ACADEMIC ARTICLES
Imperfect Doubles: The Forger and the Copyist
Aviva Briefel
Enhancing the Art of Seeing – A Leonardo Case Study
Hasan Niyazi
Flouting the Law through Fine and Decorative Art Appraising
John Daab
The Pillaging of the Abandoned Spanish Countryside
Leila Amineddoleh
REGULAR COLUMNS
The Empty Frame
“Cerveteri: a Vulnerable Ancient Masterpiece”
Derek Fincham
Context Matters
“Compliance and the Antiquities Market” David Gill
The Flap Over Scrap: Theft and Vandalism in Exterior Sculptures
Christopher A. Marinello and Jerome Hasler
Art Law and Policy
Donn Zaretsky
EDITORIAL ESSAYS
What the Lady Has Wrought: The Ramifications of the Portrait of Wally Case
Howard N. Spiegler
Are Penal Procedures Only a Last Resort?
Paolo Giorgio Ferri
Archaeology and the Problem of Unauthorized Excavation in Italy
General B(a) CC Giovanni Pastore
Lessons from the History of Art Crime
Noah Charney
REVIEWS
Nathaniel Herzberg
“Le Musée Invisible: Les Chefs-d’oeuvre volés”
Diane Joy Charney reviews
Terence M. Russell
“The Discovery of Egypt: Vivant Denon’s Travels with Napoleon’s Army”
Diane Joy Charney reviews
Vivant Denon
“No Tomorrow”
Diane Joy Charney reviews
Sandy Nairne
“Art Theft and the Case of the Stolen Turners”
Noah Charney reviews
EXTRAS
Q&A with Sandy Nairne
Noah Charney Q&A with Stuart George
Noah Charney The Art We Must Protect: Top Ten Must-See Artworks in Florence
Noah Charney Synopsis of ARCA’s Third International Art Crime Conference
Catherine Schofield Sezgin
