Homer

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Fake or Fortune?, Series 1 Episode 2 of 4

Duration: 1 hour

Journalist Fiona Bruce teams up with art expert Philip Mould to investigate mysteries behind paintings. It's a world of subterfuge and intrigue as they grapple with complex battles often unseen beneath the apparently genteel art establishment.

In this episode, the focus falls on a painting found dumped by a rubbish tip which turns out to be a lost work by one of America's most important 19th century artists, Winslow Homer. In a shock for all concerned, it is valued at 250,000 dollars. But who legally owns the picture, and why was it found in such an unlikely place? Philip and Fiona investigate.

  • Winslow Homer: Children Under A Palm

    Children under a palm

    Fisherman Tony couldn't believe his luck when he stumbled upon a pile of pictures apparently dumped at his favourite riverside spot. Fast forward 15 years and Tony, accompanied by his daughter, visits an Antiques Roadshow where he is told by Philip Mould that one of the pictures is worth £30,000. It's an unknown work by one of America's most important 19th century artists, Winslow Homer. But how did it end up being dumped in such an unlikely place and who legally owns the picture? 


    As Philip Mould and Fiona Bruce investigate, the story takes a series of unexpected turns; in the Bahamas we crack when and why the painting was made and who the mysterious sitters are, whilst in New York an auction house values the picture closer to $250,000 in preparation for sale. But a tense denouement within minutes of the auction turns everything upside down when a mysterious figure arrives and raises even bigger questions for all involved.

Credits

Presenter
Fiona Bruce
Producer
Nicola Lafferty
Director
Nicola Lafferty
Series Producer
Simon Shaw
Director
Nicky Illis

Broadcasts

Meet the team

Meet the team

Discover more about the Fake or Fortune? antique sleuths.

About the artists

Fake or Fortune: artist superpromo

Discover more about the creators behind the works featured in the series.

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