–38
Post route map of the Territory of Alaska
Artist not stated in the record · 1928
Map Case
Louis Boudo · 1825
“Map of the United States Exhibiting the Post Roads" by Abraham Bradley
Abraham Bradley · 1796
Post Office, Broadway, Hudson River and Jersey Shore
Charles Magnus & Company · after 1878
World map with airmail routes
Artist not stated in the record · 1919-1950s
Eugène Joseph Stanislas Foullon d'Ecotier (1753–1821)
Antoine Vestier · 1785
Post route map of New Jersey
Artist not stated in the record · 1917
Head from a Figure with a Beaded Headdress
Artist not stated in the record · 12th–early 13th century
Post route map signed by Charles Lindbergh
Artist not stated in the record · 1928
Francesco d'Este (born ca. 1429, died after 1486)
Rogier van der Weyden · ca. 1460
Post route map of Maryland, Delaware, and D.C.
Artist not stated in the record · July 1917
Seated Hercules in the act of shooting at the stymphalian birds
Vittore Gambello · ca. 1515–20
Airway route map of U.S.
Artist not stated in the record · 1935
Head of a Central Asian Figure in a Pointed Cap
Artist not stated in the record · 12th–early 13th century
New Hampshire and Vermont postal route map
Artist not stated in the record · 1912
Standing Figure with Jeweled Headdress
Artist not stated in the record · 12th–early 13th century
Ribes triste Pall.
Artist not stated in the record · 2 Jun 1893
A Cowherd at Valhermeil, Auvers-sur-Oise
Camille Pissarro · 1874
Mail sack
Artist not stated in the record · 2001
Standing Figure with Feathered Headdress
Artist not stated in the record · 12th–early 13th century
Odometer by J. D. Roberts
Artist not stated in the record · c. 1900
![New Inventions of Modern Times [Nova Reperta], The Invention of the Compass, plate 2, by Jan Collaert I](/_next/image?url=https%3A%2F%2Fimages.metmuseum.org%2FCRDImages%2Fdp%2Fweb-large%2FDP841121.jpg&w=3840&q=75)
New Inventions of Modern Times [Nova Reperta], The Invention of the Compass, plate 2
Jan Collaert I · ca. 1600
3c Oregon Territory plate proof
Bureau of Engraving and Printing
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. 16 matched · 16 examined · 1 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. 3128743 matched · 40 examined · 17 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 2026-09-01 13:37 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.