The copy by Leonardo's student is the most faithful extant work

Merryman, a leading US theorist of cultural property law, argues that archaeologists are failing to acknowledge the complexity of the current debate on collecting antiquities

University College London has set up an inquiry to examine the origin of “looted” bowls on loan from a Norwegian collector

Let us face facts. Before money changes hands, unfamiliar art is not studied because nobody thinks it is worthy of study

The restitution question was hardly mentioned, but it tautened everyone’s nerves

Mammon’s shrine in the groves of academe

Stancioff spent her life charting the use of the same visual symbols by vastly distant cultures

In the last of our series which publishes talks given in London this summer, Professor Sir John Boardman, Lincoln Professor Emeritus of classical archaeology and art at Oxford, singles out three areas for concern.

We explore the rapid fall from favour of Symbolist art and its recovery in value after academic exposure

Martin Kemp is the new Professor of Art History with the brief to expand the faculty

How publishers are coping with changes in academic approaches to art and the buying habits of the public

"Where there is no research, there is no museum", says Wolf Dieter Dube, director of the Berlin museums, but this tenet has come under attack in recent years.

It is pointless to pretend that the commercial art world and the worlds of research do not interpenetrate each other. Here we look at the relationship, present and past, and ask ourselves, in what respect is the art historian any different from the lawyer who sells his opinion?