Transcript: Fake or Fortune Series 7 - Episode 3 | Oct 21, 2020

Fast clip shows images of an art auction at Christie's.
The auctioneer says AT 42 MILLION...

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

The auctioneer says SOLD!
THANK YOU VERY MUCH.

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

Philip contemplates a painting and says THIS IS IT.

Fiona says 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.

Fiona Bruce is in her forties with shoulder length brown hair in a layered cut. She wears a patterned blue chiffon blouse and a long brown and blue necklace.

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 says TA-DAH!

A woman says OH, WOW!

Fiona says EVERY CASE IS PACKED WITH
SURPRISE AND INTRIGUE.

A man says IS IT OR ISN'T IT A FREUD
THEN?

Fiona says BUT NOT EVERY PAINTING IS
QUITE WHAT IT SEEMS.

Philip says TWO ARTISTS, RATHER THAN ONE.

Fiona says IT'S A JOURNEY THAT CAN END
IN JOY...
THAT IS ENOUGH TO SUPPORT
THE CONCLUSION THAT IT IS BY
TOM ROBERTS!

A couple smiles and hugs.

Fiona says OR BITTER DISAPPOINTMENT.

A woman says I DON'T THINK IT'S A WORK BY
GAUGUIN.
I'M VERY SORRY.

Fiona says IN THIS EPISODE, CAN
WE PROVE THAT THIS IS A SKETCH
BY THE GREAT 20TH-CENTURY
SCULPTOR HENRY MOORE?
THERE'S A LOT OF HENRY MOORES
OUT THERE.
THAT'S WHAT I'M WORRIED ABOUT.
OUR INVESTIGATION WILL TAKE US
BACK TO ONE OF THE DARKEST
MOMENTS IN EUROPEAN
20TH-CENTURY HISTORY.

A picture of Hitler appears.

A blond woman says HE WAS BUYING ART FROM
JEWISH PEOPLE WHO WERE LATER,
YOU KNOW, DEPORTED TO AUSCHWITZ.

Fiona says WE'LL SHINE A LIGHT ON
ITS HIDDEN SECRETS.

Philip says THIS IS SO FRUSTRATING.
WE SEEM TO BE GETTING SO CLOSE
WITH THIS DRAWING, AND THEN IT
JUST PULLS AWAY.

Fiona says OUR INVESTIGATION WILL
TAKE US ON A TRAIL FROM RURAL
ENGLAND TO A SECRET ART HOARD...

A woman with short straight brown hair says HE WAS QUESTIONED ON A TRAIN
FROM SWITZERLAND TO GERMANY WITH
A LARGE AMOUNT OF CASH.

Fiona says --IN OUR QUEST TO
SOLVE THE MYSTERY.

(theme song plays)

The caption "Fake or Fortune?" appears against the grainy orange surface of a painting.
Aerial views show images of the city of London.

Fiona says SOMETIMES,
FAKE OR
FORTUNE GETS INVOLVED WITH A
STORY WHICH MAKES HEADLINE
NEWS.
IN 2012, A STASH OF OVER 1,000
ARTWORKS WERE FOUND HIDDEN
AWAY IN THE HOME OF AN ELDERLY
GERMAN MAN, CORNELIUS GURLITT.
THIS EXTRAORDINARY COLLECTION
BECAME KNOWN AS THE GURLITT
HOARD.
AMONG THE HUGE STASH OF
PAINTINGS ARE MASTERPIECES BY
THE LIKES OF MONET, CÉZANNE,
PICASSO.
MANY WERE THOUGHT LOST FOREVER.
SOME WERE BELIEVED LOOTED BY
THE NAZIS.
CORNELIUS GURLITT'S HOARD IS
NOW HELD AT A MUSEUM IN BERN IN
SWITZERLAND.
AND THEY'VE BEEN IN TOUCH TO
ASK US TO HELP INVESTIGATE A
DRAWING.
OUT OF THE HUNDREDS OF WORKS,
IT'S THE ONLY ONE POTENTIALLY
BY A BRITISH ARTIST.

Philip says SO, HERE'S THE
DRAWING IN QUESTION.
AND IT PURPORTS TO BE A WORK BY
HENRY MOORE, THAT GREAT
20TH-CENTURY SCULPTOR AND
ARTIST.

Fiona says WELL, IT CERTAINLY LOOKS LIKE
HIS KIND OF SUBJECT MATTER,
DOESN'T IT?
THESE GREAT RECLINING NUDES.

Philip says AND NOT ONLY THAT.
IF IT IS BY HENRY MOORE, WE'RE
GETTING TWO DRAWINGS FOR THE
PRICE OF ONE.
BECAUSE IF YOU FLIP IT OVER,
YOU CAN SEE HE'S USED THE PAPER
ECONOMICALLY.

Fiona says WHAT REALLY INTERESTS ME
ABOUT THIS IS WHERE THIS CAME
FROM.
BECAUSE I REMEMBER I WAS IN THE
NEWSROOM WHEN THE STORY BROKE
ABOUT CORNELIUS GURLITT.
AND HE IS THE MAN WHOSE
COLLECTION THIS DRAWING HAS COME
FROM.
AND HE HAD THIS COLLECTION.
HE'D INHERITED IT FROM HIS
FATHER.
HE WASN'T SPENDING THE MONEY.
THIS WAS NOT A MAN WITH A LAVISH
LIFESTYLE.
HE JUST LIVED IN THIS DARK
LITTLE APARTMENT, SURROUNDED
BY THE MOST GLORIOUS ART.

Philip says AND THE QUESTION, OF COURSE,
BEING ASKED BY THE ART WORLD AT
THE TIME IS, WHERE DID HIS
FATHER GET IT FROM?
I MEAN, THAT'S KEY, BECAUSE THAT
TAKES US BACK TO THOSE REALLY
DARK MOMENTS IN THE '30S WHEN
ART WAS BEING PLUNDERED FROM
JEWISH FAMILIES.
THERE WERE THOSE FORCED SALES.
MODERN ART WAS BEING STRIPPED
OUT OF MUSEUMS.

Fiona says SO, WE NEED TO ESTABLISH
WHERE THE PICTURE CAME FROM, IN
ORDER TO THEN WORK OUT WHERE IT
SHOULD GO.

(music plays)

Fiona says EVERY PIECE IN CORNELIUS
GURLITT'S HOARD HAS TO BE
RESEARCHED.
IF IT WAS ART STOLEN OR LOOTED
FROM JEWISH FAMILIES IN WORLD
WAR TWO, IT SHOULD BE RETURNED.
SO OUR INVESTIGATION NEEDS TO
ESTABLISH TWO THINGS.
FIRSTLY, IS THIS A GENUINE
SKETCH BY HENRY MOORE?
OR IS IT A FAKE?
AND SECONDLY, IF IT IS A HENRY
MOORE, HOW DID A WORK BY A
BRITISH ARTIST END UP IN
GERMANY?
THE ANSWER TO THIS WILL DECIDE
ITS FATE.

Philip says WE'RE BEGINNING OUR
INVESTIGATION IN RURAL
HERTFORDSHIRE AT THE HENRY
MOORE STUDIOS AND GARDENS.

Godfrey says HOW ARE YOU, PHILIP?

Philip says HI, THERE.

Godfrey says GOOD TO SEE YOU.

Godfrey is in his forties, bald and clean-shaven and wears a black suot, pale blue shirt and yellow tie.

Philip says GODFREY WORSDALE IS
THE DIRECTOR OF THE HENRY MOORE
FOUNDATION AND CHAIR OF THE
REVIEW PANEL WHICH
AUTHENTICATES MOORES.
HENRY MOORE IS BEST KNOWN FOR
HIS MONUMENTAL SCULPTURES.
THE SON OF A YORKSHIRE
COALMINER, HE ROSE TO
INTERNATIONAL PROMINENCE AFTER
THE SECOND WORLD WAR.
AND TODAY, HIS WORK IS IN
MUSEUMS AND PUBLIC SPACES IN 38
COUNTRIES, FROM TOKYO TO ROME
TO LONDON.
BUT WHAT ABOUT OUR LITTLE
SKETCH?
COULD THIS BE BY THE SAME HAND?
GODFREY'S TAKING US TO ONE OF
HENRY MOORE'S STUDIOS, WHICH IS
FILLED WITH THE SMALL
MAQUETTES, THE PREPARATORY
MODELS FOR HIS SCULPTURES.

Godfrey says I THINK, FOR MANY PEOPLE,
THIS IS POSSIBLY MOORE'S MOST
INTERESTING STUDIO.

Fiona says IT'S AN EXTRAORDINARY
SPACE, ISN'T IT?
IT'S LIKE LOOKING INTO HENRY
MOORE'S MIND.

Godfrey says ABSOLUTELY.

Philip says SO, GODFREY, YOU'VE HAD THE
BENEFIT OF LOOKING AT THIS
DRAWING.
WHAT DO YOU THINK ARE ITS
CHANCES OF BEING BY HENRY MOORE?

Godfrey says I MEAN, AT THIS POINT, WHAT I
WOULD SAY IS, IT IS A WORK OF
ART I WOULD BE VERY KEEN TO GET
IN FRONT OF THE REVIEW PANEL.

Fiona says ARE MANY WORKS SUBMITTED TO
YOUR PANEL, YOUR AUTHENTICATING
PANEL?

Godfrey says WE RECEIVE AROUND 200 TO 300
ENQUIRIES EVERY YEAR.
BUT ONLY 30 OR 40 WILL MAKE IT
THROUGH TO THE REVIEW PANEL.

Fiona says THAT IS A LOT, THOUGH.

Godfrey says IT IS A LOT, BUT MOORE WAS A
VERY LONG-LIVED AND PROLIFIC
ARTIST.
AND HE WAS COPIED AND FAKED
VERY OFTEN.
BUT STILL, WE ALSO SEE REAL
HENRY MOORE DRAWINGS THAT WE
WEREN'T AWARE OF THAT WE CAN ADD
TO THE CATALOGUE RAISONNÉ.

Fiona says WHAT DO WE NEED TO DO TO
PROVE THIS DRAWING TO YOU?
WHAT EVIDENCE DO WE NEED TO
BRING YOU?

Godfrey says WE NEED THE WHOLE PACKAGE TO
COME TOGETHER: THE EVIDENCE,
THE OBJECT, THE COMPARISONS.
AND THEN WE'RE IN BUSINESS.

Philip says WE'RE GOING TO DO OUR
DAMNEDEST ON THIS ONE, AREN'T
WE?
I MEAN, IT'S A LOT TO PROVE.

Fiona says AND THERE'S A LOT OF HENRY
MOORES OUT THERE.
THAT'S WHAT I'M WORRIED ABOUT.

Philip says MOORE MAY HAVE MADE
HIS NAME THROUGH HUGE
SCULPTURES.
BUT HIS IDEAS OFTEN STARTED AS
A SKETCH.
IT WAS A WAY HE COULD WORK
THROUGH HIS THOUGHTS.
TIME AND TIME AGAIN, IN BOTH
SKETCHES AND SCULPTURES, HE
RETURNED TO HIS FAVOURITE
SUBJECT: THE RECLINING FEMALE
NUDE.

He leans against a large scale sculpture of a nude mother and child and says THIS WAS SOMETHING THAT ARTISTS
HAD EXPLORED AND EXPLOITED FOR
HUNDREDS OF YEARS.
BUT THE DIFFERENCE IS THAT
HENRY MOORE APPLIED THE
LANGUAGE OF ABSTRACTION, OF
ABSTRACT ART.
WHAT HE DID WAS PLAY AROUND WITH
THE FORM, THE SHAPE, THE SPACE,
THE VOIDS.
PRODUCING SOMETHING DYNAMIC AND
NEW.
IN THE 1920S AND '30S, MOORE
WAS OUT OF STEP WITH MUCH OF
THE BRITISH ART ESTABLISHMENT.
HE REJECTED THE
CLASSICAL-LOOKING FIGURES OF
TRADITIONAL SCULPTURE.
BUT LOOKED INSTEAD FOR
INSPIRATION ON THE CONTINENT,
AT RADICAL ARTISTS LIKE PICASSO
AND BRANCUSI.
HIS EARLY WORK BLAZED A TRAIL
FOR BRITISH MODERNISM.
IT HAS TO BE SAID THAT HIS ART
WASN'T ALWAYS WELL-RECEIVED.
THE
MORNING POST
THUNDERED THAT
HIS WORK WAS A MENACE TO
STUDENTS FROM WHICH THEY SHOULD
BE PROTECTED.
SOME OF HIS PUBLIC SCULPTURES
WERE DAUBED IN BLUE PAINT AND
TARRED AND FEATHERED.
BUT IN THE END, HENRY MOORE WON.
HIS SCULPTURE BEGAN TO SPRING UP
IN SQUARES AND FORECOURTS ACROSS
THE GLOBE.
AND EVERY ONE OF HIS SCULPTURES
WAS A TESTAMENT TO THAT
EXPRESSIVE NEW LANGUAGE THAT HE
CREATED: THE LANGUAGE OF HENRY
MOORE.
AT THE MOMENT, WE'VE ONLY SEEN
A PHOTO OF THE SKETCH.
BUT I CAN ALREADY SEE ECHOES OF
THE SHAPES AND FORMS THAT MOORE
EXPLORED IN HIS SCULPTURES.
BUT AS GODFREY SAID, WE'VE GOT
A LOT OF WORK TO DO BEFORE
WE'LL CONVINCE HIM THAT THIS IS
A GENUINE MOORE.
TO GET ANY FURTHER, WE NEED TO
SEE THE SKETCH IN THE FLESH.
AND THAT MEANS A TRIP TO
SWITZERLAND.

(music plays)

Fiona says I'VE NEVER BEEN TO
BERN, THE CAPITAL OF
SWITZERLAND, BEFORE.
IT'S RATHER LOVELY, ISN'T IT?

Philip says YES, BUT SWITZERLAND
IS THE COUNTRY OF MY TWO
GREATEST WEAKNESSES: CHEESE AND
CHOCOLATE.

Fiona says WELL, AT LEAST YOU'VE MANAGED
TO HOLD BACK ON THE CUCKOO
CLOCKS.

Philip says I EVEN WENT THROUGH A PHASE
OF THEM.

Fiona says I SHOULD HAVE KNOWN.
WE'RE ON OUR WAY TO THE MUSEUM
OF FINE ART, WHICH HOUSES
CORNELIUS GURLITT'S COLLECTION.
DR. NINA ZIMMER IS THE MUSEUM
DIRECTOR.

Philip says HOW NICE TO MEET YOU.

Nina says NICE MEETING YOU.

Fiona says HI, THERE.

Nina says HI, FIONA, WELCOME TO THE
KUNSTMUSEUM BERN.

Fiona says THANK YOU.

Nina says SO, PLEASE, COME ALONG HERE.

Nina is in her forties, with short straight brown hair and wears black trousers, a white blouse and a black blazer.

Fiona says THE SKETCH WAS HIDDEN
AWAY IN CORNELIUS GURLITT'S
APARTMENT FOR OVER HALF A
CENTURY AND STILL ISN'T ON
PUBLIC DISPLAY.

Fiona says SUSPENSE.

Philip says MM.
AH... IT'S STRONGER.
IT'S FRESHER THAN IT LOOKED IN
THE PHOTOGRAPH.

Fiona says DEFINITELY.
THERE'S SOMETHING ABOUT SEEING
IT IN REAL LIFE.
THESE STROKES ARE SO MUCH MORE
CLEARLY DEFINED, AREN'T THEY?

Nina says AND IT HAS THIS RATHER
UNCONVENTIONAL FORMAT.
IT'S NOT ONE OF THE STANDARD
ARTIST PAPER SIZES, RIGHT?
WHAT DO YOU THINK OF IT?

Philip says IT'S A GOOD QUESTION, BECAUSE
IT DOESN'T FALL INTO ANY NORMAL
CATEGORY, DOES IT?
IT'S BOTH A WORK IN PROGRESS,
A THOUGHT PATTERN...
AND IT LOOKS AS THOUGH IT'S BEEN
CUT OR SNIPPED IN SOME WAY.

Fiona says WELL, THESE BITS HAVE
BEEN STUCK ON, HAVEN'T THEY?
IT'S LIKE A COLLAGE OR A...

Philip says YES.

Fiona points at an empty space on the left of the sketch and says AND THEN THIS BIT IS WHAT?
THIS BIT'S MISSING HERE, IS IT?

Philip says YEAH, APPEARS TO BE.

Fiona says WHERE DOES THIS STAND IN
TERMS OF ALL THE ARTWORK THAT'S
COME IN FROM THE GURLITT
COLLECTION?

Nina says WELL, THE GURLITT COLLECTION,
WE NEED TO PLACE IT INTO THREE
DIFFERENT PROVENANCE CATEGORIES.
THERE ARE THE SO-CALLED RED
WORKS, AMBER, AND GREEN.
RED MEANING DANGER, LOOTED ART
OR POTENTIAL LOOTED ART, AND
GREEN MEANING NO CONCERNS.
IT WAS LEGITIMATELY IN THE
GURLITT POSSESSION.

Fiona says AND WHERE DOES THIS
FIT INTO IT?

Nina says AND THIS CURRENTLY IS AN
AMBER.

Fiona says GOSH, THAT'S A BIT WORRYING.
I MEAN, YOU MUST HAVE A THEORY
ABOUT THIS, DO YOU?
ABOUT WHERE IT MIGHT HAVE COME
FROM?

Nina says WELL, ONE THEORY IS THAT IT
WAS A WORK THAT WAS CONFISCATED
BY THE NAZIS AS SO-CALLED
DEGENERATE ART.

Fiona says THE TERM "DEGENERATE
ART" WAS ADOPTED BY THE NAZI
PARTY IN THE 1920S AND WAS USED
TO DESCRIBE ANY ART WHICH
DIDN'T FIT HITLER'S TASTE.
IN EFFECT, PROGRESSIVE MODERN
ART.
IN 1937, TWO STATE-SPONSORED
EXHIBITIONS WERE HELD IN
MUNICH.
THE FIRST, THE GREAT GERMAN ART
EXHIBITION, SHOWCASED WORKS
THAT PRESENTED THE NAZI IDEAL
OF GERMAN NATIONHOOD.
THE SECOND SHOW WAS WHAT HITLER
CALLED HIS CHAMBER OF HORRORS,
A WARNING TO THE GERMAN PUBLIC
OF THE DEPRAVITY OF MODERN ART.
THE PAINTINGS AND SCULPTURES ON
SHOW FEATURED WHAT HITLER WOULD
HAVE SEEN AS DISTORTED AND
DISMEMBERED BODIES, UNSETTLING
LANDSCAPES, AND SCULPTURES MORE
INFLUENCED BY PRIMITIVE ART
THAN THE CLASSICAL IDEAL.
WITH ITS DISTORTED HUMAN FORMS,
COULD THIS DRAWING BE ONE THAT
HITLER WANTED TO SUPRESS?
AND HOW DOES IT FIT INTO THE
GURLITT HOARD?
I WANT TO FIND OUT A BIT MORE
ABOUT THE COLLECTION AS A
WHOLE.
OUR SKETCH WAS ONE OF JUST A
STAGGERING 1,500 WORKS FOUND IN
CORNELIUS GURLITT'S APARTMENT.
NINA HAS SOME OF THEM ON
DISPLAY IN HER MUSEUM.
SOME OF THE GREAT NAMES ARE
HERE.

She points at a painting of a bridge and says I MEAN, LOOK AT THIS MONET.
IT'S JUST... GORGEOUS.
AND THEN YOU'VE GOT...
WHAT IS THAT, A MANET OVER
THERE?
SO YOU'VE GOT MONET, MANET.
I MEAN, THESE ARE THE GREAT
NAMES, AREN'T THEY, OF ART?
IT'S INCREDIBLE TO THINK THAT
CORNELIUS GURLITT JUST HAD
THEM...
I MEAN, HE DIDN'T EVEN HAVE THEM
ON THE WALLS OF HIS APARTMENT,
DID HE?
HE JUST HAD THEM STACKED UP OR
IN PILES ON THE FLOOR.
SO, THIS WAS HIS PASSION.

Nina says HE LOVED ART, AND IF NOT ART,
IT WAS WAGNER AND CAKES.

Fiona laughs and says WAGNER AND CAKES.
HOW DO YOU KNOW THAT?

Nina says WELL, WE KNOW THAT'S WHEN HE
EXITED THE APARTMENT, WAS TO GO
TO THE LITTLE COFFEE AND CAKE
SHOP AROUND THE CORNER.
AND HE TREATED HIMSELF TO A
DIFFERENT CAKE EVERY DAY.

Fiona says AND THE WAY CORNELIUS GURLITT
WAS DISCOVERED WAS THROUGH
SUSPICION ABOUT HIS TAXES,
WASN'T IT?

Nina says HE WAS QUESTIONED ON A TRAIN
FROM SWITZERLAND TO GERMANY WITH
A LARGE AMOUNT OF CASH.
AND HE STARTED TO SAY SOME WEIRD
THINGS.
HE MENTIONED HIS DAD, ART
COLLECTION.
FROM THAT MOMENT ON, THEY WERE
ON HIS TOES.

Fiona says CORNELIUS'S COLLECTION
WAS SEIZED FOR INVESTIGATION BY
THE GERMAN AUTHORITIES.
BUT WITHIN TWO YEARS, HE DIED
AND, IN A SURPRISE MOVE, LEFT
THE ENTIRE COLLECTION TO THE
MUSEUM HERE IN BERN.
NOW, IT'S FALLEN TO THEM TO
RESEARCH EVERY ONE OF THE 1,500
PIECES TO CHECK WHO ARE THE
RIGHTFUL OWNERS.
IT'S AN ECLECTIC COLLECTION AND
HAS EVERYTHING FROM OLD MASTERS
TO IMPRESSIONISTS.
BUT THE GREATEST PART IS
MODERN ART AND WOULD HAVE
FALLEN INTO THE CATEGORY OF
WHAT THE NAZIS CALLED
DEGENERATE ART.
WHEN IT COMES TO THE SKETCH
WE'RE LOOKING AT, THE HENRY
MOORE, IF IT WAS A PIECE OF
DEGENERATE ART THAT HAD BEEN
REMOVED BY THE NAZIS FROM A
GERMAN MUSEUM AND HAS NOW ENDED
UP IN THE GURLITT COLLECTION,
WHAT'S THE LEGAL STATUS OF THAT?

Nina says THAT'S SORT OF THE EXCEPTION
TO THE RULE.
THE ALLIES HAVE, RIGHT AFTER THE
WAR, DECIDED THAT WHENEVER THE
NAZIS STOLE ART FROM THEIR OWN
INSTITUTIONS AND SOLD IT OFF,
THE NEW OWNERS ARE THE RIGHTFUL
OWNERS.

Fiona says SO IF OUR SKETCH, THE HENRY
MOORE SKETCH, IT WAS A PIECE OF
DEGENERATE ART THAT HAD BEEN
REMOVED BY THE NAZIS FROM A
GERMAN MUSEUM, IT WOULD NOW
LEGITIMATELY BELONG TO THE BERN
MUSEUM AND IT WOULD STAY HERE?

Nina says ABSOLUTELY, YES.

Fiona says SO, THAT WOULD BE A GOOD
OUTCOME FOR YOU?

Nina says THAT WOULD BE ONE GOOD
OUTCOME.
OF COURSE, AN EQUALLY GOOD
OUTCOME WOULD BE IF WE CAN
ESTABLISH IT'S LOOTED ART, IF WE
COULD RESTITUTE IT TO THE
RIGHTFUL OWNERS FROM THE FAMILY.
THAT WOULD BE AN AMAZING OUTCOME
AS WELL.

Philip says OF COURSE, ALL THIS
IS ACADEMIC UNLESS WE PROVE
THAT THIS IS A GENUINE WORK BY
HENRY MOORE.
AT FIRST SIGHT, THE SKETCH IS
OFFERING FEW CLUES.
THERE'S NO DATE, NO TITLE,
NO SIGNATURE.
INITIALLY, I DIDN'T THINK THAT
IT WAS GOING TO BE THE SORT OF
THING THAT COLLECTORS WOULD
FIGHT OVER, BUT I THINK IT IS.
I THINK THIS IS SOMETHING THAT,
IF IT WERE RIGHT...
AND I KNOW THAT THE MUSEUM
WOULD NEVER CONSIDER SELLING IT
IF IT COULD BE PROVED TO BE
BY MOORE.
BUT CERTAINLY COULD BE WORTH
50,000, 60,000 POUNDS.
SO IN SHORT, WE'VE GOT A LOT TO
FIGHT FOR HERE, BUT I'M EXCITED.
OUR RESEARCH IS GOING TO HELP
DECIDE THE FATE OF THIS WORK OF
ART.
IT'S BOTH A CHALLENGE AND A
RESPONSIBILITY.
WE NEED TO GATHER AS MUCH
EVIDENCE AS POSSIBLE, INCLUDING
SCIENTIFIC DATA.
WE'VE ASKED PAPER CONSERVATOR
NICHOLAS BURNETT TO CARRY OUT
SOME TESTS ON THE SKETCH.
HE'S USING AN XRF SPECTROMETER
TO SEND X-RAYS TO IDENTIFY
ELEMENTS IN THE PIGMENTS AND
INFRARED TO SEE IF HE CAN
REVEAL ANY HIDDEN ELEMENTS.
(BEEPING)
ONCE THIS DATA IS ANALYZED, IT
COULD BOLSTER THE FORENSIC CASE
FOR THE DRAWING.

Nicholas says PERFECT.

Fiona says THE OTHER CRUCIAL LINE
OF ENQUIRY IS THE PROVENANCE.
IT WAS CORNELIUS'S FATHER,
HILDEBRAND GURLITT, WHO BUILT
UP THIS COLLECTION.
AND SO IT'S TO HILDEBRAND WE
NEED TO TURN NEXT.
HILDEBRAND GREW UP IN DRESDEN
IN A LITERARY AND ARTISTIC
FAMILY.
AS AN ADULT, HE CONTINUED THE
FAMILY TRADITION.
NOW, HIS CAREER BEGAN IN
ZWICKAU.
IT'S A SMALL TOWN IN SOUTHERN
GERMANY.
LOOK, LET ME SHOW YOU.
HERE IT IS.
AND THERE, HE WAS CURATOR OF A
SMALL MUSEUM.
AND HE DECIDED TO GET RID OF,
SELL OFF THESE OLD-FASHIONED,
TRADITIONAL WORKS HE DIDN'T
LIKE.
AND HE EMBRACED MODERN ART,
AND HE MADE A NAME FOR HIMSELF.
HE BEGAN TO MAKE WAVES.
AND FROM THERE, HE MOVED-- LET
ME SHOW YOU-- TO HAMBURG.
AND THERE, HE BECAME THE
DIRECTOR OF THE KUNSTVEREIN OF
HAMBURG, WHICH IS THE ART
ASSOCIATION, IF YOU LIKE.
AND AGAIN, HE WAS CHAMPIONING
MODERN ART.

Philip says IT WAS A HUGELY EXCITING TIME
TO BE IN GERMANY.
I MEAN, ALL OF THAT NEW ART,
THE INNOVATION OF EXPRESSIONISM
AND A NEW TYPE OF REALISM.
AND MY GUESS IS THAT IT MUST
HAVE BEEN A REALLY APPROPRIATE
AND THRILLING TIME FOR SOMEONE
LIKE HENRY MOORE'S WORK TO BE
APPRECIATED.

Fiona says AND PERHAPS APPRECIATED MORE
IN GERMANY THAN AT HOME?

Philip says I THINK QUITE POSSIBLY SO.
I MEAN, ALTHOUGH THERE WAS AN
ELITE WHO REALLY APPRECIATED
WHAT HENRY MOORE WAS ABOUT, I
MEAN, THE RANK AND FILE WAS
SOMETIMES DISGUSTED.
ENGLAND WAS NOT A GREAT PLACE TO
BE, AND IN GERMANY, WELL, HE
COULD PROSPER.
HE COULD BE A CONTEMPORARY
ARTIST.

Fiona says WELL, I THINK THIS IS WHERE
WE NEED TO LOOK, IN HAMBURG, AND
SEE WHAT WAS HAPPENING WITH
HILDEBRAND GURLITT THERE.
AND SEE IF WE CAN FIND A
CONNECTION BETWEEN THIS
FORWARD-LOOKING CURATOR AND
THIS RADICAL BRITISH SCULPTOR.

Philip says IT MAKES SENSE.

(music plays)

Philip says WHILE FIONA HEADS OFF IN SEARCH
OF HILDEBRAND GURLITT IN
GERMANY, I'VE RETURNED TO
ENGLAND IN PURSUIT OF EVIDENCE.
TO SEE IF I CAN PUT THAT NAME,
HENRY MOORE, TO OUR SKETCH.
AND WHO BETTER TO ASK THAN
SOMEONE WHO CAN OFFER AN
INTIMATE INSIGHT INTO THE MAN
AND ARTIST?
MARY MOORE, HENRY'S ONLY CHILD,
GREW UP IN PERRY GREEN IN
HERTFORDSHIRE, SURROUNDED BY
HER FATHER'S WORK.
SHE'S AGREED TO MEET ME AT THE
FAMILY HOME, HOGLANDS, NOW A
MUSEUM.
AND I'M INTRIGUED TO KNOW WHAT
SHE THINKS ABOUT OUR SKETCH.
I GET A REALLY STRONG SENSE, IN
THIS ROOM, OF IT BEING A
LIVED-IN ROOM.
ALMOST AS IF YOUR PARENTS WERE
HERE NOT LONG AGO.

Mary is in her seventies, with straight gray hair in a bob cut and wears a black and white shirt dress and pendant earrings.

Mary says I'M VERY GLAD THAT YOU FEEL
THAT, BECAUSE IT'S PRETTY MUCH
THE WAY IT'S ALWAYS BEEN OR THE
WAY IT'S BEEN SINCE THEY DIED.
NOTHING HAS BEEN CHANGED.
WE'VE KEPT EVERYTHING THAT WAS
IN THIS ROOM.
AND INTO THIS ROOM MY FATHER
WAS ABLE TO PUT ALL THE THINGS
HE TRULY LOVED OR ADMIRED.
AFRICAN... OCEANIC... NATURAL
FOUND OBJECTS.
IT'S ALL THE ART THAT HE LOVED
TO LOOK AT AND TALK ABOUT.

Philip says HOW IMPORTANT WAS THE PROCESS
OF DRAWING TO HIM?

Mary says DRAWING WAS A TREMENDOUSLY
IMPORTANT PROCESS, BECAUSE
DRAWING MAKES YOU REALLY THINK
ABOUT WHAT YOU'RE LOOKING AT.
AND DRAWING ENABLED HIM TO THINK
AND ANALYZE FORM.
I MEAN, IF YOU'RE MAKING A
SCULPTURE, YOU HAVE TO GET A
HUGE BLOCK OF STONE.
YOU SPEND A LONG TIME MAKING IT.
SO DRAWING IS A SHORTHAND WAY
OF WORKING OUT SCULPTURAL IDEAS.
HE COULD CLOSE THE DOOR AND
IMMEDIATELY REACH INSIDE HIMSELF
INTO THAT SUBLIMINAL PART OF
HIMSELF.

Philip says MAY I SHOW YOU OUR DRAWING?

Mary says I'D LOVE TO SEE YOUR DRAWING.

Philip says I REALIZE THAT IF THIS IS TO
BE BY YOUR FATHER, IT'S MUCH
EARLIER THAN WHEN YOU'RE
TALKING ABOUT.

Mary YES.

Philip says IT WOULD BE LONG BEFORE YOU
WERE BORN.
I MEAN, WHY DO YOU THINK WE'VE
GOT SO MANY FORMS ON ONE PAGE?
AND THERE SEEM TO BE CUT MARKS
AS WELL.
IF THIS IS TO BE BY HENRY
MOORE...
AND I'M NOT ASKING YOU THAT AT
THE MOMENT, BUT WHAT COULD THE
PROCESS BE?
WHAT IS HE UP TO?

Mary flips the sketch over and over and says WELL, IN THE WAY THAT A
MUSICIAN WOULD JUXTAPOSE, KIND
OF, OR DO REPEAT VERSIONS OF A
DIFFERENT SET OF NOTES, HE'S
DOING THE SAME WITH THE
RECLINING FIGURE.
SO, YOU'VE GOT ONE, TWO, THREE,
FOUR, FIVE, SIX ON THIS SIDE,
AND THEN HE TURNS IT AROUND.
SO YOU'VE GOT SIX VARIATIONS...
I THINK THEY'RE CALLED
VARIATIONS IN MUSIC-- ON A
RECLINING FIGURE WITH THE ARMS
IN DIFFERENT POSITIONS.
SO SHE'S SOMETIMES LEANING ON
HER ARM OR SHE'S RAISED HER ARM
OR SHE'S GOT HER ARM BEHIND HER.
IT'S A WAY OF WORKING OUT WHICH,
IF YOU WERE TO DO IT IN
SCULPTURE, YOU'D HAVE TO CARVE,
WHAT, 12 SCULPTURES TO MAKE
THESE POINTS.
BUT HE'S DOING IT WITH DRAWING.

Philip says DID HE SEE HIS DRAWINGS AS
FINISHED, COMPLETE WORKS OF ART?

Mary says YES, HE DID.

Philip says DO YOU THINK YOU MIGHT BE
ABLE TO SENSE YOUR FATHER IN
THIS?

Mary says I VERY MUCH SEE HIS HAND IN
THE WAY THAT THESE FIGURES ARE
DRAWN.
I REALLY SEE THE FLUIDITY OF HIS
HAND, THE SKILL, THE SHAPE, THE
FORM.
THE THINGS THAT INTEREST HIM
ABOUT THE POSITION OF THE HEAD,
THE POSITION OF THE FEET.
THE WAY THE FEET LAP OVER, THE
WAY THE FEET ARE ALWAYS KIND OF
SOLID ON THE GROUND.
I SEE MY FATHER, THE SCULPTURE,
IN THIS DRAWING OF SCULPTURE.

(music plays)

Philip says I FOUND IT REALLY REVEALING,
GOING INTO THE LAIR OF HENRY
MOORE.
AND IT WAS ALSO FASCINATING
TALKING TO MARY AND THE WAY THAT
SHE UNDERSTOOD HE USED HIS
SKETCHES.
AND HAVING BEEN IN THAT ROOM,
HAVING SEEN ALL OF THOSE
OBJECTS, HAVING DRUNK IN THAT
ATMOSPHERE, I FEEL NOT ONLY DO I
KNOW HENRY MOORE BETTER.
BUT I'M MUCH BETTER ACQUAINTED
WITH OUR DRAWING AS WELL.
SO NOW, I NEED TO PROPERLY
COMPARE IT TO SOME
UNQUESTIONABLY AUTHENTIC HENRY
MOORE DRAWINGS.
AND THERE'S PLENTY TO CHOOSE
FROM AMONGST THE 3,500 HERE AT
THE HENRY MOORE FOUNDATION.
I'VE MANAGED TO FIND THREE IN
THE COLLECTION WHICH I THINK
PROGRESS THE CASE FOR OUR
DRAWING EVEN MORE.
AND ONE OF THEM IS THIS
MAGNIFICENT ONE I'M JUST
STANDING IN FRONT OF.
I HAVE TO SAY, I COVET IT.
IT'S SO BEAUTIFUL.
AND THIS IS SO CLOSE TO OURS IN
ONE MAJOR RESPECT.
THIS IS A MONTAGE.
AND THIS COMES OUT OF THAT
TRADITION OF COLLAGE THAT YOU
SEE IN CUBIST ART AT THE
BEGINNING OF THE 20TH CENTURY.
NOT ALTOGETHER UNLIKE OURS.
LOOK AT THE OBVIOUS THING.
THIS IS A MONTAGE.
BUT NOW I'VE SEEN THIS ONE, I
CAN SORT OF SEE IT STANDING
ALONE AS A WORK OF ART.
THERE'S SOMETHING RATHER DYNAMIC
ABOUT IT.
RATHER CONFRONTATIONALLY
DIFFERENT.
YOU KNOW, IT'S A PIECE OF MODERN
ART IN ITS COMPLETE SENSE.
AND ALSO, AS IF ONE NEEDS ANY
MORE EVIDENCE, LOOK WHAT I'VE
MANAGED TO PULL OUT OF THE
COLLECTION.
THIS EXTRAORDINARY LITTLE
SMOKING GUN.
THIS IS AN EXAMPLE OF THE TYPE
OF SKETCHES, HAVING BEEN SNIPPED
UP, THAT ARE LOOKING FOR A HOME.
LOOKING FOR AN IMAGE UPON WHICH
TO BE CREATED INTO A MONTAGE.
THIS RECLINING FIGURE IS SO LIKE
THE ONES IN OUR PICTURE.
IN PARTICULAR, THAT ONE IN THE
BOTTOM LEFT.
AND ONE CAN ASSUME, THEREFORE,
THAT THIS IS SOMETHING THAT
HENRY WOULD HAVE CUT UP.
BUT FOR WHATEVER REASON, THEY
HAVEN'T FOUND A HOME FOR IT.
SADLY, IT'LL NEVER FIND A HOME
NOW.
BUT WHAT IT DOES DO IS
FREEZE-FRAME A MOMENT IN THE
PROCESS.
THE PROCESS THAT HAS GONE INTO
MAKING OUR DRAWING AND WE CAN
SEE ELSEWHERE.

(music plays)

Fiona says WHILE PHILIP'S
BUILDING UP THE CASE FOR HENRY
MOORE IN ENGLAND, I'VE
TRAVELLED TO HAMBURG IN
GERMANY, IN SEARCH OF
HILDEBRAND GURLITT.
BEFORE THE WAR, HAMBURG WAS A
COSMOPOLITAN PORT CITY AND A
CENTRE FOR DARING MODERN ART.
IN 1930, HILDEBRAND MOVED HERE
TO TAKE UP A POSITION AS
DIRECTOR OF A PRESTIGIOUS ART
INSTITUTION, THE KUNSTVEREIN.
AND I'VE ARRANGED TO MEET
CATHERINE HICKLEY THERE.
SHE'S A JOURNALIST AND AN
EXPERT ON HILDEBRAND GURLITT.
IS IT POSSIBLE TO MAKE ANY
CONNECTION BETWEEN HILDEBRAND
GURLITT AND HENRY MOORE?

Catherine is in her mid-forties, with shoulder length slightly wavy blond hair and wears glasses and a black shirt.

Catherine says YES, SO, THIS FILE IS FULL OF
CLIPPINGS FROM AN EXHIBITION
THAT HILDEBRAND GURLITT PUT
TOGETHER ON NEW ENGLISH ART.

Fiona says OH, YES, THAT'S ABOUT THE
ONLY GERMAN HERE I CAN
UNDERSTAND: "NEUE ENGLISCHE
KUNST."

Catherine says THE GOTHIC SCRIPT DOESN'T
HELP, DOES IT?
AND IN THIS ARTICLE HERE, WE CAN
SEE THAT HE MENTIONS HENRY MOORE
AS ONE OF THE ARTISTS WHO HE HAD
SHOWN IN THIS EXHIBITION, WHICH
WAS VERY DARING AT THE TIME.

Fiona says AND WHEN WAS THAT?

Catherine says THAT WAS IN 1932, SO BEFORE
THE NAZIS CAME TO POWER.
AND IT WAS THE FIRST EXHIBITION
OF MODERN ENGLISH ART TO TAKE
PLACE IN GERMANY SINCE THE
FIRST WORLD WAR.
SO HILDEBRAND GURLITT REALLY
BLAZED A TRAIL BY DOING THAT.

Fiona says AND WHAT DID HE MAKE OF HENRY
MOORE?

Catherine says WELL, HE SAID THAT HENRY
MOORE AND THE OTHER SCULPTORS OF
HIS GENERATION "ARE A COMPLETE
BREAK FROM WHAT WE IMAGINE
ENGLISH ART TO BE, WHICH WAS
ALWAYS A LITTLE BIT SOFT,
SUBTLE, AND ELEGANT.
'POWERFUL,' 'PRIMITIVE,'
'OVERFLOWING,' AND 'FORCEFUL'
ARE PERHAPS WORDS THAT GIVE AN
IDEA OF THIS ALMOST ABSTRACT
ART."

Fiona says WELL, HE'S GOT THAT RIGHT.

Catherine says YES, AND I THINK YOU CAN SEE
THAT MOORE HAD FAR MORE IN
COMMON, IN A WAY, THAN WITH THE
GERMAN EXPRESSIONIST ARTISTS OF
THAT TIME THAN HE DID WITH THE
TRADITIONAL ENGLISH ART.
AND THAT'S WHY HILDEBRAND
GURLITT WAS VERY KEEN ON MOORE.

Fiona says IS THERE ANYTHING HERE THAT
CONFIRMS THAT THERE WERE HENRY
MOORES AT THIS EXHIBITION?

Catherine says YES, WE HAVE ALSO A CATALOGUE
FROM THE EXHIBITION.

Fiona says OH, RIGHT.
SO, HAMBURG, 1932.
THERE HE IS, DR. HILDEBRAND
GURLITT, DIRECTOR OF THE
KUNSTVEREIN IN HAMBURG.
RIGHT, SO, HERE'S A LIST OF ALL
THE-...
BARBARA HEPWORTH.
HENRY MOORE!
AHA!
OKAY, SO, THERE'S A FIGURE.
THERE'S A MASK, WOMAN, MOTHER
AND CHILD, HEAD, DRAW...
"ZEICHNUNGEN" IS DRAWINGS, ISN'T
IT?

Catherine says "ZEICHNUNGEN" IS DRAWINGS,
YES.

Fiona says IT'S A BIT FRUSTRATING,
BECAUSE IT DOESN'T ACTUALLY SAY
WHAT THE DRAWINGS ARE OF.

Catherine says THAT'S RIGHT.
THERE'S NOT MUCH DETAIL.
AND THAT'S UNFORTUNATELY OFTEN
THE CASE WITH SKETCHES.

Fiona says AND WHAT ABOUT THIS BIT
AFTERWARDS WRITTEN IN GERMAN
HERE?
WHAT DOES THAT MEAN?

Catherine says THAT SAYS, "ZUM TEIL
LEIHGARTEN DES MUSEUMS FUR KUNST
UND GEWERBE, HAMBURG."
SO, THAT MEANS THEY WERE
PARTIALLY ON LOAN FROM THE
MUSEUM OF ART AND APPLIED ART IN
HAMBURG.

Fiona says RIGHT, OKAY.
BUT HANG ON.
THIS IS PROGRESS, THEN, BECAUSE
WE KNOW THAT SKETCHES 68 TO 72...
SO, THERE WERE FIVE SKETCHES BY
HENRY MOORE IN THIS EXHIBITION
IN HAMBURG IN 1932 PUT ON BY
HILDEBRAND GURLITT.
AND THE SKETCHES WERE BORROWED
FROM THIS MUSEUM FUR KUNST UND
GEWERBE IN HAMBURG.
WHAT DO YOU KNOW ABOUT THAT
MUSEUM?

Catherine says WELL, THE MUSEUM WAS RUN BY
MAX SAUERLANDT.
SO, MAX SAUERLANDT AND
HILDEBRAND GURLITT WERE VERY
MUCH ON THE SAME PAGE.
AND THEY KNEW EACH OTHER.
AND MAX SAUERLANDT WAS
PRESUMABLY INVOLVED IN SETTING
UP THIS EXHIBITION.

Fiona says SO THE NEXT PLACE WE NEED TO
GO, THEN, IS MAX SAUERLANDT.
TO TRY AND WORK OUT IF ANY OF
THESE DRAWINGS THAT HE LOANED TO
HILDEBRAND GURLITT ARE THE
DRAWING THAT WE'RE LOOKING FOR.
SO, COULD MAX SAUERLANDT HAVE
BEEN THE PERSON WHO FIRST
BROUGHT OUR SKETCH TO GERMANY?
IN 1932, HE WAS THE DIRECTOR OF
THE MUSEUM OF KUNST UND GEWERBE
OR ARTS AND CRAFTS HERE IN
HAMBURG.
LIKE HILDEBRAND GURLITT, HE,
TOO, CHAMPIONED CONTEMPORARY
ART AND BOUGHT A LOT OF IT FOR
THE MUSEUM'S COLLECTION.
MAX SAUERLANDT'S LETTERS ARE
KEPT IN THE HAMBURG UNIVERSITY
LIBRARY.
AND THAT'S WHERE I'M HEADING TO
NOW.
I'M HOPING THEY'LL OFFER US
SOME MORE CLUES.
THERE'S ALL SORTS OF LETTERS IN
HERE WRITTEN BY HENRY MOORE.
IT'S A FANTASTIC FIND.
AND THEY'RE WRITTEN TO
DR. SAUERLANDT.
"WHEN YOU NEXT SEE DR. GURLITT,"
HE SAYS, "WILL YOU PLEASE TELL
HIM I'M VERY SORRY I COULD NOT
SEND THE LARGE RECLINING WOMAN
IN GREEN HORNTON STONE."
THIS IS JUST WONDERFUL.
WONDERFUL TO ACTUALLY SEE HENRY
MOORE'S HANDWRITING AND HIS
SIGNATURE.
THIS IS A YEAR EARLIER, 1931.
"DEAR DR. SAUERLANDT, THANK YOU
FOR YOUR LETTER TELLING ME YOU
DECIDED TO KEEP ALL THE DRAWINGS
AND THE SMALL CARVING AND FOR
YOUR CHEQUE OF 20 POUNDS AND 15
SHILLINGS, WHICH I RECEIVED
YESTERDAY.
IT MAKES ME FEEL VERY PROUD TO
KNOW THAT MY WORK IS REPRESENTED
IN YOUR MUSEUM."
SO THIS IS CONFIRMATION FROM
HENRY MOORE THAT MAX SAUERLANDT
BOUGHT THESE DRAWINGS AND A
SMALL CARVING FOR THE MUSEUM IN
HAMBURG, MAX SAUERLANDT'S
MUSEUM.
FRUSTRATING.
WHAT IT DOESN'T SAY IS WHAT THE
DRAWINGS ARE.
"MY EXHIBITION WITH LEICESTER
GALLERIES--."
THAT'S THE LEICESTER GALLERIES
IN LONDON.
"--IS MEETING WITH MORE SUCCESS
THAN I HAD LET MYSELF HOPE FOR,
KNOWING HOW BAD THE FINANCIAL
DEPRESSION IS EVERYWHERE."
WHICH, OF COURSE, IT WAS IN
1931.
"MY WIFE WISHES TO BE REMEMBERED
TO YOU.
AND WE HOPE THAT WHEN YOU'RE
NEXT IN LONDON, YOU WILL NOT
FORGET TO CALL AND SEE US.
YOURS SINCERELY, HENRY MOORE."
THESE PEOPLE WERE OBVIOUSLY
FRIENDS.
I MEAN, HENRY MOORE CLEARLY
FELT THAT MAX SAUERLANDT AND
HILDEBRAND GURLITT WERE KINDRED
SPIRITS WHEN IT CAME TO
APPRECIATING THIS KIND OF ART...
AND HENRY MOORE'S ART IN
PARTICULAR-- BACK IN 1931, 1932.
WHAT THIS LETTER DOES IS LAY A
WHOLE TRAIL OF CLUES LIKE LITTLE
BREADCRUMBS.
SO WE NOW KNOW THAT HENRY MOORE
HAD AN EXHIBITION AT THE
LEICESTER GALLERIES IN 1931.
MAX SAUERLANDT BOUGHT SOME
DRAWINGS AND A SMALL CARVING FOR
20 POUNDS AND 15 SHILLINGS FROM THAT
EXHIBITION AND TOOK THEM TO
HAMBURG FOR HIS MUSEUM.
WE ALSO KNOW THAT HILDEBRAND
GURLITT, MAX SAUERLANDT'S
FRIEND, BORROWED SOME DRAWINGS
FOR HIS EXHIBITION AT HIS ART
ASSOCIATION, KUNSTVEREIN, IN
HAMBURG IN 1932.
WHAT WE DON'T KNOW IS WHETHER
OUR DRAWING IS AMONGST THE
DRAWINGS MENTIONED HERE.
SO WHAT WE NEED TO DO NOW, OR
MAYBE WHAT PHILIP COULD DO,
ACTUALLY, IS TRY AND FIND WHAT
WAS SHOWN IN THAT HENRY MOORE
EXHIBITION AT LEICESTER
GALLERIES IN 1931.
AND SEE IF OUR DRAWING IS THERE.

(music plays)

Philip says BACK AT THE HENRY
MOORE ARCHIVES, I'VE HOMED IN
ON THE CATALOGUE.
WILL IT HAVE A DESCRIPTION OF
OUR SKETCH?
"CATALOGUE OF AN EXHIBITION OF
SCULPTURE AND DRAWINGS BY HENRY
MOORE."
"THE LEICESTER GALLERIES."
LONDON, 1931.
I MEAN, IT'S A SUPERB LITTLE
OBJECT.
I MEAN, IT'S SO SIMPLE, ISN'T
IT?
I MEAN, IT'S A GREAT PIECE OF
'30S DESIGN.
IT'S IN TWO SECTIONS.
THE FIRST IS SCULPTURE BY HENRY
MOORE WITH VERY SIMPLE
DESCRIPTIONS.
"HEAD," "HEAD," "HEAD,"
"FIGURE," "MODEL."
HE WASN'T EXACTLY IMAGINATIVE
WHEN IT CAME TO TITLES, WAS HE?
AND NOW THE EXCITING BIT, THE
DRAWINGS.
AND RATHER SIMILAR TO THE
SCULPTURE, VERY SIMPLE
DESCRIPTIONS.
"SEATED WOMAN FROM LIFE."
"SEATED WOMAN IN AN ARMCHAIR."
"SEATED WOMAN."
"SEATED WOMAN WITH NECKLACE."
WELL, AT LEAST THESE ONES THAT
REFER TO SINGLE SUBJECTS CAN'T
BE OURS, BECAUSE OURS IS A
MULTIPLE IMAGE.
AND AS MY EYE RUNS DOWN THE
LIST, NUMBER 42 COULD POSSIBLY
REFER TO OURS.
"RECLINING FIGURES FOR
SCULPTURE."
NUMBER 52: "FIGURES--."
PLURAL.
"--FOR LEAD SCULPTURE."
WELL, NOT IMPOSSIBLE.
SO, IN THIS LIST, ALTHOUGH IT'S
FAR FROM CONCLUSIVE, THERE ARE
TWO DESCRIBED WITH CLEARLY MORE
THAN ONE FIGURE AND POSSIBLY
MANY FIGURES, WHICH MIGHT REFER
TO OURS.
THIS DOESN'T RULE IT IN, BUT
THIS DOESN'T RULE IT OUT.

Fiona says BACK IN HAMBURG, MY
TRAIL HAS ALSO GONE COLD.
THIS IS BECAUSE IN 1933,
HILDEBRAND'S LIFE AND CAREER
WERE ENGULFED BY THE MOMENTOUS
POLITICAL EVENTS SWEEPING
THROUGH GERMANY.
(FANFARE PLAYING)

A clip shows a crowd shout HEIL!
HEIL!

Fiona says IT WAS THE YEAR HITLER
CEMENTED HIS POWER.

The crowd shout HEIL!
HEIL!

Fiona says NAZI RACIST IDEOLOGY
AND THE SYSTEMATIC PERSECUTION
OF THE JEWS BECAME STATE
POLICY.
HILDEBRAND GURLITT WAS HIMSELF
A QUARTER JEWISH AND WAS
DISMISSED FROM HIS JOB AT THE
KUNSTVEREIN.
BUT HE WAS A SURVIVOR.
HE REINVENTED HIMSELF.
HE MOVED FROM BEING A MUSEUM
CURATOR TO AN ART DEALER.
I'M WITH CATHERINE IN THE
ALSTER LAKE AREA OF HAMBURG,
WHERE HILDEBRAND LIVED IN THE
1930S.

Catherine says HE ALWAYS SAID, "I
ONLY BECAME A DEALER BECAUSE I
HAD TO, BECAUSE I COULD NO
LONGER WORK IN THE MUSEUMS.
I HAD NO CHOICE."

Fiona says OBVIOUSLY, HE DID VERY WELL.
HE WAS ABLE TO LIVE IN THIS
WEALTHY AREA OF HAMBURG.

Catherine says YES, EXACTLY, IN A
VERY BEAUTIFUL HOUSE WITH 12
ROOMS.
AND SO, HE ALSO HAD FAMILY ON
THE WAY.
1932 IS WHEN CORNELIUS WAS BORN,
SO HE HAD PRESSURES FINANCIALLY.
AND HERE IN HAMBURG, HE HAD THIS
DEALERSHIP IN HIS APARTMENT
WHERE HE KEPT STASHES OF
DRAWINGS UNDER THE COUNTER.
WHICH HE WOULD SELL TO PEOPLE
VERY CHEAPLY, BY THE DEGENERATE
ARTISTS, BY PEOPLE LIKE OTTO DIX
OR ERNST LUDWIG KIRCHNER.

Fiona says HE MUST HAVE KNOWN HE WAS
TAKING A RISK, SELLING
DEGENERATE ART, EVEN UNDER THE
COUNTER.

Catherine says HE DID.
HE WAS A RISK-TAKER.
HE WAS A BIT OF A COWBOY,
REALLY.
I MEAN, HE HAD NO QUALMS
WHATSOEVER ABOUT BENDING THE
LAWS IF THAT WAS GOING TO SUIT
HIM OR IF HE WAS GOING TO PROFIT
FROM HIM.
AND HE ALSO ALLOWED HIS OWN
MORAL COMPASS TO GO ADRIFT.
HE WAS BUYING ART FROM JEWISH
PEOPLE IN HAMBURG.
JEWISH PEOPLE WHO WERE
DESPERATE TO LEAVE THE COUNTRY
AND NEEDED TO PAY ALL THE
PUNITIVE TAXES THAT THE NAZIS
IMPOSED ON THEM.
AND ALSO JEWISH PEOPLE WHO WERE
LATER, YOU KNOW, DEPORTED TO
AUSCHWITZ AND SO ON.
AND HE ALSO BOUGHT ART THAT HE
KNEW WAS LOOTED FROM JEWISH
PEOPLE.

Fiona says AND OF COURSE, HE WAS A
QUARTER JEWISH HIMSELF.

Catherine says AND HE WAS A QUARTER JEWISH
HIMSELF.
AND HE WAS TAKING ADVANTAGE OF
PEOPLE THAT JUST HAPPENED TO
HAVE MORE JEWISH GRANDMOTHERS
THAN HE DID HIMSELF, BASICALLY.

Fiona says IN THE LATE 1930S,
ANOTHER OPPORTUNITY OPENED UP
FOR HILDEBRAND.
AND THIS TIME, HE MADE AN EVEN
MORE AUDACIOUS MOVE.
DESPITE HIS JEWISH HERITAGE, HE
BECAME ONE OF FOUR DEALERS
APPROVED OF BY THE NAZIS TO
SELL SO-CALLED DEGENERATE ART.
IN 1937, THE NAZI REGIME
STARTED SYSTEMATICALLY REMOVING
DEGENERATE ART OFF THE WALLS OF
ALL THE MUSEUMS IN GERMANY.
AND THE HAMBURG MUSEUMS DIDN'T
ESCAPE THE PURGE.
THE CONFISCATED WORKS WERE
TAKEN TO BERLIN BEFORE BEING
SOLD ON THE INTERNATIONAL
MARKET.
AND THAT'S WHERE I'M HEADING
NOW.
COULD OUR SKETCH HAVE BEEN
AMONGST THOSE TAKEN TO BERLIN?
BECAUSE THAT'S WHERE HILDEBRAND
GURLITT WOULD HAVE BEEN ABLE TO
BUY IT.

(music plays)

Philip says WITH FIONA CLOSING IN
ON HILDEBRAND GURLITT, I'M
STILL TRYING TO FIND VITAL
EVIDENCE THAT PROVES OUR SKETCH
IS ACTUALLY BY HENRY MOORE.
I'M HOPING THAT SCIENCE WILL
HELP.
NICHOLAS HAS BEEN COMPARING OUR
SKETCH TO THOSE AUTHENTICATED
WORKS WHICH I LOOKED AT THE
HENRY MOORE FOUNDATION.
CAN HE FIND COMMON CHEMICAL
ELEMENTS IN THE PIGMENTS?
HELLO, NICHOLAS.

Nicholas says HELLO, PHILIP.

Nicholas is in his forties, with short wavy graying hair and wears glasses, brown trousers, a white shirt, a beige blazer and a printed tie.

Philip says SO, YOU'VE NOW HAD TIME TO
ANALYZE OUR DRAWING.
HAVE YOU GOT ANYTHING TO REPORT?

Nicholas says YES, SLIGHTLY MIXED, THOUGH.

Philip says SLIGHTLY MIXED?
I DON'T LIKE THAT WORD "MIXED."

Nicholas says WELL, THIS IS THE SHEET FROM
BERN.

Philip says RIGHT, OUR DRAWING.

Nicholas says YES, AND THIS IS A VERY
COMPARABLE PIECE FROM THE HENRY
MOORE FOUNDATION.

Philip says SEEMS VERY SIMILAR IN THE
STYLE, AND OF COURSE, IT'S GOT
BROWN INK.

Nicholas says YEAH, YEAH.
SO, THIS IS THE XRF SPECTRA FOR
THE DRAWING AT THE HENRY MOORE
FOUNDATION.
SO, THIS IS SHOWING US THE
ELEMENTS IN THE INK.
AND THIS NICE TALL PEAK HERE IS
IRON, AND THIS SLIGHTLY LESS
TALL ONE IS CALCIUM.
AND THIS LITTLE PEAK HERE IS
SULPHUR.
NOW, THE REST ARE REALLY DOWN AT
THE LEVEL OF NOISE, SO...

Philip says SO, YOU'VE GOT IRON, CALCIUM,
AND SULPHUR IN THE DRAWING IN
THE HENRY MOORE FOUNDATION...

Nicholas says YES.

Philip says OF QUANTITIES THAT WE CAN
SEE VERY CLEARLY ON THAT GRAPH.

Nicholas says JUST SO.

Philip says OKAY, SO, HOW DOES OURS LOOK?

Nicholas says WELL, IF WE ADD THE SPECTRA
FOR THE DRAWING IN BERN IN BLUE,
YOU CAN SEE IT CORRESPONDS HERE.
WE HAVE IRON, AND WE ALSO HAVE
CALCIUM.
BUT WHEN WE COME TO THE SULPHUR,
THERE'S ABSOLUTELY NOTHING
THERE.
THERE'S NOT EVEN NOISE.

Philip says OW.
SO, VERY DIFFERENT INTENSITY OF
QUANTITIES OF THE IRON AND THE
CALCIUM AND NO SULPHUR.

Nicholas says YEAH, THE THING IS, THIS IS
REALLY ON THE LIMIT OF WHAT THE
MACHINE WILL ACCOMPLISH.
SO, THERE'S A THIN WATERCOLOUR
WASH.
THERE'S NOT REALLY MUCH PIGMENT
THERE.

Philip says THIS IS SO FRUSTRATING.
WE SEEM TO BE GETTING SO CLOSE
WITH THIS DRAWING, AND THEN IT
JUST PULLS AWAY.
SO, WE HAVE A VERY COMPARABLE
DRAWING IN TERMS OF ITS STYLE
AND MATERIALS AND DATE, IN BROWN
INK.
AND IT'S NOT THE SAME BROWN INK!

Nicholas says WELL, IT MIGHT BE.
JUST CAN'T REALLY SAY ONE WAY
OR THE OTHER.

Philip says OKAY, YOU SAID "MIXED."
EARLIER ON.

Nicholas says YEAH.

Philip says ANYTHING GOOD?

Nicholas says YES.
WHILE I WAS IN BERN, I WAS ABLE
TO SHINE AN INFRARED LIGHT
THROUGH THE DRAWING.
WHICH IS, OF COURSE, ATTACHED
TO A BACKING.
AND TAKE A PHOTOGRAPH OF WHAT
MADE IT THROUGH.

Philip says THAT'S REALLY THRILLING, WHAT
YOU'VE JUST DONE, BECAUSE YOU'VE
SHOWN THAT WE'RE ONLY LOOKING AT
BASICALLY PART OF THE ARTIFACT.
THAT THERE'S A WHOLE LOT MORE
BEHIND.
AND OF COURSE, WE COULDN'T
ACCESS THAT.

Nicholas says NO, INDEED.
THIS HASN'T BEEN SEEN SINCE THE
BACKING WAS APPLIED, WHICH MIGHT
HAVE BEEN MANY DECADES AGO.

Philip says YOU'VE EXCAVATED THIS
DRAWING.

Nicholas says IF WE ROTATE THIS, VOILA.

Philip says THAT'S COMPELLING.
IT'S THAT PREOCCUPATION WITH
ANOTHER ASPECT OF THE FEMALE
FORM.
HE'S MACHINE-GUNNING OUT THESE
IMAGES TIME AND TIME AGAIN...
YOU KNOW, DIFFERENT IN SLIGHT
DETAILS-- OF A MOTHER HOLDING A
CHILD.

Nicholas says YEAH.

Philip says I MEAN THAT'S THE PROFILE OF
THE SUSPECT, HENRY MOORE, THAT
WE'RE LOOKING FOR.

Nicholas says AND IF WE COMPARE IT TO THE
SHEET IN THE HENRY MOORE
FOUNDATION, LOOK.

Philip says EXACTLY THE SAME.
A MAN WHO'S TOO MEAN JUST TO
USE ONE SIDE OF THE PAPER.
HE LIKES TO USE BOTH.

Nicholas says WELL, I DON'T KNOW ABOUT
MEAN.
BUT MAYBE JUST WORKING AT SUCH
A PACE AND JUST SO INTO HIS
WORK THAT RATHER THAN GRABBING
ANOTHER SHEET OF PAPER, HE'S
JUST FLIPPING IT OVER AND
CARRYING ON.
YOU KNOW, IT'S REALLY NICE,
LIKE LOOKING OVER HIS SHOULDER
AS HE'S WORKING.

Philip says YEAH.
THE MORE I REFLECT ON WHAT WE'VE
JUST DISCOVERED WITH NICHOLAS,
THE MORE ENCOURAGED I AM.
I MEAN, IT'S HARDLY LIKELY, IS
IT, THAT A FORGER IS GOING TO
PUT ON THE BACK OF THAT PIECE OF
PAPER-- WHERE IT'S NOT DESIGNED
TO BE SEEN, WHERE IT WOULD BE
LAID DOWN-- OTHER DRAWINGS.
AND NOT ONLY THAT.
IT'S EXACTLY HOW HENRY MOORE
WORKED.
HE WOULD CONTINUE TO DEVELOP HIS
IDEAS ON THE BACK OF THE PIECE
OF PAPER.
TO TELL YOU THE TRUTH, I HADN'T
COME HERE IN ORDER TO TRY AND
DISCOVER SOMETHING LIKE THAT.
IT WAS THE BROWN INK I WAS
INTERESTED IN.
BUT WE'VE COME AWAY WITH
SOMETHING REALLY QUITE EXCITING
AND POSITIVE.
HAVING SAID THAT, WE'VE BEEN
HERE BEFORE.
I MEAN, WHAT WE'RE STILL LACKING
IS THAT CLINCHING PIECE OF
EVIDENCE, THAT KNOCKOUT BLOW
FACT.
SOMETHING-- AND THERE WILL
BE SOMETHING OUT THERE, I HOPE...
THAT WILL GIVE US THE REASSURING
NAME OF HENRY MOORE TO ATTACH TO
THIS DRAWING.

(music plays)

Fiona says I'VE ARRIVED IN
BERLIN.
AND I THINK IT WAS HERE THAT
HILDEBRAND GURLITT MIGHT HAVE
BEEN ABLE TO LAY HIS HANDS ON
OUR SKETCH.
WHEN THE SO-CALLED DEGENERATE
ART WAS TAKEN TO BERLIN, MUCH
OF IT WAS STORED IN THE
SCHONHAUSEN PALACE ON THE
OUTSKIRTS OF THE CITY.
THIS IS WHERE A SELECT FEW ART
DEALERS WOULD HAVE COME TO PICK
PIECES TO SELL.
HILDEBRAND'S SPECIALIST
KNOWLEDGE OF THE VERY ART
HITLER HATED MADE HIM A
VALUABLE ASSET TO THE REGIME.
AND AS THE GRANDSON OF A JEW,
HE POSSIBLY SAVED HIMSELF IN
THE PROCESS.
TODAY, SCHONHAUSEN PALACE IS A
MUSEUM AND PUBLIC PARK.
AND ON THIS SUNNY SUMMER'S DAY,
IT'S HARD TO IMAGINE ITS
SINISTER PAST.
NICE TO SEE YOU.

Bjorn is in his late thirties, with short red hair and a goatee. He wears khaki trousers and a white short-sleeved shirt.

Bjorn says WELCOME TO SCHONHAUSEN
PALACE.

Fiona says THANK YOU VERY MUCH.

Bjorn says YEAH, WELCOME.

Fiona says BJORN AHLHELM IS THE
DIRECTOR OF THE MUSEUM.
OH, IT'S LOVELY.

Bjorn says IT IS, YES.

Fiona says AND SO, THIS IS WHERE THE
NAZIS-- IN THIS BEAUTIFUL ROOM...
CHOSE TO KEEP ALL THE ART THAT
THEY DISAPPROVED OF?

Bjorn says YEAH.
IT WAS REBUILT AS A MUSEUM IN
THE 1930S.
AND ON THE FIRST FLOOR, WE HAD
EXHIBITIONS WITH APPROVED ART.
SO, ART THE NAZIS LIKED AND
PROMOTED.

Fiona says SO, HEALTHY-LOOKING
PEASANTS AND...

Bjorn says HEALTHY-LOOKING PEASANTS.

Fiona says --LOVELY LANDSCAPES.

Bjorn says LOVELY LANDSCAPES, MOTHERS...

Fiona says WITH CHILDREN.

Bjorn says YOUNG PEOPLE AND SO ON.
AND HERE ON THE GROUND FLOOR,
ALL THE ROOMS WERE PACKED WITH
PIECES OF ART BY TODAY'S MOST
WANTED AND ALSO MOST VALUABLE
ARTISTS.
SO, AMAZING ART.
BROUGHT SOME PICTURES OF THIS
TIME, SO...

Fiona says OH, THERE'S A VAN GOGH.
THERE'S A SELF-PORTRAIT, YES.

Bjorn says OH, YEAH, IT'S VAN GOGH,
SELF-PORTRAIT, YOU KNOW.
AND IT'S JUST PILED IN THE
CORNER AND-- I DON'T KNOW...
PILED TOGETHER, ALL THOSE
PAINTINGS.

Fiona says YOU THINK, I MEAN, THAT IS
WORTH TENS OF MILLIONS OF
POUNDS.

Bjorn says HERE, I DO HAVE A PICTURE OF
THIS VERY ROOM.
SO, IT CAN BE VERY NICELY
DETECTED BY THE MIRROR OVER
THERE.
SO YOU GET REALLY AN IDEA HOW
THE ROOM LOOKED DURING THE 1930S
HERE.
AND IT'S ABSOLUTELY AMAZING HOW
PACKED IT WAS.

Fiona says IT IS.
I MEAN, THIS WHOLE THING MUST
HAVE BEEN STACKED WITH HUNDREDS
OF PAINTINGS.

Bjorn says YEAH.

Fiona says LOOK AT THIS, ALL JUST PILED
UP HIGGLEDY-PIGGLEDY.

Bjorn says YEAH.
AT LEAST 8,000 PIECES OF ART IN
HERE.

Fiona says WOW.

Bjorn says SO AN AMAZING NUMBER OF
REALLY THE BEST PIECES.

Fiona says AND HILDEBRAND GURLITT WOULD
HAVE COME HERE?

Bjorn says HE WOULD HAVE COME HERE.
HE WAS JUST ONE OF FOUR ART
DEALERS WHO GOT THE ALLOWANCE TO
COME IN HERE TO CHOOSE FROM ALL
THE PILES AND TO CHOOSE WHAT HE
LIKED TO SELL ABROAD.

Fiona says WOW.
I MEAN, WHEN HE SAW-- HE
MUST HAVE THOUGHT HE WAS...
IT'S LIKE HE WAS IN A SWEET
SHOP.

Bjorn says YEAH, IT IS, YEAH.

Fiona says HE'S QUITE AN AMBIGUOUS
CHARACTER, HILDEBRAND GURLITT.
BUT I CAN SEE THAT THE
TEMPTATION FOR HIM WOULD HAVE
BEEN OVERWHELMING WHEN
CONFRONTED WITH THIS QUANTITY OF
THE BEST ART.

Bjorn says YEAH.

Fiona says AND IS THERE AN INVENTORY OF
WHAT WAS BOUGHT AND WHAT WAS
SOLD?

Bjorn says YEAH, THERE WAS ONE.
THERE WAS A VERY DETAILED LIST.
I DON'T HAVE THE ORIGINAL LIST,
BUT THERE ARE COPIES OF IT.
AND I DO HAVE ONE.

Fiona says OH, GREAT.

Bjorn says NOT HERE, I COULD GIVE TO
YOU, SO...

Fiona says I'D CERTAINLY LOVE TO SEE IT.

Bjorn says YEAH, SURE, CAN DO SO.

(music plays)

Fiona says HILDEBRAND MADE A LOT
OF MONEY FOR HIMSELF AND THE
NAZIS SELLING WORKS OF ART FROM
THE SCHONHAUSEN DEPOT ON THE
INTERNATIONAL MARKET.
NONE OF THE ART WAS SUPPOSED TO
STAY IN THE COUNTRY.
AND ANYTHING WHICH WASN'T SOLD
WAS MEANT TO BE DESTROYED.
BUT HILDEBRAND KEPT SOME OF IT
FOR HIMSELF, PERHAPS INCLUDING
OUR SKETCH.
WELL, ALL DICTATORS LOVE THEIR
PAPERWORK, AND HITLER IS NO
EXCEPTION.
THIS IS AN INVENTORY, AN
EXHAUSTIVE INVENTORY, OF ALL THE
ARTWORKS THAT THE NAZIS
CONFISCATED FROM MUSEUMS AROUND
GERMANY.
AND IT LISTS THEM BY TOWN.
THERE ARE THOUSANDS HERE.
CULTURAL VANDALISM ON AN EPIC
SCALE.
SO, I'M LOOKING FOR HAMBURG, FOR
MAX SAUERLANDT'S MUSEUM.
HERE IT IS, KUNST UND GEWERBE
MUSEUM.
IT'S IN ALPHABETICAL ORDER,
OF COURSE.
MODIGLIANI.
MOORE.
HERE WE GO.
MOORE: "SKIZZEN FUR
STEINBILSVERK."
SO, THAT'S SKETCHES FOR A
STONEWORK OR STONE SCULPTURES.
AND HERE IS DR. GURLITT'S NAME.
SO THIS IS PROOF.
THIS IS ABSOLUTE PROOF THAT
HILDEBRAND GURLITT BOUGHT A
HENRY MOORE SKETCH FOR FIVE
SWISS FRANCS, IT SAYS HERE, THAT
HAD BEEN TAKEN FROM MAX
SAUERLANDT'S MUSEUM AND STUCK IN
THE PALACE HERE.
SO THIS IS A BIG BREAKTHROUGH.
WE NOW HAVE PROOF THAT
HILDEBRAND GURLITT NOT ONLY
BORROWED SKETCHES FROM MAX
SAUERLANDT.
HE BOUGHT ONE.
AND WE KNOW THAT MAX SAUERLANDT
GOT HIS SKETCHES DIRECTLY FROM
THE ARTIST HIMSELF, BECAUSE
WE'VE SEEN THE LETTERS FROM
HENRY MOORE TO PROVE IT.
I MEAN, ALL MY INSTINCTS SUGGEST
THIS MUST BE THE SKETCH THAT WE
ARE INVESTIGATING.
IT SOUNDS THE SAME.
BUT THERE'S NO DESCRIPTION,
SO I CAN'T BE SURE.
AND NEITHER CAN ANY COMMITTEE
THAT WOULD AUTHENTICATE THIS
WORK.
AND I'VE SEEN THINGS TURNED
DOWN FOR LESS.

(music plays)

Fiona says BACK IN LONDON, WE'VE BEEN
PUTTING TOGETHER OUR DOSSIER TO
PRESENT TO THE HENRY MOORE
REVIEW PANEL.
BUT AT THE 11TH HOUR, I'VE
JUST RECEIVED SOME EXCITING
NEWS FROM CATHERINE.
WHILE I WAS IN BERLIN, SHE
CARRIED ON TRAWLING THROUGH THE
ARCHIVES IN HAMBURG.
AND HAS TURNED UP WHAT I
BELIEVE IS THE FINAL PIECE OF
THE PUZZLE.
I CAN'T WAIT TO SHARE IT WITH
PHILIP.
I THINK WE'VE ESTABLISHED A VERY
STRONG PROVENANCE TRAIL.
REMEMBER THE NAME MAX
SAUERLANDT?
HE WAS THE MAN WHO RAN THE
MUSEUM IN HAMBURG, KUNST UND
GEWERBE.
AND HE BOUGHT HIS SKETCHES
DIRECTLY FROM HENRY MOORE.
WELL, WE'VE MANAGED TO TRACK
DOWN THE PURCHASE INVENTORY FOR
THAT MUSEUM FROM 1931.
LET ME DRAW YOUR ATTENTION TO
NUMBER 71 IN PARTICULAR.
HENRY MOORE, A STUDY SHEET FOR
13 DESIGNS FOR STONEWORK,
WATERCOLOUR.
NOW, THAT MUCH WE ALREADY KNOW.

Philip says MM.

Fiona says BUT IT'S WHAT'S UNDERNEATH
THAT'S REALLY INTERESTING.
TEN STUDIES FOR A RECLINING
FIGURE.
THREE, DREI, FOR A MOTHER AND
CHILD.
AND THE OVERALL IMPRESSION IS
OF BLUE AND BROWN TONES.
SO, THAT IS A DETAILED
DESCRIPTION OF WHAT IS ON THE
SKETCH.

Philip says I MEAN, SHORT OF HAVING A
PHOTOGRAPH, YOU DON'T GET BETTER
THAN THAT, DO YOU?

Fiona says YOU DON'T.
AND LOOK AT THIS: WIDTH 31
CENTIMETRES, HEIGHT 29.2.

Philip says OKAY, LOOK, ONE BIT AT A
TIME.
SHALL WE SEE HOW MANY FIGURES
THERE ARE?
BECAUSE IT SAYS 10?

Fiona says TEN RECLINING FIGURES,
THREE...

Philip says OKAY, 10 RECLINING FIGURES.

Fiona says MOTHER AND CHILD.
SO, LET'S HAVE A LOOK.
YOU COUNT THEM.

Philip says ONE, TWO, THREE, FOUR, FIVE,
SIX, SEVEN, EIGHT, NINE, TEN
RECLINING FEMALE FORMS.
AND ONE, TWO-- ONLY TWO MOTHER
AND CHILDS.

Fiona says BUT YOU SEE, I WONDER IF THE
THIRD ONE WENT IN THIS GAP HERE?
I'VE ALWAYS BEEN A BIT WORRIED
ABOUT THAT GAP.

Philip says DO YOU KNOW, I THOUGHT THAT
WAS A SORT OF MEANINGFUL
ARTISTIC GAP.
BUT I THINK YOU'RE RIGHT.
I THINK, YOU KNOW, IT MAKES
ABSOLUTE SENSE.

Fiona says NOW, LET'S THINK ABOUT THE
DIMENSIONS.
NOW, IF YOU MEASURE THE MOUNT
BEHIND, IT MEASURES 31 BY 33.
IF, HOWEVER, YOU JUST MEASURE
THE SKETCH, YOU GET...

Philip says 29.2 TIMES 31.
YOU GET IT.

Fiona says I MEAN, I GIVE YOU WHAT
LOOKS TO ME LIKE A TOTAL SLAM
DUNK FOR OUR SKETCH.
EVERYTHING IS HERE.
BOUGHT FROM HENRY MOORE,
LONDON, 21ST OF APRIL, 1931.
WE KNEW THAT ALREADY.
AND THEN IN A LATER HAND,
THIS IS WRITTEN IN PEN HERE:
"CONFISCATED AS DEGENERATE ART
IN AUGUST, 1937."

Philip says BUT HOLD ON.
THIS DRAWING THAT WE HAVEN'T
BEEN ABLE TO NAIL FOR SO LONG...
EVERYTHING IS WRITTEN HERE!
I KNOW THIS IS REALLY GOOD AND
DIMENSIONS AND EVERYTHING, BUT...
AND I'M REALLY ENJOYING TELLING
YOU THIS.
YOU ALWAYS PUT ME DOWN IN THESE
SITUATIONS.
WHY SHOULDN'T THERE BE SOMETHING
ELSE OUT THERE THAT FITS THIS
DESCRIPTION?
WE KNOW HE DID SO MANY
DRAWINGS, YOU KNOW.
HE WAS UP IN THE EVENINGS DOING
THEM, YOU KNOW, ALMOST LIKE
KNITTING.
SO IT COULD BE.
IT COULD BE.
AND FOR ALL WE KNOW, THE
COMMITTEE HAVE ALREADY
CONSIDERED ANOTHER DRAWING THAT
FITS THAT DESCRIPTION.

(music plays)

Fiona says IT'S THE MOMENT OF
TRUTH.
WE'VE SUBMITTED ALL OUR
RESEARCH TO THE HENRY MOORE
REVIEW PANEL.
HAVING TRAVELLED ACROSS GERMANY
IN SEARCH OF EVIDENCE ABOUT OUR
SKETCH, WE'VE BEEN INVITED BACK
TO THE HENRY MOORE FOUNDATION
TO HEAR GODFREY'S VERDICT.
AND NINA ZIMMER, DIRECTOR OF
THE MUSEUM IN BERN, HAS COME TO
JOIN US.
BUT HAVE WE DONE ENOUGH?
HAVE WE CONVINCED HER TO GIVE
THE SKETCH FROM THE GURLITT
HOARD A GREEN LIGHT?

Godfrey says HELLO, NINA.
WELCOME TO THE HENRY MOORE
FOUNDATION.

Nina says HELLO, GODFREY.

Philip says HOW LOVELY TO SEE YOU.

Fiona says NINA, LOVELY TO SEE
YOU AGAIN.

Nina says HI, FIONA.

Philip says SO, YOU'VE FLOWN OVER
FROM SWITZERLAND FOR THIS NEWS.
HOW ARE YOU FEELING?

Fiona says EXCITED AND VERY, VERY
CURIOUS.

Fiona says I SHOULD THINK SO.

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

Godfrey says IT IS INDEED.

Philip says HAVE YOU COME TO A
CONCLUSION?

Godfrey says WE HAVE, AND IT'S ALL IN THIS
LETTER, NINA.
BUT AS I'M HERE TODAY AS WELL, I
CAN TELL YOU THAT THE REVIEW
PANEL WERE DELIGHTED TO ACCEPT
THIS DRAWING INTO THE CATALOGUE
RAISONNÉ.
WE THINK IT'S A VERY SPECIAL
ADDITION.
SO THANK YOU VERY MUCH.

Philip says HOW EXCITING.
SO, WHAT, EVERY BIT OF THIS IS
BY THE MAN HIMSELF?

Godfrey says ABSOLUTELY, AND INDEED,
IMAGES ON THE BACK OF THE
DRAWING THAT HAVEN'T BEEN SEEN
BY ANYONE SINCE MOORE HIMSELF
PROBABLY MOST OF A CENTURY AGO.
THIS IS A TREMENDOUS BONUS FOR
US, AND WE'RE DELIGHTED.

Fiona says WHAT DO YOU THINK OF THAT,
NINA?

Nina says I'M VERY HAPPY, VERY HAPPY.

Fiona says AND WAS IT DIFFICULT TO COME
TO THAT CONCLUSION?

Godfrey says WELL, WE WERE ALL REALLY
HOPEFUL THAT EVERYTHING WAS
GOING TO FIT TOGETHER.
WE NEEDED THE PROVENANCE THAT
WE FELT CONFIDENT ABOUT.
WE NEEDED MORE DETAIL ON IT.
WE HAVE THAT NOW.
AND IT OPENS THIS PERIOD UP
AGAIN FOR EVEN MORE INTENSE
RESEARCH.
AND WHAT WE KNOW ABOUT THIS
PERIOD OF ART HISTORY AND
MOORE'S PLACE IN IT NOW BEGINS
TO DEVELOP.

Fiona says AND WHAT ABOUT THE
PROVENANCE, NINA, BECAUSE THAT
WAS SUCH A BIG PART OF THIS
STORY.
AND ONCE I SAW THAT INVENTORY
FROM 1931, TO ME, IT SEEMED TO
CLINCH IT.
I JUST WONDERED, YOU HAVE A
SYSTEM AT THE MUSEUM.
A RED LIGHT FOR PAINTINGS OR
SKETCHES THAT YOU DON'T OWN.
AMBER FOR ONES YOU'RE NOT SURE
ABOUT.
AND GREEN FOR ONES YOU CAN SAY
ARE NOW THE POSSESSION OF YOUR
MUSEUM.
WHERE DOES THIS STAND NOW?

Nina says I THINK WE'RE CONFIDENT
ENOUGH TO SAY IT'S A GREEN NOW.

Godfrey says EXCELLENT.

Fiona says GREAT.

Philip says MARVELLOUS.

Fiona says GREAT.

Philip says MARVELLOUS.

Fiona says I'M SO PLEASED FOR YOU.

Nina says WE ARE VERY, VERY HAPPY.
AND WE KNOW SO MUCH MORE NOW
ABOUT THE HISTORY OF THIS WORK.
AND IT'S ONE EXCEPTION.
IN THE ENTIRE 1,500 GURLITT
TROVE, THERE'S ONLY ONE HENRY
MOORE.
TO FIT THIS INTO THE PUZZLE OF
THE HISTORY, I THINK YOU HELPED
US A LOT.

Philip says SO, WILL YOU SHOW IT TO THE
PUBLIC IN SWITZERLAND?

Nina says WE WILL DEFINITELY SHOW IT IN
THE MUSEUM.

Fiona says GREAT, GREAT.

(music plays)

Fiona says WHAT A FASCINATING PROCESS, THE
SEARCH FOR OUR SKETCH IN THE
SHADOW OF HILDEBRAND GURLITT.
AND HE WAS SUCH AN AMBIGUOUS
FIGURE.
HE EXPLOITED THE HORRORS OF THE
NAZI REGIME TO AMASS A HUGE ART
COLLECTION FOR PERSONAL GAIN.
BUT THEN WE KNOW THERE WERE
SEVERAL HENRY MOORE SKETCHES IN
GERMANY AT THE TIME.
MOST ARE PRESUMED LOST OR
DESTROYED, BUT WE HAVE THIS ONE.
HE SAVED IT.

Philip says YEAH, AND I'VE NO DOUBT NOW
THAT WE'VE ADDED ALL OF THIS
RICH EMOTIVE HISTORY, THAT AS A
DRAWING, IT'S EVEN MORE
DESIRABLE TO COLLECTORS.
I CAN SEE-- I CAN SEE PEOPLE
PAYING 50, 60, 70,000 POUNDS FOR IT.
BUT OF COURSE, IT'S NOT ABOUT
THAT.
IT'S ABOUT THIS TERRIFICALLY
IMPORTANT TIME IN BRITISH ART
HISTORY AND EUROPEAN ART
HISTORY WHEN A BRITISH ARTIST
TRIUMPHANTLY ARRIVES ON THE
INTERNATIONAL STAGE OF THE
AVANT GARDE-- HENRY MOORE.
AND NOW-- AND NOW WE HAVE THAT
TANGIBLE PROOF.
ONE OF THOSE LOST DRAWINGS HAS
BEEN RETURNED.

(theme music plays)

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

Presented by Fiona Bruce and Philip Mould.

Executive Producer, Judith Winnan.

Series Producer, Lucy Swingler.

Logo: BBC Studios.

Logo: All3Media International.

Copyright 2018, BBC.

Watch: Fake or Fortune Series 7 - Episode 3