Transcript: Ep. 3 - Rodin | Apr 19, 2018

Fast clip shows images of an art auction at Christie’s.
The auctioneer says 18 MILLION.
500,000, 19 MILLION.

Fiona Bruce says THE ART WORLD,
WHERE PAINTINGS CHANGE HANDS
FOR FORTUNES.

The auctioneer says SELLING AT
95 MILLION DOLLARS.

Fiona says BUT FOR EVERY KNOWN
MASTERPIECE, THERE MAY BE
ANOTHER STILL WAITING TO BE
DISCOVERED.

Fiona Bruce is in her forties with shoulder length brown hair in a layered cut. She’s wearing a white sweater, a maroon leather jacket and a necklace.

Fiona looks at a painting and says WELL, THAT'S IT!

Philip says WELL, THAT'S IT,
ISN'T IT?

Fiona says THAT IS IT, THAT IS
OUR PAINTING.
INTERNATIONAL ART DEALER PHILIP
MOULD AND I HAVE TEAMED UP TO
HUNT FOR LOST WORKS BY GREAT
ARTISTS.
WE USE OLD-FASHIONED DETECTIVE
WORK AND STATE-OF-THE-ART
SCIENCE TO GET TO THE TRUTH.

Philip Mould is in his fifties with short receding gray hair. He’s wearing a blue suit and a pale blue shirt.

Philip says SCIENCE CAN ENABLE
US TO SEE BEYOND THE HUMAN EYE.

Fiona shows a woman a painting and says DA-DA!

The woman says OH, WOW!

Fiona says THE PROBLEM IS NOT
EVERY PAINTING IS QUITE WHAT IT
SEEMS.
YOU SUCCESSFULLY FAKED LOWRYS
EVEN WHILE YOU WERE AT SCHOOL,
DIDN'T YOU?

An artist says YES.

Fiona says IT'S A JOURNEY THAT
CAN END IN JOY...

Fiona hugs a man and says OH, ISN'T THAT GREAT.

The man says IT'S WONDERFUL.

Fiona says OR BITTER
DISAPPOINTMENT.

A blond woman reads record at a library and says I CAN'T COPE WITH THIS
ROLLERCOASTER.
WHAT A NIGHTMARE.

(music plays)

Fiona says IN THIS EPISODE,
WE'RE ON THE TRAIL OF A WORK
OF ART BELIEVED TO BE BY,
ARGUABLY, THE WORLD'S MOST
FAMOUS SCULPTOR says AUGUSTE RODIN.
COULD THE MAN WHO CREATED
"THE KISS" AND "THE THINKER."
ALSO HAVE GIVEN US THIS
ENCHANTING SKETCH OF A
WOMAN DANCING?

Philip holds a drawing of a woman dancing and says THE MORE TIME I
SPEND WITH THIS DRAWING, THE
MORE I LIKE IT.

Fiona says OUR QUEST TO FIND OUT
THE TRUTH ABOUT A CHERISHED
POSSESSION LEADS TO PARIS, AND
THE LITTLE-KNOWN STORY OF THE
SCULPTOR'S LAST GREAT PASSION.

Alice Thoday says I JUST DIDN'T
REALIZE THERE WAS SO MUCH
BEHIND THE SCENES; I'M
ABSOLUTELY GOBSMACKED.

Alice is in her sixties, with mid-length, straight white hair with bangs. She wears glasses, a blue scarf, a shearling coat and a pair of pendant earrings.

Fiona says IT'S AN INVESTIGATION
THAT PLUNGES US INTO A FORGERY
SCANDAL THAT HAS STUNNED THE
ART WORLD.
IMAGINE FAKES AT THE HEART OF
THE FRENCH ART ESTABLISHMENT.

(music plays)

Fiona says THE LATEST FORENSIC TECHNIQUES
COULD HELP MAKE OUR CASE.

A technician says THEY SAY THAT ONE'S STROKE
IS LIKE ONE'S FINGERPRINTS.

Fiona says BUT THE FINAL
DECISION RESTS ON THE OPINION
OF AN EXPERT WITH A KEEN EYE
FOR AN IMPOSTOR.

A woman in her thirties analyse the drawing.

(music plays)

Philip says WHAT'S FOR SURE IS
THAT WHATEVER THE OUTCOME,
THIS IS A VERY CLOSE CALL.

(music plays)

(theme song plays)

The caption "Fake or Fortune?" appears against the grainy orange surface of a painting.

(music plays)

Fiona says OF ALL THE REQUESTS
FOR HELP WE RECEIVE FROM
FAKE OR FORTUNE VIEWERS, IT'S
THE ONES THAT MENTION BIG
NAMES THAT REALLY GET OUR
PULSES RACING - LIKE PICASSO,
MONET, OR VAN GOGH.
AND ONE CONCERNING A
PARTICULARLY CAPTIVATING
PICTURE BY ANOTHER GIANT OF THE
ART WORLD HAS CAUGHT PHILIP'S
EYE, SO I'M ON MY WAY TO MEET
HIM AT THE GALLERY TO FIND OUT
MORE.
HI, PHILIP, WHAT HAVE YOU GOT?

Philip says THERE'S ONE THAT
REALLY INTRIGUES ME.
A DRAWING BY THE GREAT SCULPTOR
AUGUSTE RODIN.

Fiona says WHEN I WAS A STUDENT
IN PARIS, I USED TO GO TO THE
MUSEE DE RODIN A LOT, BECAUSE I
LOVED BEING AROUND HIS
SCULPTURES, PARTICULARLY "THE
KISS," AND I'D SORT OF HANG
AROUND IN FRONT OF IT TRYING
TO THINK, YOU KNOW, FRENCH
INTELLECTUAL THOUGHTS.

Philip says DID YOU EVER GET
ROUND TO DOING ANY REAL WORK
AT UNIVERSITY?

Fiona says NO, NOT A LOT.

Philip says BUT THIS IS
INTRIGUING BECAUSE IT'S A
DRAWING BY AUGUSTE RODIN.
HAVE A READ OF THIS.

Fiona says "WHEN MY MOTHER DIED
IN 2010, I INHERITED A
WATERCOLOUR THAT SHE ALWAYS
INSISTED WAS A RODIN OF A
CAMBODIAN DANCER, GIVEN TO HER
AS A THANK YOU WHEN MY PARENTS
LIVED IN MEXICO" - INTRIGUING.
"KNOWING MY MOTHER, AND HER
ARTISTIC LIFE IN MEXICO, I
BELIEVE IT TO BE A GENUINE
RODIN.
NOW, THAT'S ALL VERY
INTERESTING, BUT ACTUALLY IT
HAS NOTHING IN THERE IN THE WAY
OF FIRM PROVENANCE.

Philip says NO, BUT THERE'S A
LOT TO PLAY FOR BECAUSE, YOU
KNOW, ANYTHING BY THE GREAT
SCULPTOR IS INTERESTING, AND
TO GET ANOTHER DRAWING OR
WATERCOLOUR BY HIM, THAT'S
A PRIZE WORTH HAVING.

(music plays)

Home movies show images of Rodin at work.

Philip says BORN IN PARIS IN 1840, AUGUSTE
RODIN WORKED AS AN ORNAMENTAL
CRAFTSMAN UNTIL HIS GENIUS FOR
SCULPTURE BEGAN TO BE
RECOGNIZED.
BY THE 1880s, HIS DARING,
UNCONVENTIONAL APPROACH
ESTABLISHED HIS REPUTATION AS
THE MOST FAMOUS SCULPTOR OF
THE MODERN ERA.
HIS MOST INFLUENTIAL CREATIONS
INCLUDED "THE KISS," "THE
THINKER," AND IN THE HEART
OF WESTMINSTER, "THE BURGHERS
OF CALAIS."
WHAT DEFINES MUCH OF RODIN'S
SCULPTURE IS HIS EXTRAORDINARY
ABILITY TO IMPART HUMAN
MOVEMENT AND GESTURE IN A
SINGLE, DRAMATIC MOMENT.
AND THIS ARTISTIC STYLE
CHARACTERIZES HIS DRAWINGS,
TOO.

(music plays)

Philip says HE WAS ALSO A PROLIFIC
DRAFTSMAN, MAKING OVER 10,000
SKETCHES AND WATERCOLOURS,
INCLUDING A SERIES OF A TROUPE
OF DANCERS FROM CAMBODIA WHO
TOURED EUROPE AT THE TURN OF
THE 20TH CENTURY.
TODAY, THESE VIBRANT IMAGES OF
CAMBODIAN DANCERS ARE HIGHLY
PRIZED BY COLLECTORS AND RARELY
COME ON THE MARKET, SO WE'RE
EAGER TO FIND OUT MORE ABOUT A
POTENTIALLY EXCITING DISCOVERY.

(music plays)

Fiona says OWNER ALICE THODAY
HAS OFFERED TO BRING HER
PICTURE TO THE GALLERY FOR
EXAMINATION.
ALTHOUGH SHE NOW LIVES IN
LINCOLNSHIRE, ALICE WAS BORN
IN MEXICO TO BELGIAN PARENTS.
WHEN WE SEE THE DRAWING IN THE
FLESH, WILL IT STAND UP TO
CLOSE SCRUTINY?

Philip says ON FIRST INSPECTION
OF THIS, I THINK THERE ARE
CHARACTERISTICS OF THE DRAWING
THAT WERE RATHER ENCOURAGING.
SHE LOOKS LIKE A CAMBODIAN
DANCER, AND IF IT IS BY AUGUSTE
RODIN, WE KNOW THAT HE DID
ABOUT 150 DRAWINGS OF THEM.

Fiona says ALICE'S BELIEVES HER
PICTURE WAS GIVEN TO HER MOTHER
WHILE THEY WERE LIVING IN
MEXICO IN THE 1940s.
SO, TAKE US BACK THEN, ALICE.
IN THE LETTER YOU SENT US, THIS
BELONGED TO YOUR MOTHER, AND
SHE WAS GIVEN IT.

Alice says SHE WAS GIVEN
IT WHEN SHE AND MY FATHER LIVED
IN MEXICO.
MY MOTHER HAD BEEN AN ARTIST
IN BELGIUM, AND SOMEBODY THAT
WORKED WITH MY FATHER OWNED OR
PART-OWNED A RESTAURANT CALLED,
MY MOTHER THOUGHT, LA VIE
PARISIENNE.
AND HE ASKED HER TO PAINT SOME
SCENES OF FRENCH LIFE ON THESE
I THINK THEY WERE
FREESTANDING PILLARS.

Fiona says AND THIS WAS IN A
RESTAURANT IN MEXICO.

Alice says IN MEXICO
CITY, YES.
AND SO, SHE DID THAT, AND AS A
THANK YOU, HE THEN GAVE HER THE
RODIN.
WHERE HE GOT IT FROM, I DON'T
KNOW.

Fiona says AND WHAT WAS THE NAME
OF THIS CHAP?

Alice says SOMEBODY
CALLED JIMMY HEINEMAN.

Fiona says I MEAN, THAT WOULD BE
AN INCREDIBLE PAYMENT, FOR
PAINTING A RESTAURANT.
WITH THE GREATEST RESPECT TO
YOUR MOTHER BECAUSE I'M SURE IT
WAS BRILLIANT.
BUT NONETHELESS, TO BE GIVEN A
RODIN.

Alice says YES!

Fiona says SINCE ALICE WAS A
CHILD, HER MOTHER HAS ALWAYS
TAKEN GREAT CARE OF THE
DRAWING.
IT CLEARLY MEANT A LOT TO HER.

(music plays)

Alice says SHE SAID
OBVIOUSLY WITH WATERCOLOURS
THEY'RE VERY PRONE TO BEING
DAMAGED BY LIGHT, BY SUNLIGHT
ESPECIALLY, SO SHE ALWAYS MADE
SURE THAT, YOU KNOW, WHEN THE
AFTERNOON SUN CAME IN, THE
CURTAINS WOULD BE DRAWN SO THAT
IT WAS IN THE SHADE.

Philip says WELL, I MEAN, I WAS
GOING TO SAY THAT'S WHAT'S
QUITE ENCOURAGING ABOUT THIS
DRAWING IS, I MEAN, AT FIRST
GLANCE, THE COLOURS ARE STILL
THERE.
AND IN THE CORNER OF THE
PICTURE, THERE'S A SIGNATURE,
WHICH APPEARS TO READ "A.
RODIN."
IF ALICE'S PICTURE IS
GENUINE, THEN IT COULD BE WORTH
A CONSIDERABLE SUM.
I MEAN, I CAN IMAGINE A LOT OF
COLLECTORS WANTING TO GET HOLD
OF THIS.
I MEAN, IT'S A VERY ATTRACTIVE
IMAGE.
VALUING IT NOW IS A LITTLE BIT
DIFFICULT, BUT I KNOW SOMETHING
NOT DISSIMILAR AT AUCTION
RECENTLY MADE ABOUT 110,000 POUNDS.

Alice says REALLY.

Fiona says AND WHAT'S YOUR
INTENTION IF WE DO PROVE THAT
IT IS A RODIN?
DO YOU WANT TO SELL IT?

Alice says I DON'T KNOW.
IT WOULD ALMOST BE NICE FOR IT
TO BE APPRECIATED BY MORE THAN
JUST ME AND MY CATS.
[laughter]

Philip says AND IF WE DISCOVERED
IT TO BE A FAKE, HOW WOULD YOU
FEEL ABOUT IT?

Alice says I WOULD STILL
LOVE IT BECAUSE I JUST THINK
IT'S BEAUTIFUL.
YOU KNOW, EVEN IT'S A FAKE,
WHOEVER DID IT DID A REALLY
GOOD JOB.

Fiona says WE'LL GIVE IT A GO.

Philip says I MEAN, I THINK IT'S
AN EXCITING LOOKING THING.
I THINK WE'VE GOT EVERYTHING
TO PLAY FOR HERE.

(music plays)

Philip says AND WITH ALICE'S BLESSING, I'M
KEEN TO TAKE A CLOSER LOOK AT
THE PICTURE TO GET A BETTER
FEEL FOR ITS AGE AND ITS
QUALITY.
THE MORE TIME I SPEND WITH THIS
DRAWING, THE MORE I'M GETTING
TO LIKE IT.
I LIKE THE WAY THAT THE ARTIST
HAS MANAGED TO CAPTURE GENUINE
MOVEMENT, THESE HOOPS OF
THOUGHT; AND IT'S NOT JUST FROM
ONE ANGLE, IT'S FROM ANOTHER
ANGLE.
ALTHOUGH WE KNOW RODIN BEST AS
A SCULPTOR, HE WAS AN EQUALLY
ACCOMPLISHED ARTIST ON PAPER.
WHETHER HE WAS SHAPING A MODEL
IN CLAY OR USING A PENCIL TO
CAPTURE A DANCER IN MID-FLOW,
HIS INTENTION WAS THE SAME says TO
RECORD THE ESSENCE OF MOVEMENT.
AND WE KNOW THAT RODIN SAID
THAT SCULPTURE IS JUST DRAWING
IN ALL ITS DIMENSIONS; IN OTHER
WORDS, A THREE-DIMENSIONAL
DRAWING.
SO, IN ORDER TO GET A GREATER
FEEL FOR THIS, WE HAVE TO GET
TO THE DRAWING ITSELF.

(music plays)

Philip says THE BACKBOARD IS NOW REMOVED
FROM THE MAIN FRAME, AND I CAN
TAKE IT OUT NOW TO GET A LOOK
FOR THE FIRST TIME FOR PROBABLY
A VERY LONG TIME.
IT'S HINGED.
IT'S CERTAINLY GOT AN
APPEARANCE OF AGE.
I COULD EASILY SEE THIS BEING A
CENTURY OLD, POSSIBLY MORE.

(music plays)

Philip says THIS SWIFTLY EXECUTED DRAWING
IS MADE UP OF ONLY A FEW LINES
AND A SPLASH OF WATERCOLOUR ON
PAPER, BUT REPLICATING IT MIGHT
PROVE VERY TEMPTING TO A FAKER.
IF YOU LOOK AT THE PAINTED
AREAS, PARTICULARLY THE TOP OF
HER DRESS AND AROUND HER
CLEAVAGE, YOU CAN SEE THAT THE
WATERCOLOUR HAS SEPARATED IN
THAT WAY THAT IT DOES WHEN YOU
HAVE TOO MUCH WATER, AND IT'S
ADDED A SORT OF FEELING OF
TEXTURE, FEELING OF CHARACTER
TO THE DRAWING.
THE DISTINCTIVE USE OF A DEFTLY
CONFIDENT WASH OF COLOUR IS AN
ENCOURAGING CLUE, BUT IS THIS
FROM THE BRUSH OF RODIN, OR HAS
A FORGER SIMPLY TRIED TO
FABRICATE HIS TECHNIQUE?

(music plays)

Philip says AND TO ESTABLISH WHETHER
ALICE'S PICTURE IS GENUINE, WE
NEED TO CALL IN OUR SPECIALIST
RESEARCHER ON PROVENANCE,
Dr. BENDOR GROSVENOR, TO
INVESTIGATE THE HISTORY OF THE
DRAWING.
CAN HE FIND ANY EVIDENCE THAT
IT BELONGS TO THE GENUINE
SERIES OF CAMBODIAN DANCERS BY
RODIN HIMSELF?

Bendor sits at his desk. He is in his forties, clean-shaven and with short thinning brown hair. He wears a white shirt and a black sweater.

He says IT'S
THOUGHT THAT RODIN MADE ABOUT
150 DRAWINGS OF CAMBODIAN
DANCERS, AND WE KNOW THAT 120
ARE ALREADY IN THE MUSEE RODIN
IN PARIS.
I'VE HAD A CHECK IN OTHER MAJOR
MUSEUMS OF THE WORLD AND FOUND
21 AUTHENTIC WORKS, WHICH
POTENTIALLY LEAVES FEWER THAN
10 IN PRIVATE HANDS.
IN OTHER WORDS, IF ALICE'S
PICTURE REALLY IS GENUINE, THEN
IT'S AN EXTREMELY RARE THING
INDEED.
NOW, EARLY PROVENANCE IS ALWAYS
EXTREMELY USEFUL WHEN WE'RE
TRYING TO ESTABLISH THE
AUTHENTICITY OF PICTURES LIKE
THIS, SO ONE OF THE FIRST
THINGS WE NEED TO DO IS HAVE A
LOOK IN THE EARLY SALE RECORDS
AND EXHIBITION HISTORY OF
RODIN'S DRAWINGS AND SEE IF WE
CAN FIND ANYTHING AT ALL THAT
MIGHT BE A MATCH FOR ALICE'S
PICTURE.

(music plays)

Bendor says SO, I'M GOING TO LOOK IN THE
ONLINE RECORDS OF SOME OF THE
LEADING GALLERIES IN PARIS FOR
ANY SALES OF CAMBODIAN DANCERS.
AND I THINK I MIGHT HAVE
SPOTTED A POTENTIALLY
SIGNIFICANT LEAD.
THE VERY FIRST EXHIBITION OF
RODIN'S DRAWINGS WAS IN PARIS
IN 1907 AT THE WELL-ESTABLISHED
ART DEALERSHIP CALLED
BERNHEIM-JEUNE, AND I'M HOPING
THAT FOR SUCH A MAJOR PLACE
THEY WOULD HAVE PRODUCED A
CATALOGUE.
SO, IF THEY DID, WE NEED TO
FIND IT.
TYPICALLY, ANY ART SALES'
CATALOGUES WOULD CONTAIN
DESCRIPTIONS AND IMAGES OF THE
PICTURES.
SO, IT'S VITAL I FIND ONE OF
THESE CATALOGUES TO SEE IF WE
CAN SPOT ALICE'S DRAWING.
RATHER HELPFULLY, THERE'S A
CATALOGUE ONLINE HERE says DESSINS
DE RODIN, OCTOBER 1907, PARIS
CHEZ MONSIEUR BERNHEIM JEUNE.
HERE WE GO, RIGHT, NUMBER 8,
CAMODGIENNE.
NUMBER 14, CAMODGIENNE.
NUMBER - OH, DEAR, THERE'S A
156 DRAWINGS LISTED HERE AND I
CAN SEE DOZENS AND DOZENS OF
THINGS JUST CALLED
"CAMODGIENNE."
I'M AFRAID THIS IS A RATHER
USELESS LIST FROM OUR POINT OF
VIEW BECAUSE THERE'S ABSOLUTELY
NO DESCRIPTION HERE AT ALL;
IT'S NOT ILLUSTRATED.
IN OTHER WORDS, THERE'S NOTHING
THAT WE CAN FIRMLY LINK TO
ALICE'S PICTURE.

(music plays)

Fiona says THIS IS A SIGNIFICANT
SETBACK.
THIS MEANS WE CAN'T KNOW WHICH,
IF ANY, OF THE PICTURES IN THE
SALE ARE ALICE'S.
AND IT'S NOW EXTREMELY
DIFFICULT TO BUILD ANY KIND OF
PAPER TRAIL.

(music plays)

On a card down the road, Fiona says TO FIND OUT MORE ABOUT THE
ORIGINS OF THE PICTURE, I'M ON
MY WAY TO LINCOLNSHIRE TO VISIT
ALICE AT HER HOME.
SHE'S OFFERED TO SHOW ME SOME
OF THE MEMENTOES SHE HAS FROM
THE TIME HER FAMILY SPENT IN
MEXICO, WHEN HER MOTHER WAS
GIVEN THE DRAWING.
COULD THERE BE A FRESH LEAD
AMONG THE FAMILY PHOTOS AND
CHERISHED POSSESSIONS?
ALICE, I WANT TO FIND OUT MORE
ABOUT YOUR MOTHER, FIRST OF
ALL.
THIS IS HER, I SEE.

Alice says YES, THIS IS
ON THEIR WEDDING DAY.

Fiona says WHAT A BEAUTY SHE
WAS, MY GOODNESS.

Alice says THIS WAS TAKEN
IN BELGIUM, AND THAT IS MY
MOTHER AND HER IDENTICAL TWIN
SISTER, AND THEY BOTH STUDIED
ART AT THE ECOLE DES BEAUX-ARTS
IN BRUSSELS.

(music plays)

Fiona says ALICE'S MOTHER,
SUZANNE DACO, MARRIED HER
FATHER, PAUL GENACHTE, IN 1939.
THEY THEN MOVED TO MEXICO CITY,
WHERE THEY JOINED A VIBRANT
EXPAT COMMUNITY.
WHILE PAUL WORKED FOR A LOCAL
POWER COMPANY, SUZANNE
CONTINUED HER ARTISTIC
INTERESTS.
IS THIS SOMETHING SHE DID AS A
PROFESSION THEN?

Alice says BASICALLY IT
WAS A HOBBY, I THINK, FOR HER.
SHE DIDN'T HAVE A JOB AS SUCH;
SHE JUST WAS AN ARTIST.

Fiona says IS THIS IN MEXICO?

Alice says THAT'S WHEN I
WAS BORN, YES; SO THAT'S MY
MOTHER SHOWING ME TO MY SISTER.
MY SISTER WAS FOUR YEARS OLDER.

Fiona says NOW, WHAT ABOUT THE
WORK THAT YOUR MUM DID?
THIS, I'M ASSUMING, IS ONE OF
HERS, IS IT?

Alice says THAT'S ONE OF
HER WOODCUTS.

Fiona says THIS WOOD CUT.
SUZANNE DACO.

Alice says YES, D-A-C-O.

Fiona says WELL, SHE CLEARLY HAD
TALENT, DIDN'T SHE?

Alice says YES.

Fiona says DID SHE EXHIBIT AT
ALL, DO YOU KNOW?

Alice says SHE DID DO A
ONE-WOMAN SHOW, WHICH THERE'S
AN ARTICLE IN THIS MAGAZINE.

Fiona says IN THIS?
IN
HOY

"TODAY," IN SPANISH,
ONE OF THE TOP MAGAZINES ACROSS
THE WHOLE OF THE SOUTH AMERICAN
CONTINENT.
I MEAN, IF YOU'RE GOING TO
COMPARE IT TO SOMETHING NOW,
IT'S NOT QUITE
TIME MAGAZINE,
BUT IT'S NOT FAR OFF.

Alice says YES.

Fiona says LOOK AT THIS, THERE'S
A WHOLE PAGE ON HER IN HERE:
"EXPOSICION DACO."
SO, DACO EXHIBITION.

(music plays)

Fiona says THIS SHEDS NEW LIGHT ON ALICE'S
MOTHER IN MEXICO.
SHE ESTABLISHED HERSELF AS AN
ARTIST OF HIGH CALIBRE AND
SIGNIFICANT REPUTATION.
COULD THIS EXPLAIN WHY JIMMY
HEINEMAN, A COLLEAGUE OF
ALICE'S FATHER, WOULD HAVE
GIVEN HER A VALUABLE RODIN
DRAWING IN RETURN FOR HER WORK
AT THE RESTAURANT LA VIE
PARISIENNE?

(music plays)

Fiona says WE'VE GOT A NUMBER OF OPTIONS,
HAVEN'T WE?
EITHER HEINEMANN GAVE IT TO
YOUR MOTHER BECAUSE HE KNEW SHE
WAS AN ARTIST AND SHE WAS THE
KIND OF WOMAN WHO WOULD
APPRECIATE IT, OR IT'S NOT A
GENUINE RODIN.

Alice says OH, I DO THINK
IT IS.

Fiona says AND SO, HE JUST GAVE
IT TO HER AS A LOVELY DRAWING
AND THE FAMILY FOLKLORE HAS
BECOME THAT IT IS A RODIN.
WHICHEVER OF THOSE OPTIONS IT
IS, THE ANSWER IS IN THERE
SOMEWHERE.
AND WHERE WE NEED TO LOOK FIRST
IS AT JIMMY HEINEMAN AND FIND
OUT MORE ABOUT HIM, BECAUSE AT
THE MOMENT HE IS THE BIG
MYSTERY.

(music plays)

Fiona says I'VE LEARNT SOMETHING
POTENTIALLY VERY SIGNIFICANT
TODAY.
ALICE'S MOTHER WAS CLEARLY A
MUCH MORE SERIOUS ARTIST THAN
IT FIRST APPEARED.
SHE HAD AT LEAST ONE
EXHIBITION, I WOULD ASSUME MORE
THAN ONE, AND WAS AN ARTIST OF
SOME RENOWN.
BUT WHO WAS JIMMY HEINEMAN?
HAVEN'T LEARNT MUCH ABOUT HIM.
AND HE IS THE KEY TO UNLOCKING
THIS MYSTERY.
ENCOURAGED BY WHAT I'VE
DISCOVERED AT ALICE'S HOUSE,
I'M HEADING BACK TO CATCH UP
WITH BENDOR AND PHILIP, WHO
THINKS HE'S DISCOVERED SOME
SIGNIFICANT STYLISTIC
SIMILARITIES BETWEEN ALICE'S
DRAWING AND ONE OF RODIN'S MOST
FAMOUS WORKS.

(music plays)

Philip says THE MORE I THINK
ABOUT IT, THERE'S A REAL CHANCE
THAT WE CAN CONNECT ALICE'S
DRAWING TO RODIN, TO THE GREAT
ARTIST HIMSELF.
AND IT MAY NOT BE OBVIOUS, BUT
I CAN SEE A REAL LINK BETWEEN
ALICE'S DRAWING - YOU KNOW, A
WATERCOLOUR - AND ONE OF THE
GREAT WORKS BY RODIN, THE
THINKER.
YOU SEE, THEY BOTH HAVE THAT
SINGLE IDEA OF CRYSTALLIZING A
GESTURE IN AN ORIGINAL AND
DYNAMIC WAY IN ORDER TO SAY
MORE ABOUT THE SUBJECT, ABOUT
THE HAPPENING.
IN THE CASE OF THE DRAWING,
IT'S ABOUT DANCE; IT'S ABOUT
WHIRLING MOVEMENT.
IN THE CASE OF "THE THINKER,"
OF COURSE, IT'S ABOUT
CONTEMPLATION; IT'S ABOUT
THOUGHT.

Fiona says THE THING THAT'S
WORRIED ME FROM THE BEGINNING,
I HAVE TO ADMIT, IS THE IDEA
THAT ALICE'S MOTHER WOULD BE
GIVEN A GENUINE RODIN AS A
CASUAL GIFT IN RETURN FOR, YOU
KNOW, DOING A BIT OF PAINTING
IN A RESTAURANT.
JUST, IT DOESN'T FEEL QUITE
RIGHT TO ME, AND WE HAVE TO BE
CAREFUL WITH RODIN BECAUSE HE
WAS MASSIVELY FAKED - NOT JUST
HIS DRAWINGS BUT HIS SCULPTURES
AS WELL.

Bendor says RODIN'S DRAWINGS
WERE FAKED ALMOST AS SOON AS HE
WAS DEAD.
HERE'S ONE WHICH IS BY ODILON
ROCHE, WHO WAS A CONTEMPORARY
OF RODIN'S AND AN AMATEUR
ARTIST, AND HE WAS GETTING FAKE
RODIN DRAWINGS INTO REALLY
QUITE WELL-RESPECTED
EXHIBITIONS JUST MONTHS AFTER
RODIN DIED.
ROCHE'S DRAWINGS WERE STAMPED
WITH A LITTLE GALLERY STAMP,
"O.R.," AT THE BOTTOM
RIGHT-HAND CORNER.
AND ACTUALLY FOR YEARS
AFTERWARDS, THAT STAMP WAS
TAKEN AS A SIGN OF
AUTHENTICITY, EVEN THOUGH THEY
WERE ON FAKE DRAWINGS.

Philip says ALTHOUGH ONE OF THE
EARLIEST KNOWN FAKERS OF
RODIN'S WORK, ODILON ROCHE
CONCENTRATED ON FORGING A
DIFFERENT ASPECT OF THE FRENCH
ARTIST'S OUTPUT says HIS STUDIES OF
NUDES.
SO, I BELIEVE, AS FAR AS
ALICE'S PICTURE IS CONCERNED,
WE CAN RULE ROCHE OUT AS A
SUSPECT.
BUT WE NEED TO BE VERY WARY OF
OTHER FAKERS WHO SPECIALIZED IN
DRAWINGS OF THE CAMBODIAN
DANCERS.
IT JUST SHOWS WHAT PARAMOUNT
IMPORTANCE IT IS TO ACTUALLY
GET A PROVENANCE FOR THIS,
TO LINK THIS DRAWING, TO LINK
ALICE'S MOTHER BACK TO RODIN.

Fiona says WELL, KEY ALSO IS
FINDING OUT WHO WAS JIMMY
HEINEMAN, THE MAN WHO, AS FAR
AS ALICE IS CONCERNED, GAVE
THE DRAWING TO HER MOTHER.
AND I CAME ACROSS THIS
PHOTOGRAPH OF JIMMY HEINEMAN;
THERE HE IS WITH HIS WIFE IN
THE 1940s IN MEXICO, SO IT
PLACES HIM CERTAINLY AT LEAST
IN THE RIGHT COUNTRY.
AND HE WAS A VERY SUCCESSFUL
AND VERY INFLUENTIAL
BUSINESSMAN IN MEXICO CITY, SO
IS HE THE KIND OF MAN WHO COULD
HAVE AFFORDED A RODIN?
I WOULD SAY YES.
AND I'VE DONE A BIT OF WORK
TRYING TO FIND OUT MORE ABOUT
THE RESTAURANT, LA VIE
PARISIENNE, AND OF ALL THINGS I
FOUND A REFERENCE TO IT IN A
NOVEL BY JACK KEROUAC, THE
FAMOUS BEAT AUTHOR.
AND HE WRITES, "LA VIE
PARISIENNE, I PICTURE IT, A
RESTAURANT IN MEXICO CITY.
I GO IN, ORDER A GOOD WHITE
BORDEAUX AND FILET MIGNON.
FOR DESSERT, PASTRIES AND
STRONG COFFEE AND A CIGAR."

Bendor says LOVELY.
WELL, I THINK I CAN VERY
CONVENIENTLY CONFIRM THAT THE
RESTAURANT HAD A GOOD LINE OF
STEAKS BECAUSE I'VE GOT A MENU
HERE.

Fiona says OH, WOW!

Bendor says HAVE A LOOK AT THAT,
SEE IF ANYTHING GRABS YOUR
FANCY.
I LIKE THE ARTISTIC FRONT
COVER, AND, IN FACT, IT SEEMS
THAT THIS WAS QUITE AN ARTISTIC
RESTAURANT BECAUSE WE'VE GOT AN
ADVERT HERE FROM AN EXHIBITION
THEY PUT ON OF THE LEADING
MEXICAN ARTIST MARIA IZQUIERDO.

Philip says IT'S A VERY ROMANTIC
THOUGHT, ISN'T IT, IN THIS
BUBBLE OF ARTISTIC CHIC IN
MEXICO, AND COULD IT BE THAT
IN THAT MILIEU, THIS DRAWING
PASSED FROM ONE PAIR OF HANDS
TO ANOTHER?

(music plays)

Fiona says TO GATHER VITAL
INFORMATION FOR THE
INVESTIGATION, WE'VE COME TO
PARIS, WHERE THERE IS A MUSEUM
DEDICATED ENTIRELY TO AUGUSTE
RODIN.
COULD ALICE'S PICTURE BE PART
OF ONE OF HIS MOST REMARKABLE
SEQUENCES OF WORK?
IT WAS HERE IN PARIS IN 1906
THAT RODIN FIRST ENCOUNTERED
THE CAMBODIAN DANCERS.
THEY'D TRAVELLED TO THE FRENCH
CAPITAL WITH THEIR KING,
SISOWATH.
THIS WAS A CELEBRATED ROYAL
VISIT, AN HISTORIC CULTURAL
EVENT, AND COMMEMORATED TIES
BETWEEN THE TWO COUNTRIES.
COULD ALICE'S PICTURE SHOW ONE
OF THE MAGICAL DANCERS THAT
CAPTURED RODIN'S IMAGINATION?
TO FIND OUT MORE, I'VE ARRANGED
TO MEET VERONIQUE MATTIUSSI,
ARCHIVIST AT THE MUSEE RODIN.
LET'S LOOK AT THESE PICTURES
HERE.

Veronique is in her thirties, with straight brown hair in a bob cut and wears glasses, a pale blue shirt, a blue sweater and a pendant necklace.

Fiona says THIS IS FROM A MAGAZINE OF THE
TIME, AND THIS IS RODIN DRAWING
THE DANCERS HERE.

Veronique says "His visit was an event in itself, you see?"

Fiona says ON THE 10TH OF JULY
1906, RODIN WENT TO THE PRE
CATELAN THEATRE, WHERE HE
WATCHED THE DANCERS PERFORM
LIVE FOR THE FIRST TIME.
THE VERY NEXT DAY, HE BEGAN
DRAWING THEM.
WAS HE DRAWING THEM AS THEY
WERE DANCING OR DID HE ASK THEM
TO STOP AND POSE?

Véronique says AH,
NON.

She says "He draws just by focusing on the dancer not looking at the paper he’s looking to capture the moment."

Fiona says RODIN'S FASCINATION
WITH THE CAMBODIAN DANCERS HAS
BEEN DUBBED HIS "FINAL
PASSION," JUST A DECADE BEFORE
THE FRENCH MASTER DIED.
HE WAS INTERVIEWED A LOT IN THE
PAPERS, SO THIS IS FROM
LE FIGARO.
THIS IS 1906; THIS IS AT THE
TIME.
"SO, FOR ME, I FEEL THAT BY
LOOKING AT THEM MY VISION HAS
EXPANDED, I LOOK HIGHER AND
FURTHER, AND FINALLY I HAVE
LEARNT."

(music plays)

Fiona says WHEN THE DANCERS WENT TO
PERFORM IN MARSEILLE, RODIN WAS
IN SUCH A RUSH TO FOLLOW THEM
THAT HE FORGOT HIS DRAWING
PAPER.

Veronique says "He went to a greengrocer’s and asked to buy some of the paper they used for vegetables."

Fiona says THIS COULD BE AN
INTRIGUING LEAD, SO I'M KEEN TO
FIND OUT EXACTLY WHAT TYPE OF
PAPER WAS USED FOR ALICE'S
PICTURE.
SO, THIS FRANTIC CONCENTRATION
OF ACTIVITY TO PRODUCE 150
SKETCHES AND DRAWINGS WAS
PROBABLY IN TWO CITIES.
AND HE MUST HAVE JUST DRAWN AND
DRAWN AND DRAWN, AND OF COURSE
SO QUICKLY.

Veronique says "Exactly, the idea was to capture the spontaneity of the moment."

Fiona says WHAT WE'VE GOT IS
EVIDENCE OF THE IMPACT OF THE
CAMBODIAN DANCERS ON RODIN IN
HIS TWILIGHT YEARS.
I MEAN, THERE WAS A
THUNDERBOLT, BUT NONETHELESS IT
CREATED THIS LASTING EMOTION
IN HIM.
HE'D NEVER SEEN ANYTHING LIKE
THESE DANCERS BEFORE AND HE
SUDDENLY FELT THIS WAS
SOMETHING NEW FOR HIM,
SOMETHING NEW THAT HE COULD
LEARN AND PRODUCE THIS
INCREDIBLY INTENSE BOUT OF
ACTIVITY.

(music plays)

Fiona says IT'S CLEAR TO ME NOW THAT RODIN
WAS MESMERIZED BY THE CAMBODIAN
DANCERS, AND THAT'S WHY HE
PRODUCED SO MANY DRAWINGS IN
SUCH A SHORT TIME.

(music plays)

Philip says MEANWHILE, I HAVE A
RARE OPPORTUNITY TO TAKE A
CLOSER LOOK AT A PRIZED
COLLECTION OF GENUINE RODIN
SKETCHES OF CAMBODIAN DANCERS
WITH CURATOR SOPHIE
BIASS-FABIANI.
CAN I SPOT ANY STYLISTIC CLUES
THAT COULD HELP PROVE THAT
ALICE'S PICTURE WAS CREATED BY
THE SAME HAND?
WHAT DO YOU THINK OF RODIN'S
CAMBODIAN WORKS?

Sophie is in her fifties, with short wavy red hair and wears a blue shirt and pendant earrings.

Sophie says ALL
THE CAMBODIAN ARE OUTSTANDING.
THIS IS A SPECIAL, DIVINE
MOMENT, I WOULD SAY.
HE'S GIFTED AND HE'S USING IT,
AND IT'S JUST A PLEASURE TO
SEE IT.

Philip says ONE OF THE THINGS
THAT I NOTICE, AND IT REMINDS
ME OF THE DRAWING THAT WE'RE
RESEARCHING, IS THESE VERY
DILUTED WATERCOLOURS.
THEY'RE ALMOST LIKE BLOTS,
AREN'T THEY, RATHER THAN
STROKES?

Sophie says AND HE'S USING IT TO
HAVE ACCIDENT IN SOME WAY.

Philip says HE'S TRYING TO CAUSE
ACCIDENTS.
I MEAN, THIS IS WHAT'S SO
FASCINATING ABOUT THIS WHOLE
PROCESS, THESE DRAWINGS.

Sophie says HERE YOU HAVE TOO
MUCH WATER; THAT'S USING THE
ACCIDENT, AND HE'S JUST DOING
THE SAME THING IN SCULPTURE
ALSO.

Philip says THIS IS REALLY
ENCOURAGING.
SOPHIE HAS CONFIRMED THAT THIS
PARTICULAR USE OF WATERCOLOUR,
WHICH I'D SPOTTED ON ALICE'S
DRAWING, IS, IN FACT, A
RECOGNIZED TECHNIQUE OF
RODIN'S.
BUT BECAUSE THESE PICTURES ARE
SO SIMPLY CONSTRUCTED WITH ONLY
A FEW STROKES OF PAINT AND
PENCIL, WE NEED TO BE SURE WE
FULLY UNDERSTAND HIS OVERALL
STYLE.
WHAT ARE THE CHARACTERISTICS
OF THESE CAMBODIAN DANCERS?

Sophie says WELL, IT'S A
LIGHTNESS, MAKING FIGURES
COMPLETELY FLOATING, WITHOUT
GRAVITY.
THAT'S REALLY WHAT DANCE IS
ABOUT, YOU KNOW, DEFYING
GRAVITY, AND HE'S DEFYING
GRAVITY IN HIS DRAWING.
AND YOU CAN SEE THAT THERE'S
NO GROUND.
HE'S NOT INTERESTED IN THE
DETAILS.
THE FACE IS ALWAYS VERY
SIMPLY DONE.
I MEAN, HERE YOU DON'T EVEN
HAVE A NOSE OR THE EYES, YOU
KNOW.

Philip says AND ONE OF THE OTHER
CHARACTERISTICS IS THE SLIGHTLY
CONTORTED WAY IN WHICH THE
HANDS ARE EXPRESSED AND THESE
RATHER ATTENUATED, ELONGATED
ARMS.

Sophie says WELL, THAT'S WHAT I
GUESS CAUGHT HIM AND INTERESTED
HIM.
THIS WAY OF BEING ROUND,
WHATEVER HAPPENS, YOU KNOW.
BUT IT'S A LITTLE EXAGGERATED
MAYBE.

(music plays)

Philip says I'M ENCOURAGED BY
WHAT I'VE SEEN OF THESE
CAMBODIAN DANCERS AND WHAT I'VE
LEARNED ABOUT RODIN'S
DISTINCTIVE WAY OF USING
WATERCOLOUR.
IF ALICE'S PICTURE ISN'T
GENUINE, THEN WE WOULD HAVE TO
BE DEALING WITH AN
EXCEPTIONALLY SKILFUL FORGER.

(music plays)

Philip says MEANWHILE, BENDOR IS FINDING
THE PROVENANCE TRAIL
PARTICULARLY DIFFICULT.
THERE'S NO SIGN OF THE PICTURE
IN ANY ART SALES IN EUROPE, SO
IF THE DRAWING WAS GIVEN TO
ALICE'S MOTHER BY JIMMY
HEINEMAN SOMETIME IN THE 1940s,
JUST WHEN AND WHERE DID HE BUY
IT?

(music plays)

Bendor says ALICE HAS TOLD US
THAT HER MOTHER WAS GIVEN THIS
DRAWING BY SOMEONE CALLED JIMMY
HEINEMAN, SO THE QUESTION IS
WHETHER WE CAN LINK HEINEMAN TO
ANY RODIN SALES OR EXHIBITIONS
IN THE FIRST HALF OF THE 20TH
CENTURY.
BY THE OUTBREAK OF THE SECOND
WORLD WAR, JIMMY HEINEMAN'S
FAMILY HAD PROPERTIES AND
BUSINESSES ON THE EAST COAST OF
THE UNITED STATES, SO I'M GOING
TO SEE IF THERE'S ANY RECORD OF
A HEINEMAN BUYING ALICE'S
PICTURE AT A SALE THERE IN THIS
TIME FRAME.
THERE'S A SERIES OF EXHIBITIONS
AND SALES IN THE EAST COAST OF
THE UNITED SATES IN THE 1930s.
THERE'S A NOTICE IN
THE
WASHINGTON POST,
"COLLECTION OF
RODIN DRAWINGS HAS BEEN LOANED
BY THE DISTINGUISHED SCULPTOR
PROFESSOR ERNEST DURIG, RODIN'S
LAST PUPIL, TO WHOM THE
DRAWINGS WERE GIVEN IN 1911 AS
A TOKEN OF FRIENDSHIP.
PROFESSOR DURIG WILL BE PRESENT
AT THE EXHIBITION AND WILL
EXPLAIN THE ARTISTIC VALUE OF
THE COLLECTION."
AND THERE'S A REFERENCE HERE
IN
THE NEW YORKER
MAGAZINE TO
ANOTHER EXHIBITION OF RODIN
DRAWINGS.
IN FACT, THEY'RE ALSO FROM
PROFESSOR ERNEST DURIG; THAT'S
IN 1937.
FOUR OF THOSE DRAWINGS ARE SOLD
AT AUCTION IN 1937 IN NEW YORK.
THIS COULD BE AN IMPORTANT NEW
LEAD FOR THE INVESTIGATION.
ERNEST DURIG CLAIMED TO HAVE
BEEN A PUPIL OF RODIN'S AND WAS
SELLING HIS WORKS IN THE
STATES.
SO, COULD ALICE'S DRAWING HAVE
BEEN BOUGHT FROM DURIG AT ONE
OF THESE SALES?

(music plays)

Fiona says BACK IN PARIS, I'VE
ARRANGED A SURPRISE FOR ALICE.
WE'RE WATCHING A TRADITIONAL
CAMBODIAN DANCER IN A TINY
THEATRE TO SEE IF WE CAN FIND
ANY EVIDENCE THAT ALICE'S
PICTURE WAS DRAWN DIRECTLY FROM
A LIVE PERFORMANCE.
WE'VE BEEN IN TOUCH WITH THE
PRESTIGIOUS ROYAL CAMBODIAN
BALLET, A CELEBRATED GROUP THAT
STILL PERFORMS THIS
CENTURIES-OLD TRADITION TODAY,
AND THEIR TOP DANCER, CHOUM LE,
HAS AGREED TO PUT ON A
SPECIAL DISPLAY FOR US.

Alice says THE HANDS.

Fiona says IT DOES, AND THE
FEET.

Alice says AND THE FEET.

[traditional Cambodian music]

Fiona says BY WATCHING CHOUM LE
DANCE, CAN ALICE AND I IDENTIFY
WHETHER HER PICTURE RESEMBLES
THE ELEGANT MOVES THAT INSPIRED
THE ARTIST?

(music plays)
[applause]

Fiona says THANK YOU SO MUCH!
WATCHING YOU, THE THING THAT WE
WERE SO DRAWN TO WAS THE
MOVEMENT OF YOUR HANDS,
ESPECIALLY BECAUSE YOU BEND
YOUR HANDS - MY GOODNESS, LOOK,
I CAN'T BELIEVE HOW YOU DO
THAT!
BUT WHAT WE WERE THINKING IS,
IF THIS IS A GENUINE RODIN, WE
WOULD HOPE THAT THE MOVEMENT
BEARS A STRONG RESEMBLANCE TO A
DANCE, TO REALITY.
DO YOU LOOK AT THAT AND THINK,
YES, I RECOGNIZE THAT?

Choum Le is in her twenties, with long brown hair in a low bun and wears traditional Cambodian dancing clothes.

Choum Le says YES, I RECOGNIZE,
YES.
WE CAN SEE THAT'S A CLASSICAL
DANCE.

Fiona says IF YOU WERE GOING TO
RECREATE THIS POSE HERE, THE
TOP HALF ANYWAY, WHAT WOULD
THAT LOOK LIKE?

Choum Le bends her right hand and says IT WOULD LOOK
LIKE...
THIS.

Fiona says BRILLIANT BIT OF
FORESHORTENING.

Alice says THE HEAD JUST
SLIGHTLY TILTED.

Fiona says THIS WOULD HAVE BEEN
DONE SO QUICKLY, IF YOU THINK
ABOUT IT.
YOU'RE DANCING, RODIN IS
DRAWING.
I MEAN, THIS IS A MATTER OF
SECONDS.

Alice says AND I SUPPOSE
BY THE TIME HE'S FINISHED
PUTTING PENCIL ON PAPER, THE
DANCE WILL HAVE CHANGED, SO
PERHAPS HE'S COMBINING SEVERAL
MOVEMENTS.

Fiona says DOES THIS POSITION...
DOES IT HAVE A NAME?

Choum Le says WE CALL, KHBAT.
Fiona says KHBAT?

Choum Le says KHBAT.

Fiona says AND HOW MANY
DIFFERENT POSITIONS ARE THERE?

Choum Le says THERE ARE LOTS.
I DON'T REMEMBER EXACTLY, BUT
MAYBE MORE THAN 2,000.

Alice says REALLY?

Choum Le says YES.

Fiona says I MEAN, THIS KHBAT,
AS YOU WOULD CALL IT, DOES IT
HAVE A MEANING, OR...?

Choum Le says YES, SOME KHBAT
HAVE MEANING.
LIKE THIS IS SMILE.

She pinches her thumb and index together and then twists and opens her hand.

Alice says HOW LOVELY.
IT'S SO GRACEFUL.

Fiona says IT'S SO ELEGANT TO
SEE YOU DO THAT.
I MEAN, I'M ENCOURAGED, AND
CERTAINLY HAVING SEEN YOU
DANCE, CHOUM LE, AND SEEING
THIS JUST MAKES US REALIZE SO
MUCH WHAT RODIN, IF THIS IS
INDEED BY -

Alice says WHY HE WAS
SO ENTHRALLED.

Fiona says WHY HE WAS SO
ENTHRALLED AND WHAT HE WAS
SEEING.

(music plays)

Fiona says THIS IS REALLY ENCOURAGING:
CHOUM LE BELIEVES THAT THE
HANDS IN ALICE'S PICTURE DO
INDEED MATCH THE TRADITIONAL
CAMBODIAN DANCE WHICH SHE'S
STUDIED ALL HER LIFE.

(music plays)

Fiona says MEANWHILE, BENDOR HAS BEEN
ATTEMPTING TO FIND EVIDENCE
THAT JIMMY HEINEMAN, WHO GAVE
ALICE'S MOTHER HER DRAWING,
BOUGHT PICTURES AT ART SALES IN
THE STATES, AND HE'S MADE A
SURPRISING DISCOVERY ABOUT THE
MAN WHO HOSTED SOME OF THEM.

Bendor says I'VE BEEN TRYING TO
MAKE A LINK BETWEEN JIMMY
HEINEMAN AND THESE EXHIBITIONS
OF RODIN DRAWINGS IN THE EAST
COAST OF UNITED STATES IN THE
1930s.
I'M AFRAID I CAN'T BECAUSE NO
CATALOGUE WAS PUBLISHED.
HOWEVER, I HAVE FOUND OUT A FEW
RATHER ALARMING THINGS ABOUT
THE HOST OF THOSE SALES.
IT TURNS OUT HE WAS BASICALLY
A BIT OF A FANTASIST.
BORN ERNST DURIG IN SWITZERLAND
IN 1894, DURIG WAS AN ASPIRING
SCULPTOR, AND THROUGHOUT HIS
LIFE HE CLAIMED TO HAVE BEEN
RODIN'S LAST EVER STUDENT.
BUT WE CAN FIND NO EVIDENCE TO
BACK THIS UP.
AND I'VE DISCOVERED THAT DURIG
WOULD FREQUENTLY SHOW THIS
PHOTOGRAPH OF HIM AND RODIN
TOGETHER AS PROOF OF THEIR
FRIENDSHIP.
TAKEN IN ROME IN 1915, IT'S THE
ONLY RECORD OF THE TWO MEN EVER
MEETING.
DURIG, PERHAPS TRADING ON THAT
CLAIM, SECURED SOME IMPORTANT
PORTRAIT COMMISSIONS.
I'VE GOT HERE, FOR EXAMPLE,
A RATHER NICE PHOTO OF HIM
STANDING NEXT TO HIS BUST OF
THE PRESIDENT HARRY S.
TRUMAN.
DURIG WAS A WELL-REGARDED
SCULPTOR IN HIS OWN RIGHT.
BUT AFTER HIS DEATH IN 1962,
IT WAS FOUND THAT HE'D ALSO
BEEN A HIGHLY ACCOMPLISHED
AND PROLIFIC FORGER.
AFTER HE DIED, THEY DISCOVERED
A CACHE OF FAKE RODIN DRAWINGS,
INCLUDING A LARGE NUMBER OF
CAMBODIAN DANCERS.
THIS IS OBVIOUSLY EXTREMELY
ALARMING, AND I THINK THE FIRST
THING WE HAVE TO DO IS GO AND
SEE SOME OF THESE DURIG FAKES
AND SEE IF THEY BEAR ANY
RESEMBLANCE TO ALICE'S PICTURE.

(music plays)

Fiona says THIS IS A WORRYING
DEVELOPMENT says ERNST DURIG DUPED
MANY IN THE ART WORLD.
COULD HE ALSO BE RESPONSIBLE
FOR ALICE'S PICTURE?
BUT I'M STILL ON THE TRAIL OF
JIMMY HEINEMAN, THE MAN WHO
GAVE THE PICTURE TO ALICE'S
MOTHER.
I'VE MADE CONTACT WITH ONE OF
HIS RELATIVES, HIS DAUGHTER
MARILYN IN NEW YORK.

Fiona has an online conversation with Marilyn. Marilyn is in her fifties, with short brown hair and wears a red argyle sweater.

Fiona says CAN I FIND ANY EVIDENCE THAT HE
WAS A SERIOUS ART COLLECTOR,
THE TYPE OF MAN WHO WOULD
HAVE BOUGHT A GENUINE RODIN?
I WANTED TO HEAR MORE ABOUT
YOUR FATHER, MARILYN.
WAS HE A COLLECTOR OF ANY KIND?

Marilyn says YES, WE HAD QUITE A
BIT OF ART IN THE APARTMENT, IN
THE HOUSE WHERE I WAS A CHILD
GROWING UP, BUT I CAN'T SAY FOR
CERTAIN WHO THE ARTISTS WERE.
IT WAS RATHER AN ECLECTIC MIX.
HE OWNED WHAT MY PARENTS USED
TO REFER TO AS A FAKE BRUEGEL,
BECAUSE IT WASN'T REALLY, BUT
IT LOOKED VERY BRUEGEL-ISH.
AND HE AT ONE POINT - THERE
WERE MONKEYS WHO WERE PAINTING
PICTURES AT THE CENTRAL PARK
ZOO, AND SO MY FATHER OWNED
SOME MONKEY ART.

Fiona says SO, HANG ON A MINUTE.
SO, HE OWNED A FAKE BRUEGEL -
I'M NOT MASSIVELY ENCOURAGED BY
THAT, I'VE GOT TO BE HONEST -
AND THEN HE OWNED MONKEY ART?

Marilyn says YES, MONKEY ART.

Fiona says AND THEN HE MIGHT
HAVE OWNED A RODIN?
IT'S A PRETTY ECLECTIC MIXTURE
IF HE DID.

Marilyn says YES, I'M QUITE SURE
HE WAS VERY ECLECTIC IN HIS
TASTES.

Fiona says THIS DOESN'T SOUND
TOO PROMISING, BUT I WONDER IF
MARILYN HAS ANY EVIDENCE WHICH
CONNECTS HER FATHER DIRECTLY TO
ALICE'S FAMILY.

Marilyn says AFTER YOU ALL
CONTACTED ME, I WENT INTO A
CABINET AND FOUND AN OLD PHOTO
ALBUM OF MY FATHER'S.
THERE WERE PHOTOGRAPHS TAKEN OF
FRIENDS IN MEXICO CITY, AND ONE
OF THEM WAS MY FATHER AND PAUL,
SO YES -

Fiona says OH, ALICE'S FATHER?

Marilyn says YES.

A black and white picture of 3 men hanging out at a bar appears.

Fiona says SO, THIS IS THE FIRST
VISUAL EVIDENCE THAT CONNECTS
JIMMY HEINEMAN TO ALICE'S
FAMILY.
AND HERE HE IS WITH HER FATHER,
PAUL GENACHTE, IN MEXICO.

(music plays)

Fiona says WELL, THAT WAS INTERESTING.
THAT WAS VERY INTERESTING.
I MEAN, MARILYN HAS CONFIRMED
CERTAIN THINGS FOR US WHICH
HAS BEEN REALLY USEFUL.
SO, HER DAD, JIMMY, WAS IN
MEXICO CITY AT THE RIGHT TIME,
HE DID KNOW ALICE'S FATHER;
THERE'S A PHOTOGRAPH OF THEM
TOGETHER.
BUT THEN WHEN IT COMES TO HIS
ART COLLECTION, THAT'S NOT
QUITE SO PROMISING.
I MEAN, I'M WONDERING IF, AS
WELL AS HIS FAKE BRUEGEL, DID
HE HAVE A FAKE RODIN, AND
THAT'S WHAT HE GAVE TO ALICE'S
MUM?

(music plays)

Philip says MEANWHILE, BACK IN
PARIS, I'M TAKING ALICE'S
PICTURE FOR SOME FORENSIC
ANALYSIS.
HAVING SPENT 25 YEARS RESTORING
RODIN'S DRAWINGS, CAN
CONSERVATOR CLAUDE LAROQUE
IDENTIFY ANY CLUES FROM THE
PAPER WHICH COULD PROVE THE
DRAWING IS GENUINE?
WHEN YOU LOOK AT RODIN
DRAWINGS, HOW DO YOU ANALYZE A
PIECE OF PAPER LIKE THIS?

Claude is in her fifties, with short curly gray hair and wears glasses and a mottled gray sweater.

Claude says FIRST OF
ALL, YOU HAVE TO LOOK IF IT'S A
MACHINE-MADE PAPER OR HANDMADE
PAPER.
SO, FOR EXAMPLE, THIS PAPER IS
A MACHINE-MADE PAPER.

Philip says NOW, HOW CAN YOU
TELL THAT?

Claude says HOW IT LOOKS
LIKE.
IN THE SECOND PART OF THE
19TH CENTURY AND IN THE 20TH
CENTURY, MOST OF THE PAPER IS
MACHINE MADE.

Philip says AND CLAUDE HAS
CONFIRMED THAT ALICE'S DRAWING
WAS PRODUCED ON MACHINE-MADE
PAPER, TOO.
BUT IS THERE ANYTHING
DISTINCTIVE THAT COULD LINK IT
TO RODIN HIMSELF?
SOMETIMES, DO YOU GET
WATERMARKS ON RODIN
WATERCOLOURS?

Claude says YES, YES.

Philip says SOME IMPRINT OF THE
PAPERMAKER.

Claude says A WATERMARK
IS AN INDICATION FROM THE
MANUFACTURER.
UNFORTUNATELY ON THIS PAPER,
WE DON'T HAVE ANYTHING.

Philip says THAT'S FRUSTRATING.
WITH NO WATERMARK, THERE'S NO
WAY OF PROVING EXACTLY WHERE
THIS PAPER CAME FROM.
IT SEEMS THAT FOR ONCE,
FORENSIC SCIENCE CAN'T HELP US
IN THIS INVESTIGATION, BUT CAN
CLAUDE FROM HER YEARS OF
EXPERIENCE SPOT ANYTHING THAT
WOULD SUGGEST ALICE'S DRAWING
IS A FAKE?
AS FAR AS THE RESEARCH WE'VE
DONE, I CAN'T FIND ANYTHING
SPECIFICALLY ABOUT THIS DRAWING
THAT WE WOULD NOT EXPECT TO
FIND IN A RODIN DRAWING.

Claude says NO.
WELL, SOMETIMES, I HAVE SEEN
SOME FAKES, AND WELL, JUST
LOOK AT IT AND SAY, NO, IT'S
ABSOLUTELY NOT FROM RODIN'S
HANDS.
BUT SOME FAKES CAN BE DONE IN A
VERY GOOD WAY!

(music plays)

Philip says I WAS HOPING THAT
WITH THE HELP OF CLAUDE, WE
COULD FIND SOME CLUES IN
ALICE'S DRAWING THAT COULD LINK
US FIRMLY TO THE GREAT MASTER.
BUT IT SEEMS THAT WE CAN'T,
ALTHOUGH SHE DID LEAVE US WITH
AN INTERESTING THOUGHT.
IF IT IS A FAKE, IT'S A GOOD
ONE.

(music plays)

Fiona says I'M WORRIED THAT THE
LACK OF ANY SOLID FORENSIC
EVIDENCE FOR ALICE'S PICTURE
MAKES IT HARDER TO PROVE IT'S A
GENUINE WORK AND NOT A CLEVER
FAKE.
AND WHAT'S WORSE, I'VE RECEIVED
A WORRYING TIP-OFF ABOUT A
FORGERY SCANDAL WHICH HAS
RECENTLY SHAKEN THE FRENCH ART
WORLD.
IN 2014, FRANCE'S PREMIER
NATIONAL ART GALLERY, THE MUSEE
D'ORSAY, INVITED A LEADING
EXPERT TO STUDY THEIR
COLLECTION OF RODIN DRAWINGS,
AND SHE CONCLUDED THAT MANY
WERE FAKES.

(music plays)

Fiona says YOU CAN'T REALLY OVERSTATE THE
IMPACT OF THIS DISCOVERY.
IMAGINE, FAKES AT THE HEART OF
THE FRENCH ART ESTABLISHMENT -
NOT JUST ANYWHERE, BUT IN
THERE, IN THE MUSEE D'ORSAY,
ONE OF THE BEST-KNOWN MUSEUMS
NOT JUST IN FRANCE, BUT IN THE
WORLD.
IMAGINE WHAT THEY FELT WHEN
THEY READ THIS DOCUMENT, WHICH
I'VE MANAGED TO GET HOLD OF.
THIS IS WHAT LIFTED THE LID ON
THE SCANDAL.
AND THE MUSEE D'ORSAY HAS GIVEN
ME THREE FAKES FROM THEIR
COLLECTION.
I'M GOING TO BREAK THE NEWS TO
ALICE, SHOW HER THE FAKES, AND
SEE IF THEY BEAR ANY
RESEMBLANCE TO HER DRAWING.
THE FORGERIES DUPED EXPERTS FOR
GENERATIONS, AND A NUMBER OF
THE FAKERS HAVE BEEN
IDENTIFIED.
WHAT'S PARTICULARLY CONCERNING
IS THAT ONE OF THE KNOWN
CULPRITS IS ERNST DURIG, THE
MAN BENDOR DISCOVERED SELLING
RODIN FAKES IN AMERICA BEFORE
ALICE'S MOTHER WAS GIVEN HER
PICTURE.
HOW DOES ALICE'S DRAWING
COMPARE TO HIS FORGERIES?

(music plays)

Fiona meets Alice and says SO, HERE WE HAVE THE ROGUES'
GALLERY.
SO, LET'S START WITH THIS ONE.
NOW, THIS IS A WORK BY THE MAN
WHO CLAIMED TO BE RODIN'S LAST
PUPIL, ERNEST DURIG.
AND HE HAS DONE A COPY HERE OF
A CAMBODIAN DANCER.
HE WAS PRODUCING THESE DRAWING
PRIMARILY IN THE SORT OF 1920s,
1930s.
THIS PICTURE BY ERNST DURIG IS
THE FIRST FAKE CAMBODIAN DANCER
WE'VE DISCOVERED, AND IT'S
ALARMING THAT IT LAY UNDETECTED
IN THE MUSEE D'ORSAY UNTIL SO
RECENTLY.
SO, WHAT DO YOU THINK IN TERMS
OF MAKING A COMPARISON BETWEEN
THE TWO?

Alice says THAT SEEMS
MUCH MORE STATIC, MUCH MORE
CONTRIVED, BUT THEY TOOK THAT
AS BEING GENUINE.

Fiona says THIS WAS THOUGHT TO
BE GENUINE.
DURIG COPIED RODIN'S DRAWINGS
ACROSS THE SPECTRUM, IF YOU
LIKE.
THESE WERE ALL IN THE MUSEE
D'ORSAY, AND UNTIL 2014, THEY
WERE THOUGHT TO BE GENUINE.
THE ART ESTABLISHMENT HAS KNOWN
ABOUT DURIG SINCE HE WAS FIRST
EXPOSED IN THE 1960s, BUT NO
ONE IMAGINED HIS FAKES WOULD
STILL BE CONNING PEOPLE TODAY.
SO NOW, WHEN YOU LOOK AT YOUR
DRAWING AND YOU REALIZE THE
EXTENT OF THE FAKERY AND ALSO
HOW RECENTLY THIS HAS COME TO
LIGHT.

Alice says IF I'D COME
WITH MY DRAWING A YEAR AGO, IT
MIGHT HAVE BEEN VERY DIFFERENT.

Fiona says WHAT, YOU COULD HAVE
JUST SNUCK IT IN UNDER THE
WIRE?

Alice says SNUCK IT IN!
HELLO, HERE'S MY GENUINE RODIN.

(music plays)

Alice says I WAS UTTERLY AMAZED; I DIDN'T
REALIZE THAT HE WAS SO FAKED
AND THAT THERE WAS SUCH A STORY
BEHIND THE RODIN WATERCOLOURS,
THE WORKS OF ART.
AND IT'S JUST LIKE, WHERE DO
YOU START TO SEPARATE WHAT'S
TRUE FROM WHAT'S NOT TRUE,
WHAT'S, YOU KNOW, A FAKE?
I JUST DIDN'T REALIZE THERE WAS
SO MUCH BEHIND THE SCENES.
I'M ABSOLUTELY GOBSMACKED.

(music plays)

Fiona says THE EMERGENCE OF
ERNST DURIG, WHOSE FORGERIES
DUPED THE MUSEE D'ORSAY FOR SO
LONG, IS A MAJOR CONCERN FOR
ALICE.
THE DRAWING HER MOTHER
CHERISHED FOR SO MANY YEARS,
COULD IT BE A DURIG FAKE?

(music plays)

Philip says MEANWHILE, I'VE COME
TO NEW YORK FOR THE ANNUAL OLD
MASTER SALES, AND WHILE I'M IN
TOWN ON BUSINESS, I WANT TO
FOLLOW UP A NEW LEAD ON THE
FORGER ERNST DURIG.
AT THE PRESTIGIOUS MUSEUM OF
MODERN ART, THERE ARE OVER 150
DRAWINGS BY DURIG.
THESE WERE DONATED TO THIS
RESPECTED INSTITUTION AFTER HE
DIED, AND THIS COLLECTION
CONTAINS SEVERAL IMAGES OF
FAKE CAMBODIAN DANCERS.
THIS IS THE MOST IMPORTANT
SERIES OF DURIG WORKS IN
EXISTENCE, AND, IF ALICE'S
PICTURE IS BY DURIG, THEN WE
REALLY NEED TO COMPARE IT TO
THIS CACHE OF FAKES AT MOMA.
WE'VE BEEN NEGOTIATING WITH THE
MUSEUM, TRYING TO GET ACCESS TO
THAT UNIQUE FILE OF INFORMATION
THAT PROVES THAT DURIG WAS A
FAKER OF RODIN AND ALSO OF HIS
CAMBODIAN DRAWINGS.
NOW, IF WE CAN GET ACCESS TO
THAT, WE MAY BE ABLE TO PROVE
WHAT ALICE'S DRAWING IS.
IS IT A WORK BY THE FAKER?
IN WHICH CASE ITS WORTH I
DON'T KNOW - A COUPLE OF
HUNDRED POUNDS.
BUT COULD WE, THOUGH, PROVE
THAT IT WAS BY RODIN, 100,000 POUNDS.
BUT AFTER SEVERAL DISCUSSIONS,
MOMA TURNED OUR APPROACHES
DOWN.
THEY SAID THAT THEY WOULD BE
HAPPY TO TALK ABOUT RODIN, BUT
NOT ABOUT DURIG.

Fiona says MOMA'S REFUSAL TO LET
US STUDY THEIR DURIG COLLECTION
IS A SETBACK.
BUT THERE'S ONE FINAL PIECE OF
EVIDENCE WE CAN INVESTIGATE.
BACK IN LONDON, ALICE AND I ARE
TAKING HER PICTURE TO THE
COUNTRY'S LEADING SIGNATURE
ANALYST.
ADAM BRAND IS OFTEN CALLED AS
AN EXPERT WITNESS IN COURT
CASES TO ASSESS WHETHER A
DOCUMENT HAS BEEN FAKED.
CAN HE IDENTIFY WHETHER IT WAS
THE FRENCH MASTER HIMSELF WHO
SIGNED ALICE'S DRAWING?
HE'S BEEN STUDYING RODIN'S
GENUINE SIGNATURE ON SOME OF
HIS AUTHENTIC PICTURES.
ADAM, TELL US WHAT WE'RE
LOOKING AT HERE.

Adam is in his sixties, bald and clean-shaven and wears glasses, a blue suit, a pale blue shirt and a patterned green tie.

Adam analyses the signature and says YOU'RE TRYING TO
FIND UNIQUE PECULIARITIES THAT
IN COMBINATION ARE LIKELY TO
BE ONLY FOUND WITH ONE AUTHOR.
THE KEY THING ABOUT RODIN IS
THE FACT THAT HIS WRITING IS
VERY CONNECTED AND THE
BEGINNING TENDS TO TAPER IN,
THEN IT GOES TO A COVERING
STROKE THERE.
DO YOU SEE THE FACT THAT HE
COULD'VE STOPPED THERE?
WELL, HE DOESN'T, AND IT PUSHES
DOWN INTO THE LOWER ZONE.
HE STARTS HIS "R" WITH AN UP
STROKE, RATHER THAN A DOWN
STROKE.
HE HAS A SLIGHT LOOP IN
THE "O."
HE OPENS UP HIS "D," HE GIVES
A LOOP HERE, AND IT'S VERY
CONNECTED.
AND THE FINISH IS CLEAR, AND
THEN HE HAS AN UNDERLINING
PARAPH.

Fiona says SO, CAN ADAM SPOT ANY
OF THESE DISTINCT
CHARACTERISTICS IN THE
SIGNATURE ON ALICE'S PICTURE?

Adam says THE BEGINNINGS
OF SIGNATURES AND THE ENDS OF
SIGNATURES ARE VERY IMPORTANT.
NOW, YOU'RE NOT GETTING THAT
SMOOTH ENTRY, YOU'RE GETTING A
NICK.
AND YOU GET TO THIS "O."
NOW, THE DIFFICULTY WITH THIS
"O" IS THE FACT THAT IT DOESN'T
GIVE YOU A LOOP.
IT HASN'T GOT THE CLARITY THAT
YOU GET FROM RODIN, WHICH IS
GOING ROUND LIKE THAT AND THE
LITTLE OPEN TOP GOING OFF TO
THAT DIRECTION.
IT'S VERY ODD, AND WHAT WORRIES
ME ABOUT THIS IS THAT THE "D."
HAS TOTALLY DISAPPEARED.
BUT AT THE END, YOU HAVE AN
ISSUE HERE.
WHAT YOU'VE GOT IS QUITE A WEAK
FINISH.
NOW, MOST OF RODIN'S KNOWN
SIGNATURES HAVE QUITE A STRONG
FINISH.
THEY FINISH WITH A CERTAIN
AMOUNT OF DEFINITENESS.

Fiona says WITH GUSTO.

Adam says WITH GUSTO.
INTERESTINGLY, THIS SIGNATURE
IS NOT WEAK ALL THE WAY THROUGH
BECAUSE THEN SUDDENLY YOU GET A
FINISHING PARAPH, THIS
UNDERLINING, WHICH AGAIN
BECOMES VERY STRONG.
SO, ONE CAN'T SAY, OH, WELL,
HE WAS FEELING TIRED, BECAUSE
SUDDENLY HE PICKS UP THE ENERGY
AGAIN.
NOW, THAT ENERGY SHOULD BE IN
THERE, AND IT ISN'T.

On screen appears the comparison of the signature on Alice’s picture and Rodin’s actual signature.

Fiona says ON YOUR ASSESSMENT,
ADAM, COULD THAT SIGNATURE BE
BY RODIN?

Adam says I WOULD BE
SLIGHTLY DOUBTFUL THAT IT IS A
RODIN SIGNATURE.
I'M SORRY, ALICE.

Alice says NO.

Fiona says ARE YOU EVER WRONG?

Adam says YEAH.

Alice says COULD YOU BE?

Adam Brand says YEAH.
OH, AM I EVER WRONG?
YES.

(music plays)

Fiona says WITH ADAM DOUBTING
THE AUTHENTICITY OF THE
SIGNATURE ON ALICE'S DRAWING,
IT'S NOW TIME TO REGROUP AND
CATCH UP WITH BENDOR, WHO HAS
SOME NEWS ON THE FORGER ERNST
DURIG.

(music plays)

Bendor says I'VE BEEN HAVING
ANOTHER LOOK INTO ERNST DURIG'S
LIFE AND I FOUND SOME NEWSPAPER
REPORTS AND PHOTOGRAPHS THAT
SHED SOME MORE LIGHT ON HIS
RATHER ECCENTRIC CAREER.
HERE HE IS ON THE LEFT AT THE
WHITE HOUSE, NEXT TO HERBERT
HOOVER, AND THEY'RE UNVEILING
THIS REALLY RATHER
EXTRAORDINARY GIANT BUST OF
GEORGE WASHINGTON.

Fiona says I MEAN, THAT IS A
MONSTER!

Bendor says NASTY THING.
QUITE HOW DURIG EVER THOUGHT HE
COULD GET AWAY WITH HIS CLAIM
THAT HE WAS A PUPIL OF RODIN'S
AND THEN MAKE A SCULPTURE
THAT'S QUITE THAT BAD, I DON'T
KNOW.
HE WAS EVICTED FROM HIS HOME
RATHER BRUTALLY, WHICH IS
RATHER TRAGIC.
EVENTUALLY, HE ENDED UP, RATHER
SADLY, IN AN ASYLUM, AND HE
DIED IN 1962.
BUT IT WAS ONLY AFTER HIS DEATH
THAT HE WAS REVEALED TO BE A
PROLIFIC FORGER OF RODIN'S
DRAWINGS.

Fiona says WELL, TALKING OF
FORGERS, I WAS A BIT
DISHEARTENED WITH THE SIGNATURE
ANALYSIS THAT WE DID OF ALICE'S
PICTURE, AND SO I RANG THE
MUSEE RODIN JUST TO SEE WHAT
ELSE I COULD FIND TO TRY AND
BOLSTER OUR CASE.
AND THEY TOLD ME WHEN HE GAVE
HIS DRAWINGS TO HIS FRIENDS, HE
DIDN'T GENERALLY BOTHER TO SIGN
THEM.
IF THEY WANTED THEM SIGNED AND
ASKED HIM TO DO SO, HE WOULD
SAY - YOU KNOW, HE COULDN'T BE
BOTHERED, AND GET THEM TO COPY
A SIGNATURE THEMSELVES.
SO THEN, WE'RE LEFT WITH A
SITUATION, WHICH I CAN HARDLY
BEAR TO CONTEMPLATE, WHERE YOU
MIGHT HAVE A GENUINE RODIN AND
A FAKE SIGNATURE.
WITH THIS NEWS ABOUT RODIN'S
SIGNATURES, HOW DO DURIG'S FAKE
CAMBODIAN DANCERS COMPARE WHEN
HELD UP AGAINST ALICE'S
PICTURE?

(music plays)

Philip says OBVIOUSLY, THERE IS
SO MUCH TO PLAY FOR HERE, BUT
I'VE MANAGED TO DIG OUT FROM
BALTIMORE MUSEUM OF ART TWO
FAKES, TWO PROPER FAKES,
ESTABLISHED WORKS BY DURIG, AND
I THINK IT'S FASCINATING WHEN
YOU LOOK AT THESE AND YOU KEEP
ALICE'S DRAWING IN MIND,
THERE'S A SORT OF BONELESS,
FLACCID QUALITY IN THE WAY THAT
THEY'RE DONE.
I MEAN, LOOK AT THAT ARM THERE
ON THE LEFT, WITH THOSE SORT OF
BANANA LEAF-LIKE FINGERS.
THERE'S A SORT OF LACK OF
ANATOMICAL AUTHORITY.
AND LOOK AT THE WOMAN ON THE
RIGHT, LOOK AT THE
CHARACTERIZATION.
SHE IS OVERLY SEXUALIZED; SHE
DOESN'T LOOK LIKE A CAMBODIAN
DANCER.
AND THEN WHEN YOU PUT BOTH OF
THEM NEXT TO ALICE'S DRAWING, I
DON'T KNOW WHAT YOU FEEL, BUT
THERE'S A DYNAMISM.

Bendor says WHEN ALICE'S DRAWING
POPPED UP IN BETWEEN THOSE TWO
THERE, IT FELT IMMEDIATELY LIKE
SOMEONE HAD TURNED THE MUSIC
ON, BECAUSE THAT FEELS TO ME
MORE CONVINCINGLY LIKE SOMEONE
WHO'S ACTUALLY DOING A DANCE,
WHEREAS THE TWO DURIGS ON THE
LEFT AND RIGHT FEEL TERRIBLY
FORCED AND COMPOSED LIKE LITTLE
SORT OF STIFF MANNEQUINS THAT
SOMEONE HAD TRIED TO BRING TO
LIFE BUT FAILED.

Fiona says PHILIP AND BENDOR
DON'T THINK ALICE'S PICTURE
LOOKS LIKE A DURIG FORGERY.
BUT HAVING EXHAUSTED THE
SCIENTIFIC AND PROVENANCE
RESEARCH, THERE'S ONLY ONE
COURSE OF ACTION LEFT.

(music plays)

Philip says THERE IS NO OTHER
WAY TO JUDGE THIS PICTURE NOW
OTHER THAN STYLISTICALLY, AND
THERE'S ONE WOMAN WHO HAS SPENT
MORE TIME STUDYING RODIN
DRAWINGS THAN ANYBODY ELSE.
BUT NOT ONLY THOSE, THE FAKES
AS WELL, THE DARK AS WELL AS
THE LIGHT.
WE NEED HER TO EXAMINE ALICE'S
PICTURE AND GIVE US HER VIEWS.

(music plays)

Philip says IT WAS CHRISTINA BULEY WHO
UNCOVERED THE RECENT FAKE
SCANDAL AT THE MUSEE D'ORSAY,
AND IT'S HER VERDICT THAT THE
ART MARKET WILL LOOK TO.
IT'S VITAL SHE STUDIES ALICE'S
PICTURE TO DETERMINE IF INDEED
IT IS A GENUINE AND
UNDISCOVERED WORK BY RODIN.
SHE COULD BE OUR LAST HOPE IN
CRACKING THIS CASE.

Christina is in her forties, with short straight brown hair and wears jeans, a white shirt, a beige cardigan sweater and a blue green coat.

Phil says BEFORE SHE EXAMINES THE PICTURE
IN THE FLESH, CAN SHE TELL US
WHAT CLUES WILL SWAY HER
DECISION?

Fiona says USUALLY WHEN WE GET
TO THIS STAGE, WHERE WE HAVE
SOMEONE LIKE YOURSELF COME AND
LOOK AT THE DRAWING, WE WOULD
HAVE BUILT A STRONG CASE FOR
OUR PAINTING OR DRAWING WITH
THE PROVENANCE, AND WE JUST
HAVEN'T BEEN ABLE TO DO IT
WITH THIS ONE.
SO, IT ALL COMES DOWN TO YOU
AND YOUR STYLISTIC ASSESSMENT
OF THE DRAWING.
HOW CONFIDENT CAN YOU BE THAT
YOU'LL BE RIGHT?

Christina says THERE ARE
MORE THAN 7,000 DRAWINGS AND
I'VE HAD THE CHANCE TO STUDY
THOSE DRAWINGS FOR NINE YEARS
WHEN I WAS WORKING AT THE MUSEE
RODIN, AND I'VE COME ACROSS
MANY, MANY FAKES.

Philip says SO, WHEN YOU'RE
TRYING TO DETERMINE WHETHER A
RODIN DRAWING IS AUTHENTIC,
WHAT SORT OF TRAITS, WHAT SORT
OF CHARACTERISTICS ARE YOU
LOOKING FOR?

Christina says WELL,
YOU'RE LOOKING FOR A VERY FLUID
LINE FROM THE TOP TO THE
BOTTOM, AND EVEN IN THE
CAMBODIAN SERIES, YOU WOULD
FIND THE "LIGNE DU NU," AS
RODIN WOULD SAY.

Fiona says THE LINE OF THE NUDE.

Christina says THE LINE OF
THE NUDE THROUGH THE COSTUME.

Philip says THIS IS ENCOURAGING.
BUT HAS CHRISTINA SPOTTED ANY
OF THESE DISTINCTIVE TRAITS IN
ALICE'S PICTURE?

Fiona says CHRISTINA, I KNOW
YOU'VE NOT SEEN THE DRAWING IN
THE FLESH, BUT YOU'VE SEEN SOME
IMAGES OF IT.
WHAT ARE YOUR FIRST
IMPRESSIONS?

Christina says WELL, I
WOULD SAY THERE ARE SOME VERY
GOOD ELEMENTS IN THIS DRAWING -
FOR EXAMPLE, THE COSTUME, THE
WATERCOLOUR, THE MONOCHROME -
THAT IS VERY TYPICAL OF RODIN -
AND THE SIMPLIFICATION, AND
ALSO THE BLACK CRAYON ON THE
COSTUME.
THAT IS QUITE RODINESQUE.

Fiona says IS THERE ANYTHING
THAT STRUCK YOU IN THESE IMAGES
THAT YOU THOUGHT, MMM, NOT SO
SURE?

Christina says WELL, I
FIND THAT THE GENERAL ASPECT OF
THE CAMBODIAN DANCER IS A BIT
CLUMSY, AND IN MANY FAKES, THE
FEET AND THE ARMS AND THE HEAD
SEEM TO BE COMBINED AROUND A
GENERAL BODY AND THE COSTUME.

Philip says NOW, FOR THE FIRST
TIME, CHRISTINA WILL CAREFULLY
STUDY THE ORIGINAL PICTURE
ITSELF.

Fiona says IT'S HARD TO KNOW
WHICH WAY CHRISTINA IS GOING TO
GO, BUT FOR ALICE, IT'S HUGELY
IMPORTANT THAT THIS DRAWING IS
GENUINE.
IT'S SUCH AN IMPORTANT PART OF
HER FAMILY HISTORY.
HER MOTHER PAINSTAKINGLY AND
CAREFULLY LOOKED AFTER THIS
PICTURE FOR YEARS.
ALICE KNOWS ALL ABOUT THAT.
AND SO, IF THE DRAWING ISN'T
GENUINE, IT MEANS THAT THAT WAS
ALL FOR NOTHING, AND THAT STORY
DOESN'T REALLY HAVE ANY MEANING
ANYMORE.
AND I THINK THAT WOULD BE
REALLY DISAPPOINTING.

(music plays)

Philip says CHRISTINA HAS GOT A
REALLY TRICKY JOB.
THERE'S NO SCIENCE TO FALL BACK
UPON.
THERE'S NO PROVENANCE EITHER.
SHE'S JUST GOT TO USE ONE THING
AND ONE THING ONLY says HER EYE.
WHAT'S FOR SURE IS THAT
WHATEVER THE OUTCOME, THIS IS
A VERY CLOSE CALL.

(music plays)

Fiona says TO MAKE HER DECISION,
CHRISTINA NEEDS TO RETURN TO
FRANCE TO COMPARE HER NOTES ON
ALICE'S PICTURE WITH HER
PREVIOUS INVESTIGATIONS INTO
RODIN'S CAMBODIAN DANCERS.

(music plays)

Fiona says FOUR WEEKS LATER, CHRISTINA
SENDS A LETTER TO THE GALLERY,
SO WE'VE CALLED ALICE BACK TO
HEAR THE OFFICIAL VERDICT ON
HER PICTURE.

(music plays)

The team meets with Alice.

Fiona says HI, ALICE.

Alice says HELLO!

Fiona says ARE YOU READY FOR
THIS?

Alice says YES, AS READY
AS I'LL EVER BE.
[laughs]

Fiona says WE'VE RECEIVED A
LETTER FROM CHRISTINA BULEY,
WHO IS THE WORLD AUTHORITY ON
RODIN DRAWINGS AND WHO HAS
LOOKED AT YOURS, AND HER
VERDICT IS IN THIS ENVELOPE.

Alice says HOW EXCITING.

Philip says AND ALICE, IT'S
REALLY WORTH CONSIDERING WHAT
WE COULD BE DEALING WITH HERE
IF YOUR DRAWING IS PROVED TO
BE RIGHT.
IT WOULD BE A VERY IMPORTANT
ADDITION TO THE KNOWN BODY OF
WORKS BY RODIN ON PAPER.
AND SHOULD IT BE PROVED
CONCLUSIVELY RIGHT TO THE
SATISFACTION OF THE ART WORLD,
WE COULD BE TALKING ABOUT
100,000 POUNDS.

Fiona says SHALL I OPEN IT?

Alice says PLEASE DO.

Fiona says OKAY, LET'S SEE WHAT
SHE HAS TO SAY.
IT STARTS says "AFTER THOROUGHLY
STUDYING THE GRAPHITE AND
WATERCOLOUR DRAWING OF A
CAMBODIAN DANCER YOU PRESENTED
TO ME, I AM SORRY TO INFORM YOU
I DO NOT RECOGNIZE THE HAND OF
AUGUSTE RODIN."

Alice says OH, MY
GOODNESS.

Fiona says SORRY, ALICE.

Alice says NO, THAT'S
FAIR ENOUGH.

[Fiona sighs]

Fiona says WE...
AS YOU KNOW, IT CAME DOWN TO
THE STYLISTIC ANALYSIS OF IT,
AND SHE CLEARLY DOESN'T FEEL
THAT IT IS BY HIM.

Alice says COULD IT BE...
WELL, I SUPPOSE THEN IT MUST
BE A FAKE.

Fiona says CHRISTINA DOES
BELIEVE SHE CAN IDENTIFY THE
ARTIST RESPONSIBLE FOR ALICE'S
PICTURE.

(music plays)

Fiona says SHE DOES SAY WHO SHE THINKS IT
IS BY, A RENOWNED FAKER OF
RODIN'S DRAWINGS, ERNST DURIG.
THE MAN WHO CLAIMED TO BE
RODIN'S LAST PUPIL AND WHO
FOOLED THE ART WORLD FOR
DECADES.

Bendor says I HAVE TO SAY I'M
SURPRISED BY THE ASSERTION THAT
IT'S DURIG.
IT STILL STRIKES ME AS TOO
GOOD, TOO CONFIDENT TO BE BY
SOMEONE WHO WAS FAKING, SOMEONE
WHO DIDN'T REALLY FEEL THAT
THEY WERE NATURALLY DOING A
DEPICTION OF A CAMBODIAN
DANCER, AND I STILL REALLY LIKE
IT.

Fiona says WELL, THE ONLY THING
I WOULD SAY IS CHRISTINA HAS
MADE IT HER LIFE'S WORK
STUDYING ALL OF RODIN'S DRAWING
AND THE FAKES BY DURIG, AND SHE
GOES INTO SOME DETAIL ABOUT WHY
SHE THINKS IT ISN'T BY RODIN.
AND SHE FEELS THAT IT HAS MORE
OF THE DISTINCTIVE, WHAT SHE
CALLS THE DISTINCTIVE STYLISTIC
MARKS OF DURIG AND FAR FEWER OF
THOSE OF RODIN.

Alice says HOW
INTERESTING.

Philip says THIS IS CLOSURE IN
ART WORLD TERMS, I'M AFRAID.
SHE IS THE PERSON WE GO TO;
THEREFORE, WE HAVE TO LIVE BY
HER VERDICT.

Fiona says SO, THE OFFICIAL
VERDICT IS THE PICTURE IS BY
DURIG.
THIS MEANS THAT JIMMY HEINEMAN
BOUGHT A CLEVER FORGERY, WHICH
HE WOULD LATER GIVE TO ALICE'S
MOTHER.

(music plays)

Alice says I'M SURE IT
WAS GIVEN TO MY MOTHER IN GOOD
FAITH, BUT...

Fiona says IT COULD WELL HAVE
BEEN BECAUSE DURIG WAS NOT
OUTED AS A FAKER AT THAT TIME.
SO JIMMY HEINEMAN COULD HAVE
THOUGHT THAT THIS WAS A GENUINE
RODIN.

Alice says YEAH, I SHALL
LOOK AT IT SLIGHTLY DIFFERENTLY
FROM NOW ON.
[laughs]

Fiona says BUT TREASURE IT
NONETHELESS, I HOPE.

Alice says OH, YES, AND
THANK YOU SO MUCH.
IT'S JUST...
I DID WANT TO KNOW, SO NOW I
KNOW.

Fiona says WELL, I'M SORRY IT
WASN'T THE VERDICT WE ALL WOULD
HAVE WANTED.

Alice says THAT'S ALL
RIGHT.
IT WAS NEVER FOR THE MONEY; IT
WAS JUST TO FIND OUT WHERE IT
CAME FROM.
IT'LL STILL GO ON MY WALL
THOUGH.

(music plays)

Fiona says SOMETIMES,
REGRETTABLY, ON FAKE OR
FORTUNE, WE HAVE TO OVERTURN
RATHER THAN PROVE FAMILY
LEGENDS.

(music plays)

Fiona says AND WITH ALICE'S PICTURE, THE
FAKER ERNST DURIG HAD US
GUESSING 'TIL THE LAST MINUTE.

(music plays)

Fiona says WELL, I THINK ALICE TOOK THAT
VERY WELL, WITH HER TYPICAL
GENEROSITY OF SPIRIT, AND I
HOPE IT'S OF SOME COMFORT TO
HER THAT WE HAVE AT LEAST SHED
A LIGHT ON AN AREA OF RODIN'S
WORK THAT IS LESS KNOWN, HIS
DRAWINGS, AND IN PARTICULAR HIS
DRAWINGS OF CAMBODIAN DANCERS.
IT'S JUST UNFORTUNATE THAT THEY
HAVE BEEN SO HUGELY FAKED AND
THOSE FAKES HAVE WORKED THEIR
WAY ALL AROUND THE WORLD, EVEN
AS FAR AS MEXICO CITY.

Philip says AND, OF COURSE, IT'S
A REMINDER, ISN'T IT, HOW WHEN
ONE IS DEALING WITH A GREAT
INTERNATIONAL ARTIST, WHEN THE
STAKES ARE REALLY HIGH, HOW
QUICKLY THE WORLD OF FAKERY CAN
FOLLOW.
AND THEN, WHEN YOU'RE DEALING
WITH A REALLY GREAT FAKER,
SOMEONE WHO HAS STUDIED THEIR
SUBJECT FROM THE INSIDE, HOW
SOON THE WATERS CAN THEN BECOME
MUDDIED, AND HOW TRUTH AND
DECEPTION CAN THEN BE SO
DIFFICULT TO TELL APART.

(music plays)

Fiona says IF YOU THINK YOU HAVE
AN UNDISCOVERED MASTERPIECE,
WE'D LOVE TO HEAR FROM YOU AT:

A caption reads "bbc.co.uk/fakeorfortune."

The end credits roll against the grainy orange surface of a painting.

Presented by Fiona Bruce and Philip Mould.

Specialist Research, Doctor Bendor Grosvenor.

Executive Producer, Simon Shaw.

Series Producer, Robert Murphy.

Produced and directed by Francis Welch.

All3Media International.

B.B.C. Arts Production Bristol - BBC 2016.

Watch: Ep. 3 - Rodin