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Stylistic details, verified by Constable experts Annie Lyles and Sarah Cove, date the painting to the correct period. It was probably donated to the church in the early 19th century by Frederick Needham the church's vicar from to , who was a half-brother of the church's patron, Richard Toulmin North of Thurland Castle. When the piece and the collected evidence is presented to the Giacometti Foundation in Paris, the first response is that further studies needed to be made. The second possible Gauguin is a still life depicting a bowl of fruit which had been sold as a genuine Gauguin several times and had appeared in a catalogue Raisonne. Retrieved 4 August
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Retrieved 1 December At least the distraught owner would still have the picture on his wall. Philip Mould visits David Coombs, a leading expert on the art of Churchill, who is unconvinced by the painting on account of the unfamiliarly well painted figures. The drawing was inherited from the owner's mother while she was living in Mexico in the s after doing some work for the interior of a restaurant. Retrieved 13 August Bendor reveals at Claremont in Surrey , where Queen Victoria offered the deposed couple refuge from the Revolution, that the artwork in question did reach English shores, as it is prominently displayed in a painting of Amalia's bedroom by historical watercolour artist Joseph Nash. It had been bought as a Degas in with an outline provenance going back to the artist's studio.
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Nude, was bought by a Leeds property developer in the belief that it was a genuine but unauthenticated work by Marc Chagall. Charles Henty seeks to validate the provenance of two inherited paintings, one by Alfred Munnings and one, putatively by Winston Churchill , discovered in a coal hole of a house in Ebury Street. Philip Mould visits David Coombs, a leading expert on the art of Churchill, who is unconvinced by the painting on account of the unfamiliarly well painted figures. It was submitted to the "Chagall Committee", who ruled that it was a fake and ordered its destruction. Fiona finds out through both a previous work's history and through an interview with Freud's daughter that Freud didn't consider works he finished himself to be worthy of his attention, especially ones where someone else had done work on his artwork, suggesting a reason for his denial. The team investigates two rare portraits of black British subjects from the 18th and 19th centuries, pictures which are highly unusual in their positive depiction of black sitters at a time when Britain was still heavily engaged in slavery. Despite an inclusion on the catalogue of Bernheim-Jeune Galerie, the team are unsuccessful in changing the opinion of the Wildenstein Institute.
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