Fake or Fortune?

Development

Fake or Fortune? was created by Philip Mould and his producer Simon Shaw. It was inspired by Mould's 2009 book Sleuth, after which the programme was originally to be entitled. According to Mould, Shaw suggested the format after a fisherman brought in a water colour painting he had found near a rubbish tip to BBC's Antiques Roadshow where Mould identified it as a genuine Homer valued at £30,000

In each episode Philip Mould and Fiona Bruce focus their attention on a painting (or a group of paintings), usually related to one particular artist. They travel around the country and the world, studying the artists at exhibitions, meeting international experts and following local leads. Series 7, episode 5 saw the show tackle their first sculpture, a work attributed to Alberto Giacometti.

The team was assisted by art historian Bendor Grosvenor until a disagreement over his new BBC Four series Britain's Lost Masterpieces ended his involvement after five series in 2016. From series 6 professor Aviva Burnstock, Head of the Department of Conservation and Technology at The Courtauld Institute of Art became a recurring advisor and expert.

Together and separately the team investigates the paintings on a number of fronts: establishing the provenance of the piece by working backwards from present day to the time of the work's creation; on a forensic level, with investigation and scientific tests on the materials used to help establish specific time frames; and examining the unique painting styles and quirks of the artist. This evidence is then presented to the established authority for each artist to help demonstrate the legitimacy of the work and its possible addition to the relevant catalogue raisonné.

The team does not always succeed. Philip Mould was stated to have considered the Series 4 case of a Churchill painting as one of the most unsatisfactory endings to date, before it was finally authenticated in 2020.

On 16 January 2025, the BBC announced that they had put the series' tender up for auction as part of their "competitive tender" policy, allowing independent companies to bid on producing the program.

Series overview

Episodes

Series 1 (2011)

File:Bords de la Seine a Argenteuil - Monet.jpg|Bords de la Seine à Argenteuil File:Winslow Homer's 'Children Under a Palm Tree'.jpg|Children Under a Palm Tree by Winslow Homer File:The Procuress.jpg|The Procuress by Han van Meegeren File:Man in an Oriental Costume - Isaac de Jouderville.jpg|Man in an Oriental Costume by Isaac de Jouderville

Series 2 (2012)

Danseuse Bleue et Contrebasses - Edgar Degas.jpg|Danseuse Bleue et Contrebasses by Edgar Degas File:J.M.W. Turner - The Beacon Light.jpg|The Beacon Light by J. M. W. Turner File:J.M.W. Turner - Off Margate.jpg|Off Margate by J. M. W. Turner File:J.M.W. Turner - Margate Jetty.jpg|Margate Jetty by J. M. W. Turner File:Van Dyke Henrietta before.jpg|Portrait of Queen Henrietta Maria, as St Catherine attributed to Anthony van Dyck (before restoration) File:Attributed to Van Dyck - Queen Henrietta Maria as St Catherine.jpg|Portrait of Queen Henrietta Maria, as St Catherine attributed to Anthony van Dyck (after restoration)

Series 3 (2014)

The third series features four episodes. The first episode was first shown on 27 December 2013 on Sweden's SVT, with episodes 2 and 3 shown in the following weeks. Philip Mould described the appearance on Swedish television weeks ahead of the British premiere as a "weird BBC World cock-up". SVT on its website described the programme at the time as a "Brittisk dokumentärserie från 2012" (British documentary from 2012).

File:Edouard Vuillard The Cafe.jpg|The Café (1918) by Édouard Vuillard File:John Constable (1776-1837) - Yarmouth Jetty - N02650 - National Gallery.jpg|Yarmouth Jetty by John Constable File:Imaginary Landscape.jpg|Imaginary Landscape by Thomas Gainsborough File:A portrait of Joseph Gape.jpg|Portrait of Joseph Gape by Thomas Gainsborough

Series 4 (2015)

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. He is particularly concerned by the colouring which, he feels, is tonally dissimilar to Churchill's accepted œuvre. In France, the team discover that the painting is of the Fountain of Saint-Paul in Saint-Paul-de-Vence. They are introduced to Joy Lutenbacher, who recalls that her aunt, Joan Smith, witnessed Churchill paint the fountain and provides a signed photo of Churchill given to her aunt, dated October 1945. Bendor Grosvenor also finds supporting evidence in a 1949 newsreel. Despite this evidence, Coombs' initial 'serious misgivings' have not disappeared, and he decides to include the painting in his catalogue raisonné, although only in the 'Mysteries' section.

Munnings' painting Dedham Winter Landscape is found to be of a scene which the artist painted more than five times. In a twist of fate, the church depicted in the painting is the final resting place of a notorious art forger, Tom Keating, who was known to have forged Munnings' work. However, this is a mere coincidence and experts Lorian Peralta-Ramos and Dr Bill Teatheredge agree that the painting should be accepted as a work by Munnings.

'Descent from the Cross' by Francesco Montemezzano.jpg| The Deposition by Francesco Montemezzano

Series 5 (2016)

Filming for the fifth series started on 24 November 2015.

Saint Amelia, Queen of Hungary Delaroche.jpg|Saint Amelia, Queen of Hungary by Delaroche Portrait of a Lady - Mercier.jpg|Portrait of a Lady by Philip Mercier

Series 6 (2017)

The series was originally planned to have four episodes; "Giacometti" was postponed.

The work was later offered for private sale through Philip Bacon Galleries in Brisbane offered in excess of A$500,000.

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 raisonné. However, the signature and dedication had been added after the original paint had dried and the signature did not appear genuine. The sale in which it had first appeared included a number of works now attributed to other artists. Connoisseurship also raises doubts about the style and Mould and Bruce conclude that it is not genuine.

Rejected, Tom Roberts.jpg|Rejected by Tom Roberts Willy Lott's Cottage - Constable.jpg|Willy Lott's Cottage by John Constable Femme accroupie Paul Gauguin.png|Femme accroupie by Paul Gauguin

Series 7 (2018)

This episode was originally scheduled to be broadcast as part of series 6, but it was delayed pending the Giacometti Foundation's provisional findings. The episode was rebroadcast at the end of series 8, on 22 August 2019. In a short added sequence, Fiona told the audience that subsequent investigation had found a Giacometti signature on the sculpture. As a result, the Giacometti Foundation authenticated the piece, although not in time for the original 2018 screening. The update included that in February 2019, Gazing Head was auctioned at Christie's as an original work by Giacometti. It was sold for just over half a million pounds. Note: Series 7 was broadcast at the same time that BARB changed their ratings system, the ratings have been sourced as follows: Episodes 1-3 are 28 day figures from BARB's old system. Episode 4 are 28 day figures from the new system. Episode 5 are 7 day figures from the old system.

File:William Nicholson - still life with water jug and pears.jpg|Still life with water jug and pears purportedly by William Nicholson Dido Elizabeth Belle.jpg|Dido Elizabeth Belle and Lady Elizabeth Murray by David Martin File:Emma Soyer (nee Jones) - Two Children with a Book, 1831.jpg|Two Girls with a Book by Emma Soyer

Series 8 (2019)

Portrait of Peniston Lamb II - Thomas Lawrence.jpg|Peniston Lamb II by Thomas Lawrence

Series 9 (2021)

The Coronavirus pandemic disrupted the production schedule, but in September 2020, Philip Mould announced that pre-production of the ninth series had started.

At Payer by Jean-Léon Gérôme, 1858.jpg|At Prayer (1858) by Jean-Léon Gérôme ... Landseer - a collection of fifteen pictures and a portrait of the painter (1901) (14765825062).jpg|Time of War (1846) by Sir Edwin Landseer (this image is a print published in 1901) Second Sketch for The Last Supper by Benjamin West 1786.jpg| Second preparatory sketch for The Last Supper (1786) by Benjamin West (before restoration)

Series 10 (2022)

Mother and Child by Amadeo Modigliani.jpg|Mother and Child by Amedeo Modigliani The Deposition of Christ from the Cross.jpg|The Deposition of Christ from the Cross, attributed to Raphael Coxie

Series 11 (2023)

Sensing a possible connection, Kirke approached the Beaux Arts Gallery, long associated with Frink’s work. However, in the absence of concrete provenance, the gallery declined to authenticate the piece, leaving her in a state of uncertainty.

The team took up the challenge. Their investigation led them to Pangolin Editions, one of the country’s foremost sculpture foundries, where the piece underwent detailed metallurgical analysis. The results, subsequently reviewed at Begbroke Science Park in Oxford, confirmed that the bronze composition matched that of known casts from the Small Warrior series. Crucially, it showed no evidence of being a later reproduction and may even have been cast from the same original bronze ingot. Further examination at Pangolin revealed traces of clay at the sculpture’s base—strong evidence of an original mid-century casting process.

Armed with both scientific evidence and historical context, the team presented their findings to the Elisabeth Frink Estate’s authentication panel. Following a thorough review, the panel issued its verdict: the sculpture was indeed an original work by Dame Elisabeth Frink—elevating its value to an estimated £60,000. Since it is determined that a lot of overpaint has been added, it is decided that the painting needs to be cleaned and the newer layers removed. Dr. Martin Postle, the foremost expert on Sir Joshua Reynolds and author of the most recent catalogue raisonne, determined the picture is at best maybe 5% Reynolds. He believes someone has produced a pastiche of a Reynolds subject picture. An homage of sorts. It is attributed to circle of Joshua Reynolds.

The second case centres on a delicate watercolour of a tree, believed to be by Paul Cézanne and owned by Dominique Rogers. She inherited the piece through her family, tracing its origins to her great-uncle, the poet Antony Valabrègue, a close friend of Cézanne. Despite her personal indifference to Cézanne’s artistic style, Dominique is convinced of its provenance as a direct gift from the artist. Scientific tests confirmed the pigments and paper date from the correct period, but the Cézanne Committee in Zurich withheld authentication. They noted that the work originated from a sketchbook unrecognised among Cézanne’s known sketchbooks and closely resembled an established Cézanne drawing held by the Saint Louis Art Museum—suggesting it may be an early copy rather than an original. File:Paysans au Marché Camille Pissarro.png|Paysans au Marché by Camille Pissarro

Series 12 (2024)

The work was revisited in the Series 13, episode 6 programme What Happened Next? Helen McNicoll. The painting had been sold at Sotheby’s in November 2024 for £174,000, with Lassonde emerging as the buyer. It was subsequently included in the major retrospective Helen McNicoll: An Impressionist Journey, which was held at the Musée national des beaux-arts du Québec and later at the Art Gallery of Hamilton.

The Bean Harvest Helen McNicoll.jpg|The Bean Harvest by Helen McNicoll The Head of the Lake - fake Corot (full).png|The Head of the Lake

Series 13 (2025)

In this episode, the team investigates a painting owned by art blogger Robjn Cantus, bought in 2019 when Hertfordshire County Council sold part of its mid-20th-century art collection for only £35. Originally attributed to British artist Vera Cunningham, research revealed this was incorrect. With help from curators and conservators at Auckland Art Gallery Toi o Tāmaki, the team analysed the gouache work and found stylistic similarities to paintings by New Zealand modernist Frances Hodgkins. The piece, previously listed as anonymous and titled Garden Scene, was linked to a missing work called October Landscape, thought to depict a Roman goldmine in Wales and possibly sold by the Lefevre Gallery in 1943. New Zealand art historian Mary Kisler, the leading expert on Hodgkins, authenticated the piece—confirming it as a lost work by the artist. Mould estimates its value at up to £50,000.

Technical analysis at the Hamilton Kerr Institute revealed that the painting had suffered from heavy overpainting, which both damaged the original work and diminished its value, though the surviving poem could still be linked to Kauffmann's hand. The team submitted their findings to two leading experts: Wendy Roworth of the University of Rhode Island, and Dr Bettina Baumgärtel, who is preparing the catalogue raisonné of Kauffmann’s works. While Roworth concluded the painting was indeed by Kauffmann, Baumgartel agreed to include it in the catalogue, but only as “attributed to” Kauffmann due to the extent of the damage. As a result, Philip Mould adjusted his estimated value of the painting from £60,000 to £20,000.

In the final part, Fiona Bruce and Philip Mould return in the present day to look at how both paintings have gained more attention — and much higher value — after the 2020 removal of the statue of Edward Colston, which brought renewed focus on Britain’s links to the transatlantic slave trade. They speak again with the current owners, Lady Mansfield and Charlie Macquaker, to trace what has happened to each work. David Martin’s portrait of Dido Elizabeth Belle and Lady Elizabeth Murray has since featured in several exhibitions on Black portraiture, while Emma Soyer’s Two Girls with a Book went on long-term loan to Tate in 2022, showing its growing cultural and historical importance.

The work was included in the major retrospective Helen McNicoll: An Impressionist Journey, which was held at the Art Gallery of Hamilton in March of 2025. File:Fake Renoir landscape.jpg|Not a Renoir Likely fake Renoir portrait.jpg|A possible Renoir portrait File:Angelica Kauffmann - Young woman with urn (Anne Home Hunter).jpg|Female figure weeping over a monumental urn (Anne Hunter), 1766–1767, attributed to Angelica Kauffmann.

Reception

Describing the outcome of the first episode of series one as a "scandal", Sam Wollaston writing for The Guardian found the programme "incredibly interesting" and praised it "for being about just one case in which you can become totally involved, instead of flitting between three, which is what so many documentaries seem to do". In The Daily Telegraph, Ceri Radford was described as being "flabbergasted" at the result of the first episode, but concluded her review by saying: "This may have been a disappointing finale, but it at least confirmed that this aesthetically pleasing, quietly enjoyable new series isn't afraid to thwart expectations." Tom Sutcliffe in The Independent had a mixed view as a result of the presentation of the facts, saying: "It was full of cliffhanger tension and thrilling moments of discovery. But I couldn't entirely shift the suspicion that some of it was just a little too good to be true."

The first programme of the third series, shown in the UK on 19 January 2014, had 4.8 million viewers (a 21.8% audience share) while the first programme of the fourth series attracted 4.85m (24.5%). The record audience for the series was on 12 July 2015 with a peak attendance of 5.8 million viewers (episode 4.2 "Renoir").

Reviewing an episode of the seventh series, Michael Hogan of The Daily Telegraph wrote: "Arts programming is an increasingly endangered beast on prime time television. This absorbing and enjoyable series flies the flag in quietly thrilling fashion."

Benji Wilson, writing for The Daily Telegraph, described the programme, then in its ninth series, as "the art world's answer to Line of Duty".

"An engrossing trip through art history and Churchill’s life," is how Carol Midgley described the first episode of the thirteenth series, "The Mystery of Churchill’s Garden", in a review for The Times."

International broadcasts

The programme had its North American premiere on Canada's TVOntario in 2011. It has also started airing in fall 2013 on PBS and Ovation in October 2019 in syndicated second-run broadcasts after PBS in the United States, and Series 4 has been available on Netflix (as Season 1) since December 2018. The programme airs on ABC in Australia.

Notes

References

References

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