Britain's Lost Masterpieces

In Knightshayes Court Devon the team are examining a work that is a copy of a Rembrandt. But, might it be the real thing, a genuine self-portrait? Bendor discovers a small portrait of Rembrandt in the collection of a National Trust house, Knightshayes Court in Tiverton, Devon. The painting is thought to be a later copy of a self-portrait by Rembrandt now in the Rijksmuseum in Amsterdam, but Bendor believes it is in fact a study for the finished picture by Rembrandt himself. There is a third version in a collection in Germany that was always thought to be the original until the Amsterdam version was found in a Glasgow attic in 1959. The picture is sent to be restored and have a later background overpaint removed while Bendor sets out to see all three versions and in the process visits the world-expert on Rembrandt, Ernst van de Wettering, in Amsterdam. But Ernst does not want to engage with the painting. Bendor decides to try and use scientific investigation to prove the portrait is not a later copy. Emma explores the history of the house and its eccentric opium smoking Victorian Gothic architect, William Burges. She investigates the history of the lace factory in the town of Tiverton on which the family fortune was based, and tries her hand at golf, as the last family member in the house was British Ladies Golf Champion five times in the 1920’s.

At the Manchester Art Gallery, Dr Bendor Grosvenor discovers a painting of a country gentleman from the 1770s which he believes has been misattributed to Nathaniel Dance. He feels sure it is in fact by the German painter Johann Zoffany, a favourite portraitist of the royal family under King George III. While the painting is restored, Bendor investigates the life of Zoffany - a chancer and adventurer who squandered his royal patronage through a series of predictable errors of judgement. Travelling to Florence to see the location of Zoffany's greatest painting, the Tribuna of the Uffizi Gallery, Bendor also visits Parma, where Zoffany painted an extraordinary self-portrait. The artist ended his career in India, where he made a fortune, and Bendor goes to look at Colonel Mordaunt's Cock Match in Tate Britain with art historian Sona Datta. They unpack the undercurrent of sexual innuendo Zoffany had filled the picture with. Emma Dabiri investigates Manchester's support for the abolition of slavery through the history of the gallery's first purchase - a portrait of the black American actor Ira Aldridge. She discovers the story of the Manchester Art Treasures exhibition of 1857, the largest art exhibition ever held in Britain, and looks into the Manchester Gallery attacks by three suffragettes in 1913.

Petworth House in West Sussex is one of the great Baroque treasure houses of England, and Dr Bendor Grosvenor finds two paintings which he feels warrant investigation: a portrait of a lady from Genoa which was once attributed to Rubens, but Bendor is convinced is by Anthony van Dyck, and a portrait of a young cardinal in the style of Titian, which Bendor believes may be by Titian himself. The restoration of the possible Titian starts to reveal a painting of two halves - the face and upper parts are the work of a very fine painter indeed, but the lower section with a badly painted hand is found to be a later repair with some very crude stitching adding an extra section of canvas to the bottom of the picture. While work continues, Bendor travels to Italy to look at some Titian masterpieces to support our understanding of his genius. In Titian's home city of Venice, he explains how the peculiar damp climate of the city led to canvas becoming the preferred medium for Venetian painters. He tells us how colour became the defining characteristic of the city's art and how Anthony van Dyck was so struck by Titian's paintings that he spent years in Italy following in his footsteps to study his techniques. Bendor's final visit is to the city of Genoa, where the Petworth portrait of a lady was painted. He shows us some works by van Dyck made in the city in support of his attribution of the picture to the Flemish master. Emma Dabiri explores the story of the third Earl of Egremont, who inherited Petworth in 1763 when he was 12. He had 15 mistresses, who all lived in the house, and he eventually had 43 children - all illegitimate. He died leaving no heir. He had a colourful life and was a friend and patron of JMW Turner. His Petworth Emigration Scheme allowed him to support the journeys of his tenants to start a new life in Canada - though, Emma discovers, it was quite advantageous for the earl to reduce his expanding workforce. Emma also tells the story of the a