With buyers taking prints more seriously, publishers, collectors and dealers are embracing the unique commercial advantages of editioned works

Transhistorical shows, often pairing Old Masters with contemporary art, are frequently critical successes but the commercial benefits are less obvious

Museums, universities and other art organisations have tapped into the enduring fascination with forgeries for pedagogic purposes

Our exclusive analysis of auction records in Paris until 1850 reveals around 500 sales of works by women, and striking parallels to the art trade today