Louis von Tilborgh and Ella Hendriks attribute to Van Gogh a work previously demoted from the artist's œuvre. The article outlines the career of the Dutch museum director and collector Dirk Hannema, whose scholarly reputation was blighted by his belief in Van Meegeren’s Vermeer forgeries and, later, by many dubious purchases for his collection, including four works 'by' Van Gogh. One of these, a Paris scene, has now been returned to Van Gogh’s oeuvre – as the article conclusively demonstrates – after many years in the wilderness.

Huub van der Linden writes on the seventeenth-century etiquette in Bologna of copying well-known paintings by, among others, Guido Reni, and on the families who commissioned these works.

The authors reveal the significance of De Bray’s meticulous numbering and dating on the reverse of four paintings.

Using archival material, the authors discuss the fluctuating state of Giorgione attributions and connoisseurial changes of mind over paintings in the National Gallery.

Tom Hardwick reviews an exhibition at the Victoria and Albert Museum, London (closed 21st February), which displayed holdings from the Art and Antiques Unit of the Metropolitan Police, which included works produced by one of the most infamous forgers of recent years, Shaun Greenhalgh.

A painting of the Baptism of Christ, bought as a Perugino in 1894 for the Gallery by the Director Sir Edward Poynter, was soon denounced as a forgery but is persuasively given to Sassoferrato copying Perugino's work.