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on 21 October 2017
The stories in the book are fascinating, but it takes Philip Mould a veeeerrrryyy long time to get to the point. I have read similar books where the author gets to the core of the story much faster and thereby gets to tell many more fascinating art stories in their books in stead of spending pages and pages on detailed relations of some Vermont family. This book only contains 6 different episodes. I hade expected much more..
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on 29 July 2013
Whether one is artistically inclined or not, this book is easily read and captivating. It gives a behind the scenes glimpse of a world that is foreign to most, where greed and genius often go hand in hand.
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on 11 September 2015
An enjoyable read but too much time devoted to single paintings. I had expected a much broader insight into the art world. Having said that, I would recommend it to all those who watch Fake and Fortune.
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on 8 June 2015
For anybody interested in art this is the book to get. Its like reading a crime fiction novel without the murders and some stories are very exciting.
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on 22 November 2012
A very good book that gives you a great insight into the Art World.This is the man he recently discovered an unknown Van Dyck.
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on 12 September 2017
A good read, Mr Mould writes fluently and is an expert in his field
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on 8 August 2011
Philip Mould has written this well,easy to read,not to hard to understand the classical,yet simple ways that discoveries are found.
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on 3 October 2010
Excellent book, but unfortunately I had to return it since I had already owned it under a different title, i.e. Sleuth.
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TOP 500 REVIEWERon 23 June 2010
Philip Mould takes a wonderfully interesting look at how art restoration works. But, in looking at restoration of existing paintings, he also delves into how he, as a gallery owner, along with his staff, find work that has remained under-valued or unvalued for centuries. And then how that piece, now restored by Mould's team of experts, ventures back into the art world in renewed glory.

Mould, an appraiser for the BBC's "Antique Roadshow", is also an owner of a gallery in London which specialises in antique portraits. As an aside, I have visited the gallery in the past to see his collection but did not know that this book was written by the gallery's owner until I read the credits. As a book reviewer, I have no reason to falsely rave about his book, even though I have enjoyed visiting his gallery. I suppose that being a fan of antique portraits gave me the impetus to read and review the book, however.

Mould takes five or so examples of "found" paintings - one from his "Antique Roadshow" - and how instinct and education about a painter, his other work, the painting's subject's history, and other "intangables' go into Mould and his staff taking on an often dirty and undistinguished painting on the chance that the painting is "the real thing" - a real Rembrandt, a real Homer Winslow, etc. Probably the most interesting story was that of a Norman Rockwell painting on display at the Rockwell Museum in Massachusetts that...wasn't. Wasn't the "real" Rockwell painting, but rather one done by a disciple of Rockwell, who copied the original for reasons sort of murky, and donated to the museum. The "real" Rockwell was found by the copier's sons after his death and turned over to the museum.

The other examples Mould cites are almost as interesting. Each is a story in-and-of-itself, and most end conclusively. The last painting in the book, that of a Winslow Homer, "found" in Ireland of all places, has
been the subject of ownership dispute which have not been worked out yet.

Mould's book is a wonderful read for those interested in art history and in art restoration. Some of the paintings found did not need massive restoration but a few did and Mould recounts the intricacies of physical restoration. Not a long book, Mould makes the most of his subject with descriptions and interviews with his fellow art historians and sellers.
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on 21 September 2014
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