Transcript: Fake or Fortune Series 7 - Episode 5 | Nov 04, 2020

Fast clips show images of an art auction at Sotheby's.

(dramatic music play)

A Female 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 says THIS IS IT.

Fiona and Philip Mould travel in a car. She is in her forties with shoulder length brown hair in a layered cut. She's wearing a patterned blue summer shirt and a blue and red necklace. He is in his fifties with short receding gray hair. He's wearing a purple shirt.

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.

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

Fiona says DA-NAH!

An Old Woman says OH WOW!

Fiona says EVERY CASE IS PACKED WITH SURPRISE AND INTRIGUE.

A man with a mustard and black sweater 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 END IN JOY... Fiona reads "THERE IS ENOUGH TO SUPPORT THE CONCLUSION THAT IT IS BY TOM ROBERTS"!

A couple hugs.

Fiona says OR BITTER DISAPPOINTMENT.

A Woman in her fifties says I DON'T THINK IT'S A WORK BY GAUGUIN. I'M VERY SORRY.

Fiona says IN THIS EPISODE, A FIRST FOR FAKE OR FORTUNE, WE INVESTIGATE A SCULPTURE. WHAT IS IT? COULD THIS CURIOUS PIECE OF PLASTER BE A RARE, ABSTRACT WORK BY THE MAN CONSIDERED TO BE THE GREATEST SCULPTOR OF THE 20TH CENTURY, ALBERTO GIACOMETTI?

Philip says THAT SCULPTURE REALLY REPRESENTS SOMETHING EXTREMELY SIGNIFICANT.

A black and white portrait of Giacometti appears.

Fiona says THE DARLING OF THE ART MARKET, IN 2015 ONE OF HIS BRONZES SOLD FOR 141 MILLION DOLLARS, A WORLD RECORD. COULD A FAMILY SOUVENIR FROM 1930S PARIS ACTUALLY BE A LOST EARLY WORK WITH AN UNFORTUNATE HISTORY?

Clare says THE CAT KNOCKED IT OVER.

Fiona says IT'S ONE OF THE MOST CHALLENGING INVESTIGATIONS WE'VE EVER UNDERTAKEN AND THE PRIZE IS ONE OF THE MOST PRECIOUS OF ALL, BUT GETTING TO THE TRUTH WON'T BE EASY IN A WORLD WHERE FORGERIES ARE PRODUCED ON AN INDUSTRIAL SCALE. HOW MANY DID YOU FIND?

Wolfgang says 1,300.

Fiona says WOW.

(theme song plays)

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

Fiona says ON THE LAST SERIES OF FAKE OR FORTUNE WE ASKED VIEWERS TO CONTACT US IF THEY HAD A MYSTERY WORK OF ART. WE REGULARLY RECEIVE EMAILS AND LETTERS ABOUT PAINTINGS, BUT WE'VE ALSO BEEN SENT A TANTALISING MESSAGE ABOUT A PIECE OF SCULPTURE. I'M KEEN TO SHARE THE LEAD WITH PHILIP SO WE'VE ARRANGED A RENDEZVOUS IN A FITTING LOCATION, A SCULPTURE GALLERY IN LONDON'S VICTORIA AND ALBERT MUSEUM.

Philip says HELLO.

Fiona says HI, HOW ARE YOU DOING?

Philip says VERY GOOD THANKS. WELL, I LIKE WHERE YOU'VE TAKEN ME, ALL THESE RENAISSANCE TREASURES ALL OVER THE PLACE. DON'T TELL ME, SOMEONE FOUND A MICHELANGELO IN THEIR BACK GARDEN?

Fiona says NO, WOULDN'T THAT BE NICE? BUT THERE IS A REASON I'VE BROUGHT YOU HERE. I HAVE HERE AN e-mail FROM ONE OF OUR VIEWERS.

She uncovers a tablet and reads "IN YOUR PROGRAMME ON SUNDAY YOU MENTIONED AN INTEREST IN WORKS OF ART RATHER THAN JUST PAINTINGS. I THEREFORE ENCLOSE TWO PHOTOGRAPHS OF THE GIACOMETTI "GAZING HEAD.."." She says SO, A SCULPTURE.

Philip says IF WE COULD GET A GIACOMETTI THROUGH IT WOULD BE A SUPREMELY IMPORTANT DISCOVERY. THAT'S ONE OF THE GREAT TROPHIES OF THE 20TH CENTURY, A SCULPTURE BY HIM. BORN IN 1901 IN THE SWISS TOWN OF BORGONOVO, NEAR THE ITALIAN BORDER, ALBERTO GIACOMETTI GREW UP IN AN ARTISTIC FAMILY.

Old footage shows Alberto Giacometti drawing. He is in his early fifties with a suit.

He continues IN THE 1920S HE MOVED TO PARIS TO STUDY SCULPTURE AND BECAME A REGULAR IN THE CITY'S CAFÉS, RUBBING SHOULDERS WITH ARTISTS AND INTELLECTUALS SUCH AS PICASSO AND THE SURREALISTS. BY THE END OF THE SECOND WORLD WAR GIACOMETTI'S OBSESSIVE DESIRE TO DEPICT THE HUMAN HEAD AND FIGURE RESULTED IN THE WORKS FOR WHICH HE IS BEST KNOWN, THIN, ELONGATED FACES AND TALL, SPINDLY CHARACTERS SUCH AS "THE WALKING MAN," OFTEN CAST IN BRONZE. BY THE TIME OF HIS DEATH IN 1966 HE WAS ALREADY HAILED AS ONE OF THE GREATEST SCULPTORS OF THE 20TH CENTURY AND HIS WORKS AMONG THE MOST PRIZED IN MODERN ART.

A caption reads "BBC News. February 2, 2010."

In a clip, a male auctioneer says AT 58 MILLION POUNDS I'M GOING TO SELL, ONCE, FAIR WARNING.

Philip says COULD A FAMILY FROM THE SOUTH OF ENGLAND HAVE DISCOVERED ONE OF GIACOMETTI'S EARLIEST WORKS, A STRIKINGLY THIN SQUARE OF PLASTER? WE'VE GOT TO BE SO CAREFUL WITH SCULPTURES. I MEAN, ALL OF THESE TREASURES AROUND US ARE, IN FACT, PLASTER REPLICAS OF THE REAL THING, AND TAKE DAVID OVER THERE, HE'S A VICTORIAN COPY OF THE RENAISSANCE ORIGINAL.

Fiona says I HAVE AN OMINOUS FEELING THAT TELLING THE REAL THING FROM THE FAKE MAY NOT BE THAT STRAIGHTFORWARD.

(piano music plays)

Philip says THIS IS NEW TERRITORY FOR US, AND SCULPTURE POSES PARTICULAR CHALLENGES FOR THE ART DETECTIVE. WE'RE PROBABLY MOST FAMILIAR WITH THE IDEA OF A SCULPTOR CHIPPING AWAY AT A PIECE OF MARBLE SUCH AS "THE KISS." CREATED BY AUGUSTE RODIN AND HIS TEAM. MANY SCULPTORS, THOUGH, GIACOMETTI INCLUDED, LIKED CREATING OBJECTS IN SOFT MATERIALS SUCH AS CLAY THAT CAN BE USED TO MAKE A MOULD.

A clip shows a person using s welding torch on small white horse sculpture.

He continues THIS, IN TURN, ALLOWS THEM TO CREATE MULTIPLE EDITIONS OF A WORK IN PLASTER OR BRONZE, ALL OF WHICH WOULD BE CONSIDERED AUTHENTIC.

Fiona says WE NEED TO TAKE A CLOSER LOOK AT THE PLASTER SCULPTURE WE'VE BEEN CONTACTED ABOUT TO SEE JUST WHAT WE'RE DEALING WITH. THE INCREDIBLY FRAGILE PIECE HAS BEEN DELIVERED TO THE GALLERY BY SPECIALIST COURIER. WE'VE ASKED OWNER HENRIETTA PLUNKETT AND HER MOTHER, CLARE CLARKE-HALL, TO COME IN AND TELL US EVERYTHING THEY KNOW ABOUT THIS EXTRAORDINARY WORK BELIEVED TO BE BY ALBERTO GIACOMETTI.

Fiona says HI, THERE.

Philip says HELLO

Henrietta Plunkett is in her early thirties, with long blond hair. She wears a yellow sweater over a white shirt.

Henrietta says HELLO

Philip says NICE TO SEE YOU.

They all shake hands.

Fiona says NICE TO MEET YOU. SHALL WE HAVE A LOOK AT YOUR SCULPTURE? WHAT IS IT?

Henrietta says WELL, THAT'S A GOOD QUESTION. SOME PEOPLE HAVE THOUGHT IT'S A TELEVISION, UM, WHEN THEY'VE FIRST SEEN IT, BUT IT'S ACTUALLY SUPPOSED TO BE A SCULPTURE BY ALBERTO GIACOMETTI.

Fiona says OF?

Henrietta says OF A GAZING HEAD.

Fiona says I MEAN, IT'S SO NARROW, THAT'S WHAT STRIKES ME, IT'S LIKE A, IT'S LIKE A PIECE OF PAPER.

Henrietta says THAT'S WHAT I LOVE, I LOVE THE FACT THAT WHEN YOU SEE IT FROM FRONT ON, WHEN, WITH THE LIGHTS, IT LOOKS LIKE IT'S VERY DEEP AND THEN YOU GO SIDE ON AND IT'S NOT EVEN THREE CENTIMETRES.

Fiona says IT'S LIKE A BLADE, LIKE A WHITE BLADE.

Clare Plunkett is in her sixties, with shoulder-length gray hair. She wears a beige blazer over a matching turtleneck sweater and a silver necklace.

Clare says I THINK IT'S ABSOLUTELY WONDERFUL, THE MORE YOU SEE IT AND THE MORE YOU LIVE WITH IT, I THINK THE LOVELIER IT IS IN A WAY.

Philip says IF THIS IS BY GIACOMETTI WE'RE TALKING ABOUT SOMETHING DONE IN THE 1920S, RIGHT AT THE EARLY PART OF HIS CAREER AND SOMETHING THAT IS EXTRAORDINARILY ABSTRACT. ENCOURAGINGLY FOR HENRIETTA AND CLAIRE, THEIR SCULPTURE DOES BEAR A STRIKING RESEMBLANCE TO AN AUTHENTIC GIACOMETTI WORK. KNOWN BY THE FRENCH NAME "TETE QUI REGARDE" OR "GAZING HEAD." THIS AUTHENTIC VERSION IN STARK WHITE PLASTER WAS INTENDED AS A FINISHED WORK OF ART AND IS HELD BY THE MUSEUM OF MODERN ART IN NEW YORK. THE MUSEUM ALSO HOLD A BRONZE "GAZING HEAD." ALL OF THESE "GAZING HEAD." SCULPTURES ARE GENUINE BECAUSE THEY ARE KNOWN TO HAVE BEEN MADE BY GIACOMETTI OR UNDER HIS CLOSE SUPERVISION. COULD THIS BE ANOTHER ONE?

Fiona says HOW DID THIS EXTRAORDINARY OBJECT COME INTO YOUR FAMILY?

Henrietta says WELL, IT WAS ACQUIRED BY MY GRANDMOTHER, FIONA GARFITT AND WE'VE GOT SOME PHOTOGRAPHS OF HER HERE, WHO LATER MARRIED MY GRANDFATHER DENIS CLARKE-HALL.

Fiona says THESE ARE GREAT.

Philip says SHE'S VERY STRIKING, ISN'T SHE?

Fiona says WOW.

They look at a black and white portrait of a young woman.

Henrietta says SHE WAS STUDYING IN PARIS AROUND THE 1930S AND SHE USED TO SIT FOR THE ARTIST DERAIN.

Philip says SO, SHE WAS PAINTED BY THE GREAT AVANT-GARDE PAINTER ANDRE DERAIN.

Fiona says IS IT A TRAVESTY TO SAY HE DIDN'T QUITE DO HER JUSTICE?

Clare says WE DON'T THINK SO. I MEAN, HER CHIN DOESN'T LOOK QUITE RIGHT AND NOR DOES HER MOUTH BUT HE DID DO IT IN AN AFTERNOON.

Henrietta says AND THEN SHE WAS ALSO FRIENDS WITH THE SUPPOSED MISTRESS OF GIACOMETTI, AND THEREFORE SHE BECAME ACQUAINTED WITH GIACOMETTI.

Philip says THAT REALLY PUTS HER DOING THE RIGHT THINGS, IN THE RIGHT PLACE, AT THE RIGHT TIME.

Henrietta says SHE ALWAYS LIKED HIS WORK AND WE THINK THAT SHE RETURNED TO PARIS ONCE SHE'D MARRIED MY GRANDFATHER DENIS, THERE'S A PHOTOGRAPH OF HIM HERE, AND HE WAS AN ARCHITECT THAT'S WHEN WE BELIEVE THEY WENT BACK TOGETHER TO ACQUIRE THIS PIECE. WE KNOW THAT SHE WANTED TO GET THE BRONZE, BUT COULDN'T STRETCH TO THE BRONZE SO THEY GOT THE PLASTER INSTEAD.

Fiona says SO, THEY BOUGHT THIS?

Henrietta says YEAH, AND OF COURSE, THE PLASTER IN A WAY, IS MORE SPECIAL THAN THE BRONZE, WELL I THINK IT'S MORE SPECIAL THAN THE BRONZE, BECAUSE, AS YOU CAN SEE, IT BREAKS VERY EASILY. (laughing)

Fiona says WHAT'S ALL THIS AT THE BACK HERE? I WASN'T VERY SURE WHEN THE RIGHT MOMENT WOULD BE TO MENTION IT LOOKS, IT'S BEEN THROUGH THE WARS.

Henrietta says YEAH, IT HAS.

Clare says THAT WAS THE, THE CAT KNOCKED IT OVER.

Henrietta says KNOCKED IT OFF THE MANTELPIECE . WHEN IT SMASHED INTO A MILLION PIECES MY GRANDFATHER JUST TOOK IT, SORT OF, STUCK A WHOLE LOAD OF POLYFILLA AND COVERED IT IN SOME PAINT.

Philip says UNFORTUNATELY THESE CRUDE DIY REPAIRS HAVE LEFT THE BACK OF THE SCULPTURE LOOKING NOTHING LIKE THE SMOOTH, CLEAN SURFACE YOU'D EXPECT TO FIND IN AN AUTHENTIC "GAZING HEAD." WHICH MIGHT POSE PROBLEMS. AS A SCULPTURE, OBVIOUSLY, CONDITION IS RATHER KEY, I MEAN, IF A PLASTER HAS BEEN BROKEN IT IS NOT AS DESIRABLE AS A PERFECT PIECE. BUT HAVING SAID THAT, IF THIS WERE A BRONZE WE'D BE TALKING MILLIONS OF POUNDS.

Henrietta and Clare chuckle.

He continues BUT IT'S NOT A BRONZE, BUT IT'S A PLASTER AND GIACOMETTI SAW THESE PLASTERS AS COMPLETED, STANDALONE WORKS OF ART. DEPENDING ON THE CONDITION AND THAT'S A BIT UNFATHOMABLE AT THIS STAGE, WE COULD BE TALKING HUNDREDS OF THOUSANDS OF POUNDS, BUT THE ART WORLD NEEDS COLD, HARD FACTS IF WE'RE GOING TO LINK THIS WITH THE GREAT MAN HIMSELF.

Henrietta says WE'VE GOT ABSOLUTELY NOTHING, ABSOLUTELY NOTHING.

She chuckles.

Fiona says AND NOTHING OTHER THAN A FAMILY STORY TO ACTUALLY PLACE IT WITHIN THE ORBIT OF GIACOMETTI AT ALL?

Henrietta says EXACTLY AND IT'S NEVER BEEN ANYWHERE ELSE BECAUSE IT'S ALWAYS BEEN IN THE FAMILY.

Clare says ALWAYS BEEN AT HOME.

Philip says WELL, WHAT WE HAVE TO DO WITH THESE, THESE IMAGES THAT YOU'VE GOT FIRST IS TRY AND BRING THIS BACK TO THE MOMENT THAT GIACOMETTI WAS MAKING THESE THINGS IN PARIS.

Fiona says WHAT A GREAT CHALLENGE. I'M LOOKING FORWARD TO IT.

Henrietta says THAT'S GOING TO BE FANTASTIC.

Philip says WE NEED TO HIT THE GROUND RUNNING WITH OUR RESEARCH IN ORDER TO BUILD A CASE TO PRESENT TO THE GIACOMETTI COMMITTEE IN PARIS, THE AUTHORITY WHO PASS JUDGMENT ON ALL NEWLY DISCOVERED ARTWORKS. WE WILL HAVE TO FIND OUT ALL WE CAN ABOUT GIACOMETTI AND HOW HE WORKED SO I'M HEADING TO THE SAINSBURY CENTRE FOR THE VISUAL ARTS AT THE UNIVERSITY OF EAST ANGLIA, HOME OF THE UK'S LARGEST COLLECTION OF GIACOMETTI MATERIAL AND A WELL-STOCKED ART LIBRARY.

Fiona says WHILE PHILIP HITS THE BOOKS, I'VE FOUND SOMETHING USEFUL IN THE BBC'S OWN ARCHIVES, A DOCUMENTARY ABOUT GIACOMETTI MADE JUST A FEW YEARS BEFORE HIS DEATH IN 1966. I'VE ARRANGED TO VIEW IT AT THE CINE LUMIERE CINEMA IN LONDON. COULD IT CONTAIN ANY MATERIAL THAT MIGHT HELP US?

Fiona sits alone in a cinema watching and old documentary.

A Male Narrator says THIS TALL FIGURE STANDS OUTSIDE THE STUDIO OF ALBERTO GIACOMETTI IN PARIS. HE MAKES EACH FIGURE OR HEAD, EFFACES IT, REMAKES IT OVER AND OVER AGAIN.

Fiona says WITH THOSE LONG, SLENDER, ATTENUATED FIGURES HE'S TAKING THE MEDIUM OF CLAY AND STRETCHING IT TO THE ABSOLUTE LIMIT OF WHAT IT CAN ACHIEVE. IT'S THRILLING TO WATCH GIACOMETTI AT WORK.

The caption changes to "Cubism and After. BBC, 1962."

She continues YOU CAN SEE HIM COAXING HIS IDEAS TO LIFE IN CLAY, CONSTANTLY SHAPING AND MODELLING THE BRITTLE FACES AND BODIES HE'D GO ON TO CAST IN PLASTER AND BRONZE. FASCINATING TO SEE HIS STUDIO, AND YET HE'S SURROUNDED BY CLUTTER, BAGS OF CLAY, BROKEN PIECES, BITS OF SCULPTURE. YET IT WAS IN THIS CRAMPED, DIMLY LIT SPACE IN THE BOHEMIAN QUARTER OF MONTPARNASSE IN PARIS THAT GIACOMETTI WORKED FOR OVER 40 YEARS, OFTEN LABOURING 15 HOURS AT A STRETCH IN A HAZE OF CIGARETTE SMOKE.

Philip says IT'S CLEAR FROM THE MANY BOOKS ABOUT GIACOMETTI THAT WHEN HE FIRST ARRIVED IN THAT STUDIO IN DECEMBER 1926 HE WAS A SCULPTOR IN SEARCH OF AN IDENTITY.

Philip browses through art books in a modern library.

Philip continues I'VE BEEN TRYING TO FIND OUT JUST HOW HE CAME UP WITH THE IDEA FOR THE "GAZING HEAD" AND HOW IMPORTANT HENRIETTA'S SCULPTURE COULD BE. SO, GIACOMETTI COMES TO PARIS IN THE 1920S, HE STUDIES AS A CLASSICAL SCULPTOR, HE WORKS WITH A GUY CALLED BOURDELLE, HE LEARNS THE TRADITIONAL WAY OF DOING THINGS BUT WHAT'S SO OBVIOUS FROM WHAT YOU READ IS THAT HE WAS DESPERATE TO DO SOMETHING DIFFERENT, HE WAS ITCHING TO EXPRESS HIMSELF, AND THEN THERE'S A BIG MOMENT, 1927 HE GOES AND STAYS WITH HIS PARENTS, GOES BACK TO SWITZERLAND AND PRODUCES SOMETHING RATHER REMARKABLE. AN IMAGE OF HIS FATHER WITHOUT ANY PROFILE AT ALL,

He points to a page and continues AND HERE YOU HAVE IT, YOU KNOW, THAT FLAT FACE BUT WITH THESE QUITE PRONOUNCED EARS. SOMETHING'S HAPPENING, SOMETHING'S CHANGING. LATER THAT YEAR GIACOMETTI BECOMES EVEN MORE DARING. DRAWING INSPIRATION FROM THE ABSTRACT ANGLES OF CUBISM AND AFRICAN TRIBAL ART, HE CREATES THE VERY FIRST "GAZING HEAD," A STARK WHITE SQUARE OF PLASTER SET WITH TWO SHALLOW GROOVES. HE'S PURIFYING IDEAS FROM HIS IMAGINATION. IT'S PART OF A DIFFERENT WAY OF APPROACHING SCULPTURE, HE CALLS THEM PLAQUES, RATHER TWO-DIMENSIONAL IMAGES WE HAVE THE PERFECT QUOTE TO WORK OUT WHAT'S GOING ON IN HIS THINKING. He reads "IF I LOOK AT YOU FROM THE FRONT, I FORGET THE PROFILE. IF I LOOK AT THE PROFILE, I FORGET THE FRONT." He says I MEAN, THAT SAYS IT ALL ABOUT OUR SCULPTURE. I MEAN, IT'S A PROFILE, YET IT'S THE FRONT. IT'S ALMOST AS IF HE'S JUST GETTING RID OF THAT COMPLICATED THIRD DIMENSION ALTOGETHER, THE THINGS THAT CLASSICALLY HE WOULD HAVE BEEN TAUGHT. IT'S A MOMENT OF GREAT CHANGE IN ART HISTORY AND I'M JUST WONDERING WHETHER HENRIETTA HAS REFLECTED ON JUST HOW SIGNIFICANT THIS MIGHT BE.

Back in the cinema, Fiona says IT'S CLEAR THAT "GAZING HEAD" MARKED A SIGNIFICANT BREAKTHROUGH FOR GIACOMETTI. IT WAS A WILDLY EXPERIMENTAL PIECE OF SCULPTURE AND IT TAKES PRIDE OF PLACE IN THE ROLL CALL OF HIS MOST IMPORTANT WORKS. GREAT TO SEE AN ORIGINAL VERSION OF GIACOMETTI'S "GAZING HEAD" IN THAT FOOTAGE. WE DON'T KNOW IF HENRIETTA'S IS THE REAL THING OR NOT BUT HAVING SEEN THAT IT'S CLEAR THAT GIACOMETTI'S OBSESSIVE NATURE AND QUEST FOR PERFECTION DROVE HIM TO REVISIT THE SAME THEMES AND IDEAS, OVER AND OVER AGAIN, WHICH MIGHT GO SOME WAY TO EXPLAINING WHY THERE COULD BE SEVERAL VERSIONS OF "GAZING HEAD" AND HENRIETTA'S MIGHT BE ONE OF THEM.

Philip says TO FIND OUT JUST HOW GIACOMETTI MIGHT HAVE GONE ABOUT MAKING MULTIPLE VERSIONS OF "GAZING HEAD" IN PLASTER, WE NEED A CRASH COURSE IN THE PRACTICAL ART OF SCULPTURE. ADEN HYNES SCULPTURE STUDIOS IN BASILDON PRODUCE EVERYTHING FROM MOVIE PROPS TO GIANT ART INSTALLATIONS, WORKING IN MODERN RESINS AND FIBERGLASS AS WELL AS TRADITIONAL MATERIALS SUCH AS PLASTER AND CLAY. ADEN HIMSELF HAS AGREED TO SHOW US THE PROCESS GIACOMETTI IS LIKELY TO HAVE USED TO CREATE THE VERY FIRST "GAZING HEAD." SO, CLARE AND I ARE ON OUR WAY TO MEET HIM.

Clare and Philip walk into Aden Hynes's spacious workshop. He is in his late forties, clean-shaven with short hair. He wears a black polo-shirt and a brown necklace.

Aden says HELLO.

Philip says VERY GOOD TO SEE YOU, ADEN. THIS IS CLAIRE.

Clare says HELLO, ADEN.

Philip says WE HAVE A SCULPTURE, A PLASTER WHICH WE THINK MAY BE BY GIACOMETTI. NOW, AS A PLASTER CAN YOU GIVE US SOME INSIGHT AS TO HOW HE MIGHT HAVE MADE IT? HOW HE MIGHT HAVE STARTED?

Aden says WELL, I THINK INITIALLY THEY WOULD DO SKETCHES OR THEY WORK STRAIGHT FROM THE HEAD AND THEN TRANSFERRED, THERE'LL BE THE HANDS TO THE CLAY.

He grabs a clay model sitting in front of him.

Philip says I SEE, SO YOU CAN'T JUST SCULPT IN PLASTER, YOU HAVE TO FIRST, A BIT LIKE A SKETCH FOR A, FOR A PAINTING, YOU HAVE TO CREATE IT IN CLAY?

Aden says YOU CAN HAVE IDEAS IN DRAWING BUT ONCE YOU SEE IT IN 3D YOU THINK, "OH, THAT'S NOT QUITE HOW I LIKED IT," SO YOU CAN ALTER IT AND PLAY ON UNTIL YOUR HEART'S CONTENT.

Philip says CLAY WAS GIACOMETTI'S FAVOURED MATERIAL AND REFLECTED HIS DESIRE TO SHAPE AND MODEL RATHER THAN CARVE HIS SCULPTURES. AS CLAY WILL QUICKLY DRY OUT AND FALL APART THE NEXT STAGE OF THE PROCESS IS TO TURN THE MODEL INTO SOMETHING MORE ROBUST, LIKE A PLASTER. TO DO THAT, GIACOMETTI WOULD HAVE FIRST CREATED A MOULD OF HIS CLAY MODEL, DIVIDING IT IN TWO AND COATING BOTH SIDES WITH LIQUID PLASTER.

Aden flicks plaster over the clay model.

Aden says I'M USING A FLICK TECHNIQUE AND I'M GOING ALL OVER INTO EVERY LITTLE PIECE OF DETAIL I HAVE AND THERE'S NO TIME TO STOP.

Clare says AND YOU GO ON UNTIL ITS COMPLETELY...

Aden says YOU GO ON 'TIL THIS SIDE'S COMPLETELY COVERED AND THE MAIN THING ABOUT FLICKING IT IS YOU'RE TAKING ALL THE AIR POCKETS FROM YOUR PLASTER AWAY AS WELL.

Philip says ONCE THE OUTER SHELL OF THE MOULD HAS HARDENED IT CAN BE SPLIT IN TWO AND THE CLAY REMOVED LEAVING A SPACE IN THE SHAPE OF THE ORIGINAL MODEL. THIS IS THE MOULD, AND ONCE IT'S BEEN COATED WITH A LUBRICANT AND CLAMPED TOGETHER, IT'S READY TO BE FILLED WITH LIQUID PLASTER JUST LIKE A JELLY MOULD.

A 3D animation shows the process.

He continues ONCE IT'S SET, YOU'VE GOT YOUR FIRST PLASTER CAST. TO DEMONSTRATE THIS STAGE OF THE PROCESS, ADEN IS USING A WORKING MOULD OF A WOMAN'S FACE. SO, THIS IS ALL READY TO ACCEPT NOW THE WET PLASTER?

Aden says IT IS, YEAH. FIRST OF ALL WE HAVE TO ADD A KIND OF VASELINE MIX AND THEN BRUSH IT INTO THE WHOLE MOULD WHICH THEN SEPARATES THE NEW PLASTER FROM THE OLD.

Clare says AND THEY WOULD HAVE USED VASELINE, WOULD THEY?

Aden brushes the mould.

Aden says I THINK THEY MAY HAVE USED, LIKE, AN ANIMAL FAT OR A LARD OR SOMETHING AT LEAST GREASY WHICH ACTS AS A SEPARATOR FOR THE TWO.

Philip says SO, ONCE YOU'VE COVERED IT LIKE THIS AND IT GOES HARD, YOU CAN THEN CRACK IT APART AND, HEY PRESTO, YOU'VE GOT YOUR MOULD?

Aden says THAT'S IT AND YOU CAN USE THAT AGAIN AND AGAIN.

Philip says WATCHING ADEN AT WORK, I'M STARTING TO UNDERSTAND HOW GIACOMETTI MIGHT HAVE FELT AS HE FILLED HIS FIRST "GAZING HEAD" MOULD WITH PLASTER AND WAITED WITH BATED BREATH FOR HIS FRAGILE CREATION TO EMERGE FROM ITS COCOON. THIS IS THE IDEA MADE SOLID.

Aden says YEAH, EXACT, LIKE, REPLICA OF THE, OF THE CLAY.

Philip says AND WE KNOW GIACOMETTI SAW THESE PLASTERS AS FINISHED WORKS OF ART.

Aden says A LOT OF PEOPLE OFTEN MAKE BRONZES BUT HE'S QUITE HAPPY WITH HIS PLASTER.

Philip hands Clare the replica.

Clare says IT MUST BE VERY EXCITING WHEN YOU FIRST TAKE IT OUT AND YOU'RE NOT QUITE SURE...

Aden says YEAH, WELL YOU'RE NEVER, YEAH, YOU KNOW, LIKE, ESPECIALLY AS IT COMES FROM, TRANSLATES FROM CLAY TO PLASTER, IT LOOKS DIFFERENT ALTOGETHER AND, AND IT'S ALMOST THAT REVEAL THAT MAKES IT SPECIAL, I THINK.

Philip says IF I WANTED TO FAKE ONE OF THESE SCULPTURES AND I COULD MANAGE TO GET HOLD OF A GENUINE GIACOMETTI PLASTER COULD I EASILY REPLICATE IT?

Aden says I COULD.

Clare laughs.

Philip says NOT REALLY WHAT WE WANT TO HEAR AND I'M SURE YOU WOULDN'T.

Aden says NO, I WOULDN'T. PROVIDING YOU HAVE A MASTER OF HIS, YOU CAN MAKE AS MANY COPIES AS YOU LIKE.

Fiona says THE FACT THAT SCULPTURES CAN BE SO EASILY REPLICATED POSES HUGE PROBLEMS WHEN IT COMES TO DETERMINING AUTHENTICITY. HOW CAN AN EXPERT TELL WHETHER A PIECE IS THE WORK OF ALBERTO GIACOMETTI OR AN IMPOSTER? BACK IN LONDON, I'M GOING IN SEARCH OF PROFESSIONAL ADVICE. I'VE ARRANGED TO MEET EDWARD HORSWELL, AN ART DEALER WHO SPECIALIZES IN SCULPTURE AT HIS GALLERY IN MAYFAIR. SO, WE HAVE A PLASTER, WE HOPE, BY GIACOMETTI. WHAT WOULD YOU BE LOOKING AT TO TRY AND ESTABLISH ITS AUTHENTICITY?

Edward Horswell is in his mid-fifties, with wavy graying hair. He wears a black jacket over a white open-necked shirt.

Edward says FIRSTLY WE'D DO OUR DUE DILIGENCE, BEFORE WE CONTACTED ANY AUTHORITY ON THE ARTIST. SO, WE WOULD BE LOOKING VERY CLOSELY AT THE PROVENANCE THEN WE WOULD BE LOOKING VERY CAREFULLY AT THE OBJECT ITSELF AND THEN I THINK THAT I WOULD WANT TO GO AND LOOK AT THE OTHER EXAMPLES OF THE SAME SUBJECT BECAUSE THE BEST THAT YOUR SCULPTURE COULD BE WOULD BE AN UNDISCOVERED VERSION.

Fiona says SO, THE BEST CASE THEN FOR HENRIETTA IS THAT HER SCULPTURE IS A LOST ORIGINAL BY GIACOMETTI HIMSELF, BUT A GLANCE AROUND EDWARD'S GALLERY REVEALS THE BEWILDERING VARIATION YOU CAN FIND IN THE WORLD OF SCULPTURE.

Fiona holds a small sculpture of a nude sitting woman.

She says THIS PRETTY LITTLE FIGURE BY FRENCH SCULPTOR MAILLOL MIGHT LOOK LIKE A WORK OF ART, BUT IT'S ACTUALLY A LESS REFINED COPY WITH A MORE FUNCTIONAL PURPOSE.

Edward says BECAUSE THE ARTIST'S FINAL PLASTER ORIGINAL WAS VERY DELICATE THE FIRST THING THE FOUNDRY WOULD DO, THEY WOULD CAST ANOTHER PLASTER WHICH THEY WOULD GIVE TO THE WORKMEN SO THAT THEY KNEW HOW TO FINISH OFF THE BRONZE BECAUSE THEY DIDN'T WANT TO GIVE THEM THE ARTIST'S ORIGINAL BECAUSE THEY MIGHT KNOCK IT OVER ON THE WORKBENCH.

Fiona says SO, THERE'D BE A SORT OF WORKING PLASTER. HOW CAN ANYONE KEEP TRACK OF THAT?

Edward says WITH GREAT DIFFICULTY.

Fiona says WHEN IT COMES TO WHETHER OUR PLASTER IS GENUINE OR NOT WHAT DO YOU THINK OUR OPTIONS ARE?

Edward says WELL, I THINK IT'S ONE OF THREE THINGS. FIRSTLY, IT'S AN ORIGINAL PLASTER MADE BY GIACOMETTI. SECONDLY, IT COULD BE A PLASTER MADE AT THE FOUNDRY FROM AN ORIGINAL PLASTER OF GIACOMETTI'S, OR THIRDLY IT'S A FRAUDULENT RECREATION MADE TO DECEIVE.

Fiona says HOW DIFFICULT IS IT FOR THE GIACOMETTI COMMITTEE TO ESTABLISH A REAL GIACOMETTI FROM ONE THAT ISN'T?

Edward says I THINK IT'S GETTING HARDER AND HARDER. IN THE OLD DAYS WE WERE DEALING WITH FLEA MARKET FAKES. NOWADAYS WE'RE DEALING WITH MUCH MORE SOPHISTICATED FORGERIES WHERE PEOPLE ARE FABRICATING PROVENANCE SO THE, THE TASK IS GETTING HARDER AND HARDER.

Philip says IF EDWARD'S ADVICE WASN'T SOBERING ENOUGH WE ALSO HAVE TO DEAL WITH THE FACT THAT HENRIETTA'S SCULPTURE HAS BEEN BADLY DAMAGED AT SOME POINT IN ITS LIFE AND THEN CRUDELY RESTORED. I'VE ASKED DEREK PULLEN, FORMERLY HEAD OF SCULPTURE CONSERVATION AT THE TATE GALLERY, TO CARRY OUT A TECHNICAL EXAMINATION OF HENRIETTA'S "GAZING HEAD." NOW A FREELANCE SCULPTURE SPECIALIST, DEREK HAS OVER THIRTY YEARS OF EXPERTISE AND IS OFTEN CALLED IN TO INVESTIGATE MYSTERY WORKS. SO, DEREK, WHAT ARE WE DEALING WITH HERE?

(soft music plays)

Derek Pullen is in his sixties, clean-shaven with gray hair. He wears a blue shirt over a white T-shirt and glasses.

Using white gloves, Derek places the white sculpture on a lustrous wooden table.

Derek says WELL, IT CERTAINLY LOOKS LIKE A GIACOMETTI, BUT WHAT STAGE IN THE PROCESS OF MAKING A GIACOMETTI THIS PIECE IS, I'M NOT SURE. IT SEEMS TO BE PLASTER CERTAINLY IF WE LOOK AT THE UNDERSIDE HERE THAT'S RAW PLASTER THERE. I'M CATCHING A SORT OF GLOSS ON THOSE YELLOW AREAS WHICH SUGGESTS THAT THEY MIGHT BE SHELLAC WHICH IS USED TO SEAL PLASTER, PARTLY TO STOP IT GETTING DIRTY BUT PARTLY SO THAT A MOULD CAN BE TAKEN OFF THE PLASTER.

Philip says SO, YOU CAN INFER FROM THAT SHELLAC THAT THIS MIGHT BE PART OF A PROCESS MOVING FROM, FROM ONE TYPE OF OBJECT TO ANOTHER?

Derek says THIS COULD BE AT THE BEGINNING OF THE MAKING OF THE GIACOMETTI SCULPTURE OR IT COULD HAVE BEEN A PLASTER THAT WAS CAST FROM A MOULD SOMEWHERE ALONG THE LINE, PERHAPS WHEN THEY WERE MAKING A BRONZE. Philip says THE CRUDE REPAIRS CARRIED OUT BY HENRIETTA'S GRANDFATHER IN THE LATE 1960S, AFTER THE INCIDENT WITH THE CAT, ARE PLAIN TO SEE, BUT IS THERE ANYTHING ELSE GOING ON BENEATH THE SURFACE? THE WHOLE OBJECT APART FROM AREAS THAT WE CAN SEE HERE IS COVERED WITH, WHAT, A LATER PAINT?

Derek says IT'S COVERED WITH, I THINK, WHITE EMULSION, THAT'S NOT SURPRISING, IT'S QUITE NORMAL FOR PEOPLE TO PAINT THEM UNFORTUNATELY. FOR A START IT COVERS UP SOME OF THE DAMAGE AT FIRST SIGHT.

Philipp says ONE WAY TO TEST THE CREDIBILITY OF HENRIETTA'S SCULPTURE IS TO MEASURE IT. THE DIMENSIONS OF OTHER AUTHENTIC "GAZING HEAD." SCULPTURES ARE WELL DOCUMENTED. HOW DOES THIS VERSION COMPARE?

Derek kneels to measure the piece and says 40.6. Philipp says WELL, WE HAVE HERE 40. SO, AS FAR AS IT'S DIMENSIONS ARE CONCERNED, IT LOOKS FIT FOR PURPOSE.

Derek says IT'S ALWAYS AN APPROXIMATION BUT I'M QUITE HAPPY WITH THOSE DIMENSIONS BEING CLOSE ENOUGH FOR THE TIME BEING.

Philip says SO THAT'S THE HEALTH TEST THAT'S PASSED?

Derek says YES, I THINK IT'S, IT'S GOOD ENOUGH.

Philip says SO, IS THERE ANY WAY OF ESTABLISHING HOW IT'S BEEN REPAIRED HERE AND NOW?

Derek says WELL, WE CAN USE A MAGNET TO SEE IF THERE'S ANY METAL, ANY IRON AND STEEL. I'M GOING TO TILT IT BACK SLIGHTLY. I THINK WHAT WE'LL DO IS, SORT OF, INVESTIGATE THE CRACKS FIRST. NOTHING. NOTHING ALONG THAT LINE. AH, BUT I'M GETTING, I'M GETTING A SENSE, YEAH, THERE'S SOMETHING HERE.

Phillip says AH, YES.

Derek says AND IT GETS STRONGER THERE, WHERE THE, WHERE THE PLASTER IS A LITTLE THINNER.

Philip says WHAT MIGHT BE BENEATH?

Derek says WELL, IT'S QUITE COMMON, ESPECIALLY IN OLDER REPAIRS, TO PUT SOME METAL REINFORCEMENTS TO CONNECT THE TWO BROKEN PARTS.

Philip says ONE HAS TO ASK THE QUESTION, WHO WOULD GO TO THE TROUBLE, IF THIS WAS A FAKE, TO REPAIR IT IN THAT WAY?

Derek says WHOEVER DID IT WAS TAKING IT VERY SERIOUSLY.

Fiona says IF HENRIETTA'S SCULPTURE WAS THE SUBJECT OF A MUCH EARLIER AND MORE SOPHISTICATED REPAIR THAN HER GRANDFATHER'S DIY JOB, THIS COULD PROVIDE CRUCIAL EVIDENCE OF ITS AGE. IT SHOULD BE OVER 80 YEARS OLD IF IT WAS BOUGHT BY FIONA GARFITT AND DENIS CLARKE-HALL AFTER THEY MARRIED IN 1936, BUT CAN WE FIND ANY PROOF THAT THEY ENCOUNTERED GIACOMETTI AROUND THIS TIME? I'VE BEEN LOOKING INTO THEIR EARLY LIVES IN SEARCH OF CLUES. BORN IN 1910, DENIS CLARKE-HALL WAS A SUCCESSFUL ARCHITECT WHO MADE HIS NAME WITH A BOLD, MODERNIST DESIGN FOR A SECONDARY SCHOOL IN 1937.

At a desk with a garden view, Fiona types in a laptop.

She continues HE MOVED IN ARTISTIC CIRCLES, HELPING TO RENOVATE A STUDIO IN CASSIS IN THE SOUTH OF FRANCE FREQUENTED BY PICASSO AND THE ENGLISH ART COLLECTOR ROLAND PENROSE, A KEEN SUPPORTER OF THE SURREALISTS AND OF ALBERTO GIACOMETTI. THE MOST PROMISING LEAD WE HAVE TO GO ON, THOUGH, IS THE FAMILY STORY THAT FIONA MAY HAVE CROSSED PATHS WITH GIACOMETTI WHEN SHE WAS STUDYING IN PARIS IN THE 1930S.

Fiona and Henrietta meet outside a metro station in Paris.

Fiona says HI, THERE.

Henrietta says HI, FIONA.

Fiona says I'VE ARRANGED TO MEET HENRIETTA IN MONTPARNASSE TO TRY AND PIECE TOGETHER MORE INFORMATION ABOUT HER GRANDMOTHER'S TIME IN PARIS, AND I WANT TO SHARE A DISCOVERY I'VE MADE IN THE AUDIO ARCHIVES OF THE BRITISH LIBRARY.

They walk down a street.

Holding a tablet, Fiona says REMARKABLY I'VE FOUND AN INTERVIEW WITH YOUR GRANDFATHER, WITH DENIS CLARKE-HALL.

Henrietta says OH, REALLY?

Fiona says WHICH WAS DONE AS PART OF A COLLECTION WITH GREAT ARCHITECTS OF THE TIME.

Henrietta says YEAH.

Fiona says AND HE IS TALKING ABOUT HIS EXPERIENCES HERE IN PARIS. SO, I THOUGHT YOUR GRANDFATHER, THROUGH HIS INTERVIEW, COULD BE OUR GUIDE TO PARIS.

Henrietta says AMAZING. WELL, I'VE NEVER EVEN KNEW HE'D DONE A, CERTAINLY NEVER HEARD IT.

Fiona says WELL, LET ME PLAY SOME OF IT FOR YOU.

In an old clip, Denis says WE HAD THIS MARVELLOUS TIME WANDERING AROUND PARIS AND FIONA TOOK ME TO THE LOUVRE ONE TIME, SUDDENLY REALISED WHAT PAINTING WAS ALL ABOUT. SHE USED TO GO WHEN SHE WANTED A BIT OF MONEY, SHE'D MODEL FOR SOMEBODY. DERRAIN TOOK A FANCY TO HER AND HE PAINTED MASSES OF HER. ANYWAY, SHE HAD THIS STUDIO IN PARIS, JUST OPPOSITE THE DÔME ON A ROAD CALLED GRANDE CHAUMIÈRE AND SHE WAS ATTENDING THIS ART SCHOOL IN GRANDE CHAUMIÈRE.

Fiona stops the clip and says AND THIS IS IT, THIS IS THE ACADÉMIE DE LA GRANDE CHAUMIÈRE, WHERE YOUR GRANDMOTHER STUDIED. SO, LET'S GO AND HAVE A LOOK.

Henrietta says GREAT.

A black and white picture shows artists painting a naked person.

Fiona says FOUNDED IN 1904, THE ACADÉMIE DE LA GRANDE CHAUMIÈRE OFFERED PAINTING AND SCULPTURE CLASSES TO ASPIRING ARTISTS. SO, HENNY, COME WITH ME THROUGH HERE, I JUST WANT TO SHOW YOU WHAT'S GOING ON IN THIS ROOM. AS YOU CAN SEE THEY'RE JUST PREPARING FOR A LIFE CLASS HERE AND THIS IS WHERE, IN THE 1930S, YOUR GRANDMOTHER CAME TO STUDY.

Henrietta says HOW AMAZING. Fiona says AND TEN YEARS BEFORE THAT, THIS IS WHERE GIACOMETTI STUDIED.

Henrietta says NO, THEY BOTH STUDIED HERE? THAT'S A WONDERFUL COINCIDENCE TO THINK THAT THEY WERE BOTH HERE IN SOME POINT IN THEIR LIVES.

Fiona says EXACTLY. AND JUST AS YOU CAN SEE EVERYONE GETTING READY HERE FOR A LIFE DRAWING CLASS IT WOULD HAVE BEEN JUST THE SAME FOR YOUR GRANDMOTHER AND FOR GIACOMETTI. PEOPLE GETTING THEIR STOOLS DOWN, ARRANGING THEIR EASELS, THE MODEL UP THERE ON THE STAGE WITH A LITTLE HEATER TO KEEP THE MODEL WARM.

Henrietta says TO KEEP HER WARM. (laughing)

Fiona says LIKE FIONA GARFITT, GIACOMETTI WAS DRAWN TO PARIS BY THE PROSPECT OF LEARNING FROM THE GREATS, SUCH AS INFLUENTIAL FRENCH SCULPTOR, ANTOINE BOURDELLE. HE ATTENDED CLASSES AT THE ACADÉMIE BETWEEN 1922 AND 1925 BUT JUST A FEW YEARS LATER HE WAS TEARING UP THE RULE BOOK IN PURSUIT OF SOMETHING FAR MORE RADICAL. THIS IS WHAT HE SAID ABOUT "GAZING HEAD."

She opens a book and reads "I BEGAN BY WANTING TO MAKE FROM MEMORY EXACTLY WHAT I HAD SEEN OF THE MODEL. I STARTED WELL ENOUGH BY ANALYSING THE FIGURE WITH THE LEGS, THE HEAD, THE ARMS BUT IT ALL SEEMS WRONG. TO GET NEARER TO MY IDEA I HAD TO SACRIFICE MORE AND MORE TO REDUCE IT. LEAVE THE HEAD OFF, THE ARMS, EVERYTHING. ALL THAT REMAINED OF THE FIGURE WAS THIS PLAQUE.

Fiona says THAT'S WHAT HE CALLS IT, A PLAQUE, WHICH IS A PERFECT NAME FOR IT.

Henrietta says IT'S A PERFECT DESCRIPTION, ISN'T IT? BECAUSE IT REALLY IS, BECAUSE IT'S SO THIN, IT'S JUST LIKE THAT.

Fiona says IT'S IN PARED DOWN FORM AND HIS INTERPRETATION OF WHAT HE SAW THERE ON THE STAGE BACK IN THE 1920S.

Philip says WHILE FIONA AND HENRIETTA CONTINUE THEIR RESEARCH IN PARIS, I'M AT THE SAINSBURY CENTRE FOR THE VISUAL ARTS IN EAST ANGLIA. I'VE ARRANGED TO MEET CURATOR CALVIN WINNER, GUARDIAN OF THE TREASURES THAT THE SAINSBURY FAMILY ACQUIRED FROM GIACOMETTI, SUCH AS THIS PORTRAIT OF HIS BROTHER, DIEGO SEATED. I WANT TO FIND OUT HOW BRITISH VISITORS TO PARIS, LIKE THE SAINSBURY'S AND FIONA AND DENIS BEFORE THEM, MIGHT HAVE GONE ABOUT BUYING A GIACOMETTI WORK. GIVEN THAT WE LACK CRUCIAL PAPERWORK ABOUT HOW THIS SCULPTURE MAY HAVE GOT INTO THE FAMILY CAN YOU GIVE ME SOME IDEA OF WHAT MIGHT HAPPEN IF YOU WANTED TO BUY A WORK BY GIACOMETTI?

Calvin Winner is in his mid-forties, with a black beard and receding hair. He wears a gray jacket over a beige open-necked shirt.

Calvin says THERE ARE VARIOUS OPTIONS, I MEAN, YOU, YOU COULD GO TO A GALLERY LIKE PIERRE LOEB, WHO WAS A VERY WELL-KNOWN DEALER.

Philip says WHO REPRESENTED GIACOMETTI.

Calvin says HE REPRESENTED GIACOMETTI AT THE TIME. IF YOU HAD AN INTRODUCTION TO GIACOMETTI HIMSELF, IN PERHAPS ONE OF THE, THE CAFES OF PARIS AND THEN GIACOMETTI MAY TAKE YOU TO HIS STUDIO.

An old picture shows Giacometti sitting next to a woman in a café.

Philip says SO, IT COULD HAVE BEEN A BOHEMIAN MOMENT, YOU KNOCK INTO THE ARTIST AT THE BAR AND YOU GO BACK HOME AND YOU BUY PIECE OF ART FROM HIM?

Calvin says IT'S CERTAINLY POSSIBLE AND IT'S NOT UNUSUAL FOR THAT TO HAPPEN.

Philip says THE CASUAL NATURE OF SO MANY OF THESE EXCHANGES IN THE ART WORLD OF THE 1930S CAN MAKE IT EXTREMELY DIFFICULT TO ESTABLISH A CLEAR PROVENANCE FOR AN ARTWORK. WE KNOW THAT GIACOMETTI EXHIBITED HIS FIRST "GAZING HEAD" PLASTER AT THE FASHIONABLE JEANNE BUCHER GALLERY IN PARIS IN JUNE 1929 AND THAT THIS PIECE WAS SNAPPED UP BY CHARLES AND MARIE-LAURE DE NOAILLES, PATRONS OF THE SURREALIST ART GROUP, BUT HOW MANY MORE DID HE MAKE AND COULD HENRIETTA'S PIECE BE ANOTHER VERSION OF THIS BREAKTHROUGH SCULPTURE? WHAT I'D LOVE TO DO, CALVIN, IS SHOW YOU OUR IMAGE AND GET YOUR RESPONSE TO IT.

Philip shows Calvin a picture on his cell phone.

Calvin says RIGHT, IT CERTAINLY LOOKS VERY REMINISCENT OF GIACOMETTI'S WORK FROM THE LATE 1920S. THE FORMS ARE REDUCED DOWN TO THEIR, SORT OF, ESSENTIAL ELEMENTS.

Philip says SO, JUST GIVE ME AN IDEA IF WE COULD PROVE THAT THIS WAS A "GAZING HEAD" BY GIACOMETTI, HOW SIGNIFICANT WOULD IT BE?

Calvin says I THINK THAT TO DISCOVER PLASTERS IS ALWAYS VERY INTERESTING AND INCREDIBLY PLIABLE AND FRAGILE. SO, THEY DON'T ALWAYS SURVIVE. FOR THIS TO SUDDENLY APPEAR IS VERY, VERY INTERESTING.

Philip says SO, WOULD IT BE TRUE TO SAY THAT IF WE COULD ATTACH THE MAGIC NAME GIACOMETTI TO THIS, THAT IT'S THE SORT OF PIECE THAT WOULD FIND A PLACE IN AN ESTEEMED COLLECTION LIKE THE SAINSBURY'S CENTRE?

Calvin says IF THE PROVENANCE IS RIGHT AND WE CAN ATTACH GIACOMETTI'S NAME TO IT, I'M SURE WE'D FIND ROOM FOR IT.

Fiona says BACK IN PARIS, HENRIETTA AND I ARE CONTINUING THE HUNT FOR ANY POINTS AT WHICH FIONA AND DENIS MIGHT HAVE CROSSED PATHS WITH GIACOMETTI DURING THE 1930S, A PERIOD DENIS EVOKES IN COLOURFUL DETAIL.

They listen to an audio clip crossing a bridge.

In the clip, Denis says WE HAD THIS MARVELLOUS TIME WANDERING AROUND PARIS AND FINDING THINGS. THERE WERE 70 FRANCS TO THE POUND AND YOU HAD A THREE COURSE MEAL AND A QUARTER BOTTLE OF WINE FOR FIVE FRANCS SO YOU COULD REALLY, SORT OF, DO QUITE WELL.

Black and white footage shows a crowded café in Paris.

Fiona says PARIS WAS A HAVEN FOR ARTISTS, WRITERS, AND MUSICIANS, IT WAS A WORLD WHERE YOU MIGHT FIND YOURSELF RUBBING SHOULDERS WITH PICASSO OR HEMINGWAY IN THE DÔME CAFE.

Fiona and Henrietta sit in a glamorous café.

Fiona says HENNY, I WANTED TO BRING YOU HERE TO THIS CAFE, RESTAURANT CALLED THE DÔME BECAUSE IT PLAYS AN IMPORTANT PART IN THE STORY OF YOUR SCULPTURE AND THE VISITS THAT YOUR GRANDFATHER MADE HERE TO PARIS TO VISIT YOUR GRANDMOTHER. SO, HAVE A LISTEN TO THIS.

Denis says USED TO MEET PEOPLE IN THE DÔME AND GOT FRIENDLY WITH THINGS. I'D BE SITTING AT A TABLE, COULDN'T UNDERSTAND A WORD HE SAID BECAUSE I COULDN'T SPEAK FRENCH, CHATTING AWAY WITH GIACOMETTI AND ALL THESE OTHER PEOPLE THAT I...

Fiona says SO, YOUR GRANDFATHER WAS SITTING AT A TABLE, MAYBE EVEN THIS TABLE, WHO KNOWS, WITH YOUR GRANDMOTHER.

Henrietta says WITH SOME CHAP HE COULDN'T UNDERSTAND.

Fiona says WITH SOME CHAP HE COULDN'T UNDERSTAND BECAUSE HE WAS TALKING IN FRENCH, HE WAS SITTING WITH GIACOMETTI.

Henrietta says HOW INCREDIBLE.

Fiona says SO, THIS IS THE EVIDENCE THAT YOUR GRANDFATHER AND GRANDMOTHER MET GIACOMETTI AND THEY HUNG OUT WITH HIM, AND I PRESUME THEY WERE FRIENDS, I PRESUME YOUR GRANDMOTHER WAS FRIENDS WITH HIM, THEY WERE SHARING A TABLE, THEY MUST HAVE KNOWN EACH OTHER REASONABLY WELL. SO, IMAGINE WHAT IT WAS LIKE HERE, GIACOMETTI WAS BEGINNING TO MAKE A NAME FOR HIMSELF, HE WAS IN HIS 30S, HE WAS BEGINNING TO SELL SOME OF HIS WORKS, BUT NONETHELESS HE WASN'T WEALTHY. SO, HE WAS TURNING HIS HAND TO OTHER THINGS. HE MADE JEWELLERY, FOR EXAMPLE. HE MADE ARTEFACTS AND PROPS FOR MAN RAY'S PHOTOGRAPHIC STUDIO, HE MADE BITS OF FURNITURE. SO, IT'S POSSIBLE THAT WHEN YOUR GRANDFATHER AND GRANDMOTHER DECIDED TO BUY A PLASTER SCULPTURE BY GIACOMETTI, IF INDEED IT IS BY GIACOMETTI, IT MIGHT NOT HAVE COST THEM THAT MUCH MONEY. SO, WE KNOW THAT YOUR GRANDFATHER AND GRANDMOTHER HUNG OUT WITH GIACOMETTI, I MEAN, ARE THERE OTHER NAMES THAT HAVE COME DOWN THE FAMILY FOLKLORE THAT YOUR GRANDMOTHER MENTIONED?

Henrietta says WELL, WE KNOW THAT FIONA'S GREAT FRIEND IN PARIS WAS A WOMAN CALLED ISABEL RAWSTHORNE.

Fiona says ISABEL RAWSTHORNE.

Henrietta says THEY SPENT A LOT OF TIME TOGETHER.

Fiona says WHAT, YOUR GRANDMOTHER AND ISABEL RAWSTHORNE?

Henrietta says MY GRANDMOTHER AND ISABEL RAWSTHORNE, YEAH.

Fiona says RIGHT, MAYBE WE SHOULD TRY AND FIND OUT A LITTLE BIT MORE ABOUT HER.

Philip says I'M PICKING UP THE INVESTIGATION INTO THE ENIGMATIC ISABEL RAWSTHORNE AT THE SAINSBURY CENTRE, WITH THE HELP OF CURATOR CALVIN WINNER, WHO HAS RESEARCHED HER COLOURFUL LIFE.

A black and white picture shows a young woman with gloves and jewelry covered with a delicate shawl.

Philip continues BORN IN LONDON IN 1912, ISABEL RAWSTHORNE WAS AN ACCOMPLISHED PAINTER AND MOVED IN ARTISTIC CIRCLES THROUGHOUT HER LIFE, BUT IT'S HER TIME IN PARIS BEFORE THE SECOND WORLD WAR THAT'S OF MOST INTEREST TO US, WHEN WE BELIEVE SHE WAS CLOSE TO BOTH FIONA GARFITT AND ALBERTO GIACOMETTI, WHO IMMORTALISED HER IN SEVERAL SCULPTURES.

A close-up shot shows a head sculpture.

Calvin says THIS IS A BRONZE, FROM ABOUT 1937-38, OF AN ENGLISH ARTIST, ISABEL RAWSTHORNE, AND IT'S ONE OF A NUMBER OF BRONZES THAT GIACOMETTI CREATED OF ISABEL. THE FEATURES ARE DELICATE AND SENSITIVE AND AT THE SAME TIME IT STILL REMAINS QUITE AN EXPRESSIVE SCULPTURE.

Philip says SO, CAN YOU TELL ME SOMETHING ABOUT HER, WHERE SHE FITS IN?

Calvin says SO, WHEN SHE CAME TO PARIS SHE ENROLLED IN THE ACADÉMIE DE LA GRANDE CHAUMIÈRE WHICH A NUMBER OF ENGLISH ARTISTS STUDIED AT.

Philip says BUT HANG ON A MOMENT, THAT'S THE SAME PLACE AS THE GRANDMOTHER OF OUR OWNER STUDIED.

Calvin says IT WAS A PLACE WHERE ENGLISH ARTISTS OFTEN WENT TO WHEN THEY ARRIVED IN PARIS.

Philip says SO, WHAT WAS HER CONNECTION WITH GIACOMETTI?

Calvin says ISABEL RAWSTHORNE WAS A STRIKING BEAUTY AND ALL THE ARTISTS OF THAT MOMENT WERE CLEARLY INTERESTED IN HER AND GIACOMETTI LIKEWISE THEN PRODUCED A NUMBER OF WORKS OF HER IN SCULPTURE, BUT ALSO IN DRAWING AND THEY WERE CERTAINLY VERY CLOSE IN LATTER PART OF THE 1930S AND IN THE 1940S AS WELL.

Philip says GIACOMETTI CLAIMED THAT HIS THIN, ELONGATED FEMALE FIGURES WERE INSPIRED BY A GLIMPSE OF ISABEL ON THE STREETS OF PARIS. THE INTIMACY BETWEEN THEM IS VIVIDLY CAPTURED IN A PERIOD PHOTOGRAPH THAT HAS RECENTLY COME TO LIGHT, DATING FROM THE VERY START OF THEIR RELATIONSHIP.

Calvin says SHE MET GIACOMETTI IN 1935 IN THE DÔME CAFÉ AND...

Philip says WHAT, JUST SORT OF BUMPED INTO EACH OTHER?

Calvin says I THINK THERE'S A POSSIBILITY SHE WAS INTRODUCED BY THE ARTIST DERAIN WHO HAD ALREADY PAINTED HER PORTRAIT...

Philip says ANDRE DERAIN, NOW THAT'S A NAME THAT MEANS SOMETHING TO US BECAUSE THE GRANDMOTHER OF OUR OWNER WAS ALSO PAINTED BY DERAIN, THEY HAVE THE PORTRAIT STILL TO THIS DAY.

Calvin says IT'S VERY INTERESTING AND PLACES HER IN AMONGST THOSE ARTISTS AT THAT MOMENT.

Philip says WE STILL LACK THE FIRM DOCUMENTARY PROOF, BUT THE CIRCUMSTANTIAL EVIDENCE HAS REALLY STACKED UP TODAY. I MEAN HENRIETTA'S GRANDMOTHER WAS IN PARIS AT THE RIGHT TIME AT THE RIGHT PLACE, THE RIGHT GROUP OF PEOPLE. SHE MUST HAVE KNOWN GIACOMETTI. THE STAKES ARE UNQUESTIONABLY GETTING HIGHER. ENCOURAGED BY WHAT WE'VE FOUND OUT ABOUT FIONA AND DENIS' CONNECTIONS TO THE PARIS ART SCENE, I'M KEEN TO TAKE A CLOSER LOOK AT THE SCULPTURE ITSELF. COULD DEEPER SCIENTIFIC ANALYSIS REVEAL ANY EVIDENCE THAT IT'S THE WORK OF ALBERTO GIACOMETTI? DEREK'S MAGNET TEST SUGGESTED THERE COULD BE SOME KIND OF METAL SUPPORT INSIDE THE PLASTER. SO, WE'VE ARRANGED FOR THE "GAZING HEAD" TO BE SCANNED WITH SPECIALIST EQUIPMENT USUALLY RESERVED FOR ANIMALS. HENRIETTA AND CLARE AND I HAVE COME TO THE ROYAL VETERINARY COLLEGE IN HATFIELD. WE'VE ARRANGED TO MEET PROFESSOR RENATE WELLER, AN EXPERT IN DIAGNOSTIC IMAGING THE SCIENCE OF LOOKING INSIDE THE BODY. RENATE SPENDS MOST OF HER TIME ANALYSING INJURIES IN ANIMALS, BUT AFTER HOURS HAS BEEN KNOWN TO USE HER EQUIPMENT ON MORE UNUSUAL ARTEFACTS, SUCH AS EGYPTIAN MUMMIES.

Renate Weller checks a scan on a computer. She is in her early forties, with short curly graying hair. She wears a gray jacket over a purple polo-shirt.

Philip, Henrietta and Clare walk into the office.

Philip says WELL, RENATE, THANK YOU SO MUCH FOR ALLOWING US. NOW, I KNOW THAT YOU'RE OBVIOUSLY A DAB HAND WHEN IT COMES TO ANIMALS BUT WHAT ABOUT WORKS OF ART? HAVE YOU DONE ANYTHING COMPARABLE? HAVE YOU DONE OLD THINGS AT ALL?

Renate says YEAH, WE HAVE DONE A FAIR FEW FOSSILS. SO, WE DO GET RESEARCHERS TO COME IN WHO WANT TO KNOW MORE ABOUT HOW THEIR FOSSILS LOOK INSIDE, SO WE HAVE DONE THAT, BUT NEVER A PIECE OF ART. SO, SHALL I DARE?

Philip says ARE YOU GOING TO HAND IT OVER?

Henrietta says YEAH.

Renate says OKAY.

Philip says IT'S OVER TO YOU RENATE, GOOD LUCK.

Renate says THANK YOU VERY MUCH AND HOPEFULLY WE'LL KNOW MORE IN FIVE MINUTES.

Carrying the sculpture, Renate walks into a computed tomography room and says CARLY, LOOK WHAT I BOUGHT YOU TODAY.

Carly says THANK YOU.

Philip says HENRIETTA'S SCULPTURE IS ABOUT TO UNDERGO A CT SCAN, WHICH STANDS FOR COMPUTED TOMOGRAPHY. IT WORKS BY TAKING X-RAYS FROM MANY DIFFERENT ANGLES TO FIRST PRODUCE A CROSS-SECTION OF THE OBJECT.

Henrietta says OH, I CAN SEE ALL THE LINES.

Philip says IT IS LIKE WATCHING A PATIENT ISN'T IT?

Clare says YES.

Philip says YOUR PATIENT.

Clare says OR BEING ONE.

Philip says ONCE RENATE HAS COMBINED THE RESULTS OF THE CT SCAN WITH STANDARD X-RAY IMAGES, A THREE-DIMENSIONAL IMAGE OF THE SCULPTURE CAN BE CREATED AND WE CAN SEE BEYOND THE SURFACE PAINT LAYER, DEEP INTO THE PLASTER ITSELF. SO, THIS IS A VERY SIGNIFICANT MOMENT, WE'RE GOING TO FIND OUT WHAT LIES INSIDE YOUR SCULPTURE.

Renate says RIGHT, SO SHALL WE DO THIS?

Henrietta says YES.

They look at a computer screen.

Renate SO, WE HAVE 665 SLICES OF YOUR STATUE, THEY GO LITERALLY THROUGH LIKE THIS.

She gestures parallel slices in the air.

She continues SO, WE'RE STARTING AT THE EDGE, THE WIDEST PART IS THAT BASE, WE ARE NOW IN THE MIDDLE. SO, THE FIRST THING YOU SEE IS NAILS.

Philip says THERE'S NO MISTAKING THE DIY HANDIWORK OF HENRIETTA'S GRANDFATHER. EMBEDDED IN THE PLASTER ARE THREE HOUSEHOLD NAILS, CRUDELY DRIVEN INTO THE BROKEN SECTIONS TO HOLD IT ALL TOGETHER.

Renate says I MEAN, TO ME, THE NAILS WERE PLACED FOR REPAIR. THIS IS HOW YOU WOULD REPAIR A FRACTURE IN AN ANIMAL OR A HUMAN FOR THAT MATTER. THEY GO, THEY CROSS THE FRACTURE LINE OR THE BREAK LINE. SO, I WOULD HAVE THOUGHT THIS IS WHAT SOMEBODY HAS DONE TO REPAIR IT.

Philip says WHAT'S INTERESTING IS WHERE THOSE NAILS SEEM TO BE IMPALED SEEMS TO BE A DIFFERENT MATERIAL TO THE MATERIAL BEHIND.

Renate says BUT TO ME IT LOOKS LIKE SOMEBODY HAS POURED THIS INTO SOME SHAPE AND THEN IT GAVE IT THESE LAYERS HERE.

Philip says WELL, THAT COULD BE THE LIQUID PLASTER COULDN'T IT?

Renate says YES.

Philip says I MEAN, THAT'S WHAT, PERHAPS, ONE WOULD EXPECT.

s Renate ays ABSOLUTELY, BUT WHAT'S COMPLETELY DIFFERENT...

Clare says IS THIS CORNER HERE.

Renate says CORRECT.

Philip says WHICH IS LIKE, IT'S SOLID, IT'S SORT OF LIKE CONCRETE IN COMPARISON. IT'S A SURPRISING DISCOVERY. THE SCULPTURE APPEARS TO HAVE TWO SEPARATE ELEMENTS. THE MAIN BODY OF THE WORK AND THEN TWO EDGES MADE FROM A DISTINCTLY DIFFERENT MATERIAL, THAT APPEAR TO HAVE BEEN PINNED OR STAPLED IN PLACE.

Renate says WELL, IF WE GO OVER HERE TO THOSE, WHERE THOSE PINS ARE, THEY ARE VERY SUPERFICIAL AND THEY ARE RIGHT AT THE BORDER BETWEEN THE MAIN STRUCTURE AND THAT EXTRA BIT ON THE OUTSIDE.

Philip says THERE ARE SOME REAL SURPRISES HERE, THERE'S MORE GOING ON THAN I WAS EXPECTING.

Fiona says WITH SO MANY PUZZLING ASPECTS TO HENRIETTA'S SCULPTURE COULD IT BE THE WORK OF SOMEONE OTHER THAN ALBERTO GIACOMETTI?

(mysterious music plays)

Fiona says RESEARCH ONLINE REVEALS THE ALARMING EXTENT TO WHICH GIACOMETTI HAS BEEN THE TARGET OF FORGERS AND I'VE TRAVELLED TO THE GERMAN CITY OF STUTTGART TO FIND OUT ABOUT A SCANDAL THAT ROCKED THE ART WORLD. IN 2001, A DISTRICT ATTORNEY IN SWITZERLAND NOTIFIED THE STUTTGART POLICE ABOUT A NUMBER OF FAKE BRONZES CHANGING HANDS FOR MILLIONS OF EUROS. IT WAS THE BEGINNING OF THE MOST AUDACIOUS GIACOMETTI FORGERY CASE EVER SEEN. I'VE ARRANGED TO MEET RETIRED INVESTIGATOR WOLFGANG SCHONLEBER TO FIND OUT HOW IT WAS CARRIED OUT. GUTEN TAG. HELLO, NICE TO MEET YOU.

Fiona and Wolfgang Schonleber shake hands. He is in his fifties, with a stubble beard and short hair. He wears a gray jacket over a white shirt.

Wolfgang says HELLO.

Fiona says SO, THESE ARE THE FORGERIES?

Wolfgang says THESE ARE THE FAKED BRONZES.

Three thin tall human sculptures sit near a window.

Fiona says WOW, LOOK AT THOSE. IF YOU DON'T KNOW GIACOMETTI, THEY'RE QUITE CONVINCING.

Wolfgang says IT'S GIACOMETTI, BUT NOT SO...

Fiona says NOT SO FINE, NO, OF COURSE NOT. FOR ALMOST 10 YEARS A GANG OF FORGERS CHURNED OUT FAKE GIACOMETTIS IN BOTH BRONZE AND PLASTER, DEVISING AN INGENIOUS FALSE PROVENANCE TO EXPLAIN THE ORIGINS OF THEIR WORK, A BOOK, CALLED DIEGO'S REVENGE, THAT PURPORTED TO TELL THE STORY OF GIACOMETTI'S BROTHER DIEGO AND HIS SECRET STASH OF PREVIOUSLY UNSEEN SCULPTURES.

In German, Wolfgang says THE CULPRITS USED FAKE CERTIFICATES OF AUTHENTICITY... AND THEY MADE UP COLOURFUL STORIES, LIKE THE ONES IN THE BOOK 'DIEGO'S REVENGE.'

Fiona says IT'S BRILLIANTLY SIMPLE IN A WAY. WRITE A BOOK, A BIOGRAPHY OF GIACOMETTI'S BROTHER, CALL IT DIEGO'S REVENGE, CLAIM THAT THE BROTHER INHERITED HUNDREDS OF STATUES AND SUDDENLY YOU HAVE A NEW STASH OF WORK BY ALBERTO GIACOMETTI. THE RINGLEADERS OF THE GANG WERE FINALLY ARRESTED IN 2009. WHEN WOLFGANG'S TEAM RAIDED THE GANG'S WAREHOUSE IN MAINZ, THEY WERE STUNNED BY WHAT THEY FOUND.

She browses through pictures and says THERE'S SO MANY OF THEM. HOW MANY DID YOU FIND?

Wolfgang says 1,300.

Fiona says WOW, WHAT DID YOU THINK WHEN YOU WENT IN THE ROOM AND SAW ALL THIS?

Wolfgang says OYT BIGGEST PROBLEM WAS HOW TO ASSESS AND TRANSPORT THEM ALL.

Fiona says MOST OF THE VAST HAUL OF FAKES WAS EVENTUALLY DESTROYED, BUT COUNTLESS OTHERS ARE STILL LIKELY TO BE IN CIRCULATION. I NOTICE THAT YOU GOT A PLASTER CAST HERE, DID YOU FIND MANY PLASTER CASTS AMONGST ALL THESE FORGERIES?

Wolfgang says ABOUT 160 PLASTER CASTS.

Fiona says WELL, THAT WAS FASCINATING TO HEAR ABOUT THOSE GIACOMETTIS BEING FORGED ON SUCH AN EPIC SCALE, AND I CAN UNDERSTAND WHY THE GIACOMETTI COMMITTEE IS SO WARY ABOUT ACCEPTING NEW PIECES OF WORK WHEN THERE ARE SO MANY FAKES OUT THERE. OF COURSE, THE DIFFICULTY WITH HENRIETTA'S PIECE IS THAT WE HAVE NO HARD AND FAST EVIDENCE AS TO HOW LONG IT'S BEEN IN HER FAMILY AND HOW OLD IT IS AND SO THEY MAY WELL BE TEMPTED WITH HENRIETTA'S PIECE TO ERR ON THE SIDE OF CAUTION AND NOT ACCEPT IT AS A GENUINE WORK. I CAN SEE WHY THEY MIGHT DO THAT.

Philip says WITH FIONA'S TRIP TO GERMANY REVEALING JUST HOW EXTENSIVELY GIACOMETTI'S WORK HAS BEEN FORGED, IT'S MORE IMPORTANT THAN EVER TO PROVE THAT HENRIETTA'S SCULPTURE IS A WORK THAT DATES BACK TO THE SCULPTOR'S LIFETIME, PERHAPS AS EARLY AS THE LATE 1920S. DEREK PULLEN, A RENOWNED SPECIALIST IN SCULPTURE CONSERVATION, HAS BEEN STUDYING THE CT SCAN OF THE "GAZING HEAD" AND CARRYING OUT FURTHER RESEARCH. HENRIETTA AND I HAVE ARRANGED TO MEET HIM AT THE BRONZE AGE FOUNDRY IN LIMEHOUSE IN EAST LONDON. VERY GOOD TO SEE YOU, DEREK. YOU'VE HAD TIME NOW TO LOOK AT CT SCANS?

Holding a tablet, Derek says WELL, WE'VE GOT SOME REALLY INTERESTING RESULTS, THERE ARE AT LEAST TWO BREAKS, I THINK THERE'S BEEN AT LEAST TWO, PROBABLY THREE RESTORATIONS DONE ON THIS PIECE.

Philip says YEAH, BECAUSE WE SAW ALL OF THESE EXTRAORDINARY SORT OF PINS AND THINGS LIKE THAT AND WE WEREN'T ABLE TO MAKE IT OUT BUT THREE?

Derek points to a scan and says YOU CAN SEE THE OLD GLUE LINE RUNNING ACROSS THE TOP OF THE SCULPTURE AND THEN THIS SECOND BREAK WHICH HAS ALSO BEEN GLUED BUT IT'S ALSO GOT THESE STAPLES AND NAILS IN IT. AND THESE STAPLES CLIP THE, THE TWO, THE BROKEN PARTS TOGETHER, BUT AT SOME POINT, THAT BROKE AGAIN, THE PIECE FELL OVER, IT'S VERY UNSTABLE, VERY NARROW BASE, AND IT WAS MUCH MORE CRUDELY REPAIRED WHERE, AND I THINK THIS IS THE PLASTER THAT'S ON THE BACK OF THE PIECE.

Philip says SORRY.

Derek says YES.

Henrietta chuckles and says NO GUESSES WHO DID THAT.

Derek says THEY'VE USED JUST ORDINARY IRON NAILS AND THIS IS WHAT WE PICKED UP WITH THE MAGNET. THEY'VE USED IRON NAILS TO REINFORCE THE BREAK. THE OTHER VERY INTERESTING THING IS THAT IF YOU LOOK AT THE SCAN MORE CLOSELY THE BODY OF THE SCULPTURE HAS GOT THIS VERY TEXTURED, SWIRLY LOOK AND YET THE PIECES THAT HAVE BEEN ADDED, WELL, ONE OF THEM IS COMPLETELY SMOOTH AND THE OTHER HAS, SEEMS TO HAVE SMOOTH AND TEXTURED PARTS TO IT.

Philip says AND SO WHAT WE'RE SEEING HERE IS TWO MATERIALS STAPLED TOGETHER BY A SERIES OF CAMPAIGNS OVER LAST, WHAT? 50, 60, 70, 80 YEARS?

Derek says THAT'S RIGHT AND, OF COURSE, THE STAPLING TECHNIQUE IS A REALLY VERY OLD FASHIONED TECHNIQUE AND I DON'T KNOW ANYONE WHO STILL USES THAT TECHNIQUE FOR REPAIRING SCULPTURES OR CERAMICS. SO, I TRIED SOMETHING MYSELF AS A LITTLE EXPERIMENT LAST NIGHT.

He grabs a small round piece and says AND THIS IS JUST A PIECE OF PLASTER THAT I CAST INTO A YOGHURT POT TUB AND INSERTED THESE BENT WIRE STAPLES. THERE'S NO GLUE THERE, THEY'RE HOLDING THIS TOGETHER.

Philip says ABSOLUTELY, LIKE PAPER CLIPS ALMOST.

Derek says JUST LIKE, EXACTLY LIKE PAPER CLIPS.

Philip says WHAT PERIOD DO YOU ASSOCIATE THIS PROCESS WITH?

Derek says I'VE SEEN 18TH CENTURY PORCELAIN, EARLIER PORCELAIN DONE BUT I THINK, PRETTY SURE IT STOPPED WHEN MODERN ADHESIVES BECAME AVAILABLE AFTER THE SECOND WORLD WAR.

Philip says SO, SOMEONE, QUITE A LONG TIME AGO, TOOK A LOT OF TROUBLE TO REPAIR THIS?

Derek says YES.

Philip says IT SEEMS LIKELY THAT THE SCULPTURE WAS AT SOME POINT DAMAGED AND THEN PROFESSIONALLY RESTORED, PERHAPS IN A FOUNDRY DURING A BRONZE MAKING PROCESS WITH NEW PIECES CAST IN PLASTER TO REPLACE FRAGMENTS THAT HAD BEEN BROKEN BEYOND REPAIR, BUT I'M HOPING THERE IS ONE SCENARIO WE CAN DISCOUNT.

Male operators work in a foundry.

Philip continues SO, DEREK, ASKING YOU TO PUT YOURSELF INTO THE MIND OF A FORGER, WHICH I OBVIOUSLY KNOW IS AN ALIEN PROSPECT FOR YOU, BUT COULD YOU IMAGINE ONE GOING THROUGH THIS INTRICATE PROCESS THAT YOU'VE JUST EXPLAINED TO US?

Derek says IT'S JUST TOO CONVOLUTED A PROCESS TO INVENT ALL THESE STEPS AND THEN COVER THEM UP AND TRY PASS THE PIECE OFF AS AN ORIGINAL.

Philip says SO, IN OTHER WORDS, THERE'S TOO MANY RANDOM HAPPENINGS, TOO MUCH BIOGRAPHY TO THIS OBJECT FOR IT TO BE SOMETHING THAT'S BEEN SORT OF SYNTHESISED BY A FAKER?

Derek says MY FEELING IS THAT AT SOME EARLY POINT IN ITS EXISTENCE THAT GIACOMETTI OR GIACOMETTI'S STUDIO WAS INVOLVED.

Philip says HOW GOOD ARE YOUR INSTINCTS?

Henrietta says EXCELLENT, OF COURSE. (laughing)

Philip says BUT YOU'VE HANDLED A LOT, HAVEN'T YOU?

Derek says I'VE LOOKED AT A LOT OF GIACOMETTIS.

Philip says DO YOU GET A FEEL, A SENSE THAT WE ARE CLOSE TO THE MAN HIMSELF, TO GIACOMETTI?

Derek says JUST A FEEL, BUT I CAN'T SAY MORE THAN THAT AT THE MOMENT.

Fiona says OUR INVESTIGATION HAS REACHED A CRITICAL STAGE. WE'RE CONFIDENT THAT HENRIETTA'S SCULPTURE SHOWS EVIDENCE OF THE AGE AND WEAR OF A WORK FROM GIACOMETTI'S LIFETIME. THE EXTENT TO WHICH IT'S BEEN DAMAGED AND REPAIRED WOULD MAKE IT SEEM AN UNLIKELY FORGERY. THE PROVENANCE, ALTHOUGH ANECDOTAL, SHOWS THAT FIONA AND DENIS CLARKE-HALL WERE IMMERSED IN THE ART WORLD OF THE 1930S AND HAD CONTACT WITH GIACOMETTI. THE ONLY OTHER POTENTIAL SOURCES OF EVIDENCE LIE WITH THE GIACOMETTI COMMITTEE ITSELF AND THEY HAVE REQUESTED THAT WE DEPOSIT HENRIETTA'S SCULPTURE WITH THEM IN PARIS SO THEY CAN CARRY OUT RESEARCH IN THEIR OWN ARCHIVES. THIS COULD BE HENRIETTA'S LAST HOPE OF HARD EVIDENCE IN FAVOUR OF HER "GAZING HEAD." I'VE JUST COME OUT OF THE GIACOMETTI FOUNDATION, IT'S JUST DOWN THE END OF ALLEYWAY HERE AND HANDED OVER HENRIETTA'S SCULPTURE. WE MET THE HEAD OF SCULPTURES, SHE HAD A LOOK AT HENRIETTA'S PLAQUE. SHE NOTED ALL THE DAMAGE ON IT AS WE KNOW THE DAMAGE IS CONSIDERABLE, BUT SHE CERTAINLY TOOK IT SERIOUSLY AND I FELT IT WAS VERY POSITIVE. ALTHOUGH THE COMMITTEE PROMISED TO REPORT BACK WITHIN A FEW WEEKS, THEY CONTACTED US TO SAY THEY NEEDED MORE TIME TO CONDUCT FURTHER RESEARCH. FOUR MONTHS LATER WE'VE ASKED HENRIETTA AND CLARE TO JOIN US BACK AT THE GALLERY TO CONSIDER THE LATEST DEVELOPMENTS. HI, NICE TO SEE YOU.

Henrietta says HELLO.

Fiona says HENNY AND CLAIRE. IT'S BEEN SOME TIME SINCE WE MET AND SINCE YOUR PLASTER WAS PLACED IN THE CARE OF THE GIACOMETTI COMMITTEE.

Philip says I'D SAY IT'S NOT ALTOGETHER SURPRISING GIVEN THAT WE ARE DEALING WITH A SCULPTURE AND SOMETHING THAT HAS BEEN DONE IN VERSIONS.

Fiona says SO, THEY'VE SENT US A LETTER. She reads "UNFORTUNATELY, COMPLICATED CASES LIKE YOUR PLASTER TAKE TIME TO BE EXAMINED. A DECISION WILL BE GIVEN, WHEN THE COMMITTEE IS READY. NO AUTHORIZATION WILL BE GIVEN BEFORE THIS." She says SO, WE'VE HIT THE BUFFERS WITH THE COMMITTEE FOR THE MOMENT.

Henrietta says THEY'RE TOTALLY NON-COMMITTAL IN IT. THEY'VE NO IDEA OF SENSE OF TIME, NO SENSE OF...

Fiona says NO, NO, BUT RATHER THAN JUST END IT THERE WE HAD A BIT OF A RETHINK BECAUSE SO FAR, WE'VE BEEN WORKING FROM YOUR PLASTER BACK TO GIACOMETTI, THAT'S WHAT WE'VE BEEN TRYING TO DO. SO, THEN WE THOUGHT, WHAT IF WE WORKED FROM GIACOMETTI FORWARD AND SEE IF WE COULD COME TO YOUR PLASTER THAT WAY. SO, WHAT WE'VE MANAGED TO FIND OUT AND IT'S BEEN SURPRISINGLY DIFFICULT IS THAT THERE ARE AT LEAST FIVE KNOWN PLASTERS OF "GAZING HEAD," POSSIBLY SIX, THAT'S HOW MANY ARE OUT THERE.

Henrietta says NOT MANY.

Clare says WELL, MORE THAN I THOUGHT. (laughing)

Philip says NOW, WHAT I WANT TO DO IS SHOW YOU THIS IMAGE, WHICH IS OF ONE OF THEM, IT'S A PLASTER. NOW, HAVE A LOOK AT IT AND SEE IF ANYTHING STRIKES YOU.

Clare says THAT IT'S BEEN BROKEN IN ONE, TWO, THREE PLACES?

Philip says BANG ON, IT'S BEEN BROKEN. THIS AUTHENTIC "GAZING HEAD," IN THE NATIONAL MUSEUM OF MODERN ART IN ROME, CLEARLY BEARS THE SCARS OF THE COMPLEX RESTORATION THAT TOOK PLACE IN 1978 AFTER IT WAS DISCOVERED IN PIECES.

Fiona says LOOKS FAMILIAR DOESN'T IT?

Henrietta says IT DOES LOOK FAMILIAR.

Philip says IT WAS OWNED BY ROLAND PENROSE AND HE WAS AN ART CRITIC AND COLLECTOR. IN FACT, HE WAS EVEN IN BUSINESS WITH YOUR GRANDFATHER AT ONE POINT MAKING CAMOUFLAGE JUST BEFORE THE WAR.

Henrietta says OH, YES, OF COURSE.

Clare says YES, I KNEW ABOUT THE CAMOUFLAGE.

Philip says IT'S ENCOURAGING TO FIND A GENUINE "GAZING HEAD." THAT WAS ONCE IN AN EVEN WORSE CONDITION THAN HENRIETTA'S, BUT WHAT WE ARE MORE INTERESTED IN ARE ANY THAT GIACOMETTI IS KNOWN TO HAVE MADE WHOSE PRESENT WHEREABOUTS ARE NOW UNKNOWN.

Fiona says HAVE A LOOK AT THIS.

Henrietta and Clare look at a black and white picture of an exhibition.

Fiona says THIS IS FROM AN EXHIBITION IN APRIL 1936 CALLED MODERN PICTURES FOR MODERN ROOMS AND IT WAS ORGANISED BY AN S.J. WOODS AND A DUNCAN MILLER, AND IN THIS EXHIBITION WAS, FOR SALE, AN ALBERTO GIACOMETTI "TETE QUI REGARDE," SO "GAZING HEAD" LIKE YOURS. IT WAS A PLASTER AND IT WAS SOLD FOR 22 POUNDS WHICH IS ABOUT IN TODAY'S MONEY 1,000 POUNDS.

Henrietta says OH, MY GOODNESS.

Philip says BUT THERE'S SOMETHING ELSE RATHER INTRIGUING BECAUSE LATER IN THAT YEAR, POSSIBLY THE SAME SCULPTURE, IN FACT, IT SEEMS QUITE LIKELY, WAS EXHIBITED AT A PLACE CALLED THE INTERNATIONAL SURREALIST EXHIBITION AND HERE, IF YOU CAST YOUR EYE DOWN...

Henrietta reads "HEAD WHICH LOOKS."

Fiona says "HEAD WHICH LOOKS." SO, "GAZING HEAD."

Henrietta says LENT BY S. JOHN WOODS, ESQUIRE, LONDON.

A portrait of a man with round glasses and a pipe appears.

Fiona says SYDNEY JOHN WOODS TRAINED AS AN ARTIST AND GRAPHIC DESIGNER AND HAD A PASSION FOR ABSTRACT ART. IN THE 1930S HE KNEW PEOPLE IN THE SAME SOCIAL CIRCLES AS FIONA AND DENIS CLARKE-HALL. WE CONTACTED SYDNEY JOHN WOODS'S FAMILY, HE DIED IN 1997. SO, WE SPOKE TO HIS DAUGHTER. WE ASKED HER WHERE THEIR "GAZING HEAD" IS, SHE DOESN'T KNOW. IT'S NO LONGER IN THE FAMILY. SO, THE QUESTION IS WHAT HAPPENED TO IT? SO, WHAT WE'RE WONDERING IS IS IT POSSIBLE THAT WHILE YOUR GRANDMOTHER AND THEN THROUGH HER, YOUR GRANDFATHER, HUNG OUT WITH GIACOMETTI, KNEW PEOPLE IN THAT CIRCLE IN PARIS, RATHER THAN BUYING "GAZING HEAD" IN PARIS, IS IT POSSIBLE THAT THEY BOUGHT IT FROM SYDNEY...

Henrietta says SOMEONE IN ENGLAND.

Fiona says SYDNEY JOHN WOOD IN ENGLAND SOMETIME AFTER 1936 WHEN IT WAS EXHIBITED HERE? BECAUSE NO ONE KNOWS WHERE THIS IS NOW.

Clare says BECAUSE WE KNEW THAT SHE'D MET GIACOMETTI IT JUST SEEMED TO BE THE NATURAL CONNECTION THAT SHE'D THEREFORE ACQUIRED IT IN PARIS BUT OF COURSE IT ISN'T NECESSARILY THE FACT, I MEAN, SHE COULD EASILY HAVE ACQUIRED IT OVER HERE, WE DON'T KNOW THAT SHE DIDN'T.

Philip says SO, WE HAVE A TANTALIZING PROVENANCE GAP WITH ANOTHER SCULPTURE THAT COULD BE YOURS BUT THIS MISSING LINK IN THE PROVENANCE IS SOMETHING THAT, TRAGICALLY SO FAR, HAS ELUDED US, BUT PROBABLY NOT FOREVER.

Fiona says TO BE CONTINUED.

Henrietta laughs.

Fiona says WELL, I SAID AT THE BEGINNING THIS WOULD BE DIFFICULT AND IT HAS BEEN DIFFICULT. WE'VE NEVER TACKLED SCULPTURE BEFORE AND IT'S BEEN ASTONISHINGLY HARD TO FIND OUT INFORMATION ABOUT GIACOMETTI'S "GAZING HEAD" AND THE PLASTER VERSIONS IN PARTICULAR.

Philip says BUT LET'S REMEMBER WHAT WE STARTED WITH. I MEAN, NO REAL PROVENANCE TO SPEAK OF, COVERED WITH HOUSEHOLD PAINT, KNOCKED OVER BY THE CAT. I CAN'T HELP FEELING WE GOT WARMER AND MY GUESS IS, YOU KNOW, WE'LL GET THERE ON THIS.

Fiona says AFTER FURTHER WEEKS OF RESEARCH THE GIACOMETTI COMMITTEE DISCLOSED THEIR PROVISIONAL FINDINGS. THEY BELIEVE HENRIETTA'S SCULPTURE WAS ONCE AN ORIGINAL "GAZING HEAD" SCULPTURE CREATED BY ALBERTO GIACOMETTI FOR EXHIBITION. UNFORTUNATELY THOUGH, THE DAMAGE THAT HENRIETTA'S PIECE HAS SUSTAINED MIGHT BE TOO GREAT, IT MAY NO LONGER BE POSSIBLE TO ACCEPT IT AS A GENUINE WORK.

An aerial view of The Seine appears.

Fiona continues BUT MORE RECENT FORENSIC RESEARCH ON HENRIETTA'S SCULPTURE HAS YIELDED ENCOURAGING ELEMENTS AND THE GIACOMETTI COMMITTEE CONTINUES ITS WORK. THEY'LL REPORT THEIR FINDINGS IN THE FUTURE.

(theme music plays)

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

Presented by Fiona Bruce and Philip Mould.

Executive Producer, Simon Shaw.

Director and Series Producer, Robert Murphy.

BBC Studios.

Copyright, BBC 2018.

All3Media International.

Watch: Fake or Fortune Series 7 - Episode 5