Fiona Bruce and Philip Mould investigate more potentially valuable works of art, beginning byhelping a man who believes he owns a painting by French post-impressionist Edouard Vuillard. Thequest for provenance begins in Geneva, where Philip compares the picture with a huge Vuillard workcreated in 1919, trying to find out whether the same materials were used in both, while Fionauncovers clues to the picture’s origins in France and Holland. Once they have enough evidence, theyseek the approval of the Wildenstein Institute in Paris – but these are the same experts whonotoriously rejected a highly credible Monet back in the very first episode. Have they done enoughto prove this picture is genuine?8)


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