Documents seen by The Art Newspaper reveal that five bowls, 37 cups and 187 spoons were offered with the 14 pieces which make up the Roman treasure

A short history of nazi loot restitution efforts

Artefacts must have left their countries of origin by 1970, the year of the Unesco Convention, or have proper export documentation to be considered for purchase

The hearing concerning America's progress in returning Nazi loot to original owners discussed potential problems

Results of survey lay bare how the US fell short

The story of Raphael’s St George and the Dragon

Should museums acquire objects without provenance, which may have been looted? Yes, say several panelists

Recent trials forecast shift in collecting policies

Hawass, head of Egypt’s Supreme Council of Antiquities, is asking the St Louis Art Museum to return an supposedly looted antiquity

Bogdanos attacks “cozy cabal of academics, dealers and collectors” who ignore provenance

Infra-red examination shows abandoned original design

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

A grant will enable them to probe incomplete provenance records

A Sotheby’s lawyer describes the work of its provenance research team

It is now an offence to handle an object if you know that it was illegally removed from a site anywhere in the world after 2003

The younger generation has asked tough questions and come up with some answers

A guide on how to best investigate provenance with specific emphasis on the specialist problems of the Holocaust-era, solvable using provenance research

Reflecting the continuous rise in the value of art and importance of provenance

This will assist in the identification of looted artworks

Christie’s and Sotheby’s to help with provenance research projects

Court says non-professional buyers do not have to check “provenance”

British and French authorities dismayed at disposals that they considered illegal

As last month’s antiquities sales boomed, The Art Newspaper surveyed leading dealers and specialists in New York

Curator voluntarily collaborates with Italy in accordance with museum’s policy

This study maintains that Verrocchio’s “Tobias and the angel” in London is the first example of the artist’s hand

Disputed Degas to go to the Art Institute of Chicago

The recent, widely publicised dispute over the provenance of two paintings by Egon Schiele, withdrawn last year from a loan exhibition at New York’s Museum of Modern Art on the grounds of contested ownership, offered a vivid illustration of the problems facing museums and private collectors who may find themselves having to prove good title to their possessions

It is alleged that they were stolen from the collection of Cino Vitta, head of the Jewish community in Florence during the war

Scholars say that famous paintings are not by the artist. Provenances difficult to prove

It’s not a crime to sell a fake—unknowingly