Two Unknown Paintings Send Art Detectives On Fascinating Journey | Fake Or Fortune?

00:57:58
https://www.youtube.com/watch?v=9wgeqEtGnuE

概要

TLDRIn this episode of "Fake or Fortune?", art dealer Philip Mold and his team investigate two rare 18th and 19th-century portraits featuring Black subjects. The portraits not only depict these subjects with dignity and respect but also challenge the racist norms of their time. The team employs forensic science and historical research to uncover the identities of the artists, ultimately attributing one portrait to Emma Jones, an artist associated with the abolitionist movement, and another to David Martin, a renowned Scottish painter. Their findings highlight the significance of these works in understanding the complex history of Black Britain during an era heavily influenced by slavery.

収穫

  • 🖼️ This episode focuses on rare portraits of Black subjects in British art.
  • 🔎 The investigation uses forensic science to identify the artists of the paintings.
  • 👩‍🎨 Emma Jones is revealed as a pioneering artist linked to the abolitionist movement.
  • 🎨 David Martin is identified as the painter of another significant portrait.
  • 📜 The portraits challenge the racist conventions of their time, showing Black subjects as equals.
  • 🇬🇧 The art highlights the complex social dynamics of Britain during the transatlantic slave trade.
  • 🔬 Forensic tests confirmed connections between the portraits and their respective artists.
  • 💰 The identified paintings have increased in value significantly after attribution.
  • 🌍 The narrative connects to broader issues of race and representation in art history.
  • ❤️ The portraits are celebrated for their intimate depictions of Black individuals and their histories.

タイムライン

  • 00:00:00 - 00:05:00

    The art world can harbor hidden treasures; international art dealer Philip Mold and a detective team are on a quest to unearth lost artworks by renowned artists using both traditional detective work and advanced scientific techniques. This episode reveals the stories behind two rare portraits from the 18th and 19th centuries that showcase the lives of Black Britons against the backdrop of a society intertwined with slavery.

  • 00:05:00 - 00:10:00

    The episode travels to Scoon Palace, where a family has uncovered a significant painting inaccurately credited to the wrong artist for over 200 years. This portrayal, featuring Lady Elizabeth Finch Hatton and her cousin Da Bell, is notable for its rare depiction of a Black individual in a position of equality, challenging the racist norms of the time. Lady Mansfield seeks assistance to correctly identify the artist responsible for the painting.

  • 00:10:00 - 00:15:00

    The origins of Da Bell, born into slavery, raise questions about the painting's historical significance. The investigation aims to verify the artist's identity and the backdrop of the painting, exploring how it could influence perceptions of Black history in England during the period.

  • 00:15:00 - 00:20:00

    In Edinburgh, another family seeks help to identify a painting of two Black sitters, believed to carry historical and emotional significance, despite its recent addition to the family. The expert investigators are faced with mysteries as they dive into the painting's details, attempting to discern the background of the girls portrayed.

  • 00:20:00 - 00:25:00

    While the case of Da Bell and Lady Elizabeth unwraps, the search for the artist responsible for the second portrait might uncover more than expected, leading investigators to intriguing connections and highlighting the era's social complexities. The investigation reflects a double mystery involving portraits that could transform societal narratives about race and identity in art.

  • 00:25:00 - 00:30:00

    As the investigation deepens, experts analyze the artistic layers, historical accounts, and potential connections to the ongoing discourse surrounding Black representation in British art, suggesting that the paintings may play a role in the abolitionist movement.

  • 00:30:00 - 00:35:00

    Researchers visit archives to decipher stylistic elements and potential artistic influences, focusing on artists like David Martin and Joshua Reynolds whose work aligns with the time of the portraits, intensifying the investigation's stakes and the search for the truth behind these monumental artworks.

  • 00:35:00 - 00:40:00

    Forensic tests reveal new insights and unexpected aspects of the paintings, prompting a deeper analysis of the materials used and the artists' stylistic signatures, contributing crucial pieces to the puzzle.

  • 00:40:00 - 00:45:00

    The final reveal confirms that one painting was created by Emma Jones, a radical female artist, intertwining the narratives of women's rights and abolitionist sentiments, adding layers to an already rich historical context.

  • 00:45:00 - 00:50:00

    The conclusion of the investigation uncovers the artist David Martin as the creator of the portrait of Da Bell, affirming the significance of this painting as not only a familial heirloom but also a crucial piece of British art history that confronts the racial dynamics of its time.

  • 00:50:00 - 00:57:58

    Ultimately, the discoveries restore lost identities and enhance our understanding of historical complexities through art, shedding light on the radical portrayal of Black figures and serving as powerful representations of hope and social awareness.

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ビデオQ&A

  • What is the focus of this episode?

    The episode investigates two rare portraits of Black subjects from the 18th and 19th centuries, aiming to identify their artists.

  • Who are the main experts involved in the investigation?

    The main experts are Philip Mold, an international art dealer, and a detective team utilizing art historical research and forensic science.

  • What is significant about the portraits being examined?

    The portraits challenge the racist conventions of their time by depicting Black subjects as equals with white subjects.

  • Who is Dao Bell?

    Dao Bell was a mixed-race girl who lived with the Mansfield family and was depicted in one of the portraits being investigated.

  • What did the forensic tests reveal in the investigations?

    Forensic tests verified the chemical makeup of the paint and helped connect the portraits to their respective artists, Emma Jones and David Martin.

  • How does the episode connect to slavery?

    The portraits represent a time when much of British industry relied on slavery, revealing the complex social dynamics of that era.

  • What was the outcome of the investigations?

    The investigations successfully identified the artists of the portraits, giving them back their historical significance.

  • Why is Emma Jones's painting especially notable?

    Emma Jones's painting is significant for its portrayal of Black children, reflecting themes relevant to the abolitionist movement.

  • What are the projected values of the paintings now?

    The value of the painting attributed to David Martin is estimated to exceed £600,000.

  • What are Lady Mansfield's plans for the portrait once its attribution has been confirmed?

    Lady Mansfield intends to keep the portrait at Scoon Palace as part of the family’s heritage and to share its history with visitors.

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  • 00:00:00
    [Music]
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    at 42 million the art world where
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    paintings change hands for fortunes so
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    thank you very much but for every known
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    Masterpiece there may be another still
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    waiting to be discovered this is it
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    International art dealer Philip mold and
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    I have teamed up to hunt for lost works
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    by great
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    artists we use oldfashioned detective
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    work and state-of-the-art science to get
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    to the truth science can enable us to
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    see beyond the human eye T oh wow every
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    case is packed with surprise and
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    Intrigue is it or isn't it a frud then
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    but not every painting is quite what it
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    seems two artists rather than one it's a
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    journey that can end in Joy there is
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    enough to support the conclusion that it
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    is by Tom Roberts or bitter
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    disappointment I don't think it's a work
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    by Goan I'm very sorry
  • 00:01:02
    in this episode two very rare portraits
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    offer a glimpse into the lives of black
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    Britain in the 18th and 19th
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    centuries there she is in all of her
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    glory not as a slave but as something
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    else it's really important for our
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    history in an era when much of British
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    industry relied on slavery our pictures
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    are exceptional in challenging the
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    racist conventions of the time the fact
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    that we're dealing with fully finished
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    high art work work of black subjects
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    it's extraordinarily
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    rare but this is also a double who done
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    it can we identify the artist
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    responsible and solve two separate
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    families Mysteries I just feel this is a
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    riddle and it's it's unfinished business
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    we actually don't have a clue who the
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    artist is do the anst LIE somewhere
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    within this stately home it's the same
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    as our two girls could forensic tests
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    reveal an unlikely new
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    suspect I mean that's abut it's been
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    staring Us in the face the whole
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    time and is the evidence enough to
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    convince a skeptical art
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    [Music]
  • 00:02:19
    World fake or Fortune often looks at
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    works of art from all corners of the
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    country and today we're in perthshire in
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    Scotland
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    have you got any Scottish blood funer
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    philli how long have you known me with a
  • 00:02:34
    name like mine Robert the Bruce what do
  • 00:02:36
    you think uh you've got the point there
  • 00:02:39
    funer God you're doing your accent again
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    I don't know if I can bear
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    it our first investigation in this
  • 00:02:46
    episode is taking us to one of Britain's
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    oldest stately
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    homes scoon
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    Palace it has a rich
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    history the grounds of the palace were
  • 00:03:00
    once home to the stone of scon the
  • 00:03:02
    ancient tablet used to enthrone
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    generations of Scottish
  • 00:03:07
    Kings we're meeting the owner of this
  • 00:03:09
    magnificent Palace lady
  • 00:03:13
    Mansfield it's recently been revealed
  • 00:03:16
    that a painting that's been in her
  • 00:03:17
    family for over 200 years has been
  • 00:03:20
    credited to the wrong artist so she's
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    asked us for
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    help scoon Palace has a MAG nificent
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    collection of art by some of the most
  • 00:03:32
    accomplished portrait painters to have
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    worked in Britain including Ramsay van
  • 00:03:36
    Lou and Van
  • 00:03:39
    dijk but who painted the most famous
  • 00:03:42
    portrait in the house is a
  • 00:03:45
    [Music]
  • 00:03:46
    mystery and we keep the picture in
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    here go it's wonderful to see this in
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    the flesh isn't it how beautiful
  • 00:04:00
    this is a lovely image isn't it yeah
  • 00:04:03
    this is Lady Elizabeth Finch Hatton and
  • 00:04:05
    her mixed race cousin Dao
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    Bell they are thought to have been
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    painted in the late 1770s or early
  • 00:04:13
    1780s a time when Britain was still
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    heavily engaged in the transatlantic
  • 00:04:18
    slave trade so the way it portrays the
  • 00:04:21
    girls together is highly unusual this is
  • 00:04:25
    so important this is so significant in
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    the history of British portraiture of a
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    black and white subject shown as equals
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    in a formal setting I mean you wouldn't
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    get an image of a black person and white
  • 00:04:36
    person together like this in Britain at
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    least until what I don't know the 1960s
  • 00:04:40
    something like that so this was so ahead
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    of its time it's incredibly
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    [Music]
  • 00:04:49
    unusual Dao Bell Was Born Into Slavery
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    she was the illegitimate daughter of
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    John Lindsay an officer in the Royal
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    Navy her mother was a slave in the
  • 00:05:00
    British West
  • 00:05:01
    Indies at the age of four da Bell was
  • 00:05:04
    brought to Britain by Lindsay and
  • 00:05:06
    adopted by his uncle William Murray the
  • 00:05:09
    first Lord
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    Mansfield it was Mansfield himself who
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    commissioned the painting of his two
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    great
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    nieces and for the current lady
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    Mansfield this picture is very special
  • 00:05:21
    and she's hoping we can help solve its
  • 00:05:23
    mystery you married into this family
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    absolutely and this picture has become
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    part of your history now yes my children
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    history do you love it yes I mean we're
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    all incredibly um proud of it if there
  • 00:05:34
    was a f I would definitely be running
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    into this room I'm trying to get it off
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    the wall for over a century this picture
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    has been credited to Johan's aony a
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    German born painter who specialized in
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    both Society portraits and Theatrical
  • 00:05:50
    subjects but today the art world is
  • 00:05:53
    convinced that this attribution is not
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    correct it's pretty well confirmed that
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    it's not sophony but we actually don't
  • 00:05:59
    have a clue who the artist is well I
  • 00:06:01
    mean the the problem is you could say
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    the excitement is that there's a huge
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    pool of possibilities this is a great
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    flouring moment in in British portrait
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    painting and that's not the only thing
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    because the inscription says the Lady
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    Elizabeth Finch haton there's no mention
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    of D Bell at all absolutely well
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    wouldn't it be wonderful if we could not
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    only add Bell's name but the name of an
  • 00:06:21
    artist on that label as well that would
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    be
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    fantastic this who done it could help
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    our understanding of the lies of black
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    Britain in a turbulent time in our
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    history but before we can start the
  • 00:06:33
    investigation there's another case we
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    need to take a look
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    at so we're traveling an hour down the
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    road to
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    Edinburgh we've been asked to look at a
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    painting of two black sitters which also
  • 00:06:52
    challenges the conventions of the
  • 00:06:54
    time but it's only been in the family
  • 00:06:56
    for a short while and they know almost
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    nothing about it
  • 00:07:02
    hello hi hi come on in thank you owners
  • 00:07:05
    Charlie and Sarah mcquaker have asked us
  • 00:07:07
    for help to identify the artist who
  • 00:07:10
    created their
  • 00:07:11
    [Music]
  • 00:07:15
    painting this is so striking it's so
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    arresting I love it it's a beautiful
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    beautiful picture it looks to me that
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    this painting dates from the mid 19th
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    century although I can't recall such a
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    high quality work from this period
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    depicting two black sitters with such
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    compassion but the girls aren't named
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    and there's no title so can Charlie give
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    us any early Clues where does it come
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    from I got it from my uncle um in France
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    seven or eight years ago when he passed
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    away and it was a picture he always
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    loved and uh now I've got it it's it's
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    in our family now why does it appeal to
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    you so much I I love the the expression
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    on the girls faces just the the Serenity
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    and the thoughtfulness and um just the
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    natural PA it's beautiful I just think
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    the quality of it just draws you in
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    did your uncle tell you what it might
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    represent or who indeed possibly did it
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    no I've got a file of him trying to do
  • 00:08:20
    some homework and research but there's
  • 00:08:22
    really nothing much on it at all so I
  • 00:08:25
    don't even know where he got it and we
  • 00:08:27
    don't know the subject we don't know
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    what where they are and we don't know
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    the artist so it is just a huge mystery
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    not too much work for us
  • 00:08:37
    then the palm trees suggest a tropical
  • 00:08:40
    landscape like the Caribbean where
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    slavery continued in the British
  • 00:08:44
    colonies until
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    1834 so could these girls in fact be
  • 00:08:48
    slaves but if they are why are they
  • 00:08:51
    dressed in such fine
  • 00:08:54
    clothes the little girl on the right
  • 00:08:56
    she's almost trying to communicate
  • 00:08:58
    something there's something quite
  • 00:09:00
    assertive about the way she's she's
  • 00:09:02
    trying to bring us into the picture it's
  • 00:09:04
    a very Frank gaze isn't it it's like a
  • 00:09:07
    challenge who am I
  • 00:09:13
    mhm I need to take a closer look can I
  • 00:09:17
    spot any early Clues which could help us
  • 00:09:19
    identify the mystery
  • 00:09:22
    artist The Elder figure has her eyes
  • 00:09:26
    upwards almost like
  • 00:09:27
    heavenwards the younger one has her arm
  • 00:09:31
    on her chest and upon the Elder girl's
  • 00:09:35
    lap is a book a thick book could be a
  • 00:09:40
    Bible so is this a painting with some
  • 00:09:43
    sort of religious
  • 00:09:46
    meaning and I want to find out if
  • 00:09:48
    Charlie's Uncle discovered any useful
  • 00:09:50
    leads which could help
  • 00:09:52
    us so did your uncle do some research
  • 00:09:55
    then himself about them he did he found
  • 00:09:57
    a small signature there's a small
  • 00:09:58
    signature which is not very clear it's
  • 00:10:01
    it's hard to read it I can make out an e
  • 00:10:04
    and then what looks like a j n do seems
  • 00:10:07
    to be three or four potential
  • 00:10:10
    versions he wrote a gentleman called
  • 00:10:12
    Hugh honor who was a well-known arti
  • 00:10:15
    historian well this is the the response
  • 00:10:17
    he gave no painter named e Jonas Jas J
  • 00:10:23
    or tonas Etc appears in the largest 37
  • 00:10:27
    volume biographical dictionary of
  • 00:10:28
    artists right okay so that sounds fairly
  • 00:10:31
    exhaustive the possible forms of the
  • 00:10:33
    name suggest an
  • 00:10:34
    Iberian so Spanish and to judge from the
  • 00:10:38
    style the picture may be Latin American
  • 00:10:42
    okay so that's part of a
  • 00:10:45
    lead to the right of it is another word
  • 00:10:49
    it's the Latin word fet Fe e c i t it's
  • 00:10:53
    a fancy way of saying that it was
  • 00:10:54
    painted by the person whose name is
  • 00:10:57
    mentioned next to it and and better
  • 00:11:00
    still there appears to be a date after
  • 00:11:02
    that now I can make out what I think is
  • 00:11:05
    a 18 after that I don't know an eight or
  • 00:11:10
    a
  • 00:11:11
    three red as a whole it seems to be an
  • 00:11:15
    EJ n who painted it in 18
  • 00:11:20
    something it's a
  • 00:11:26
    start so in this episode we need to
  • 00:11:28
    ident identify the two artists
  • 00:11:31
    responsible for these rare
  • 00:11:33
    paintings it's an intriguing double who
  • 00:11:36
    done it so Philip and I are going to
  • 00:11:37
    split
  • 00:11:39
    up first I'm going to look into the
  • 00:11:41
    famous portrait of Da Bell and Lady
  • 00:11:49
    Elizabeth to start the investigation
  • 00:11:52
    I've come to Kenwood House near hamstad
  • 00:11:54
    Heath in
  • 00:11:55
    [Music]
  • 00:11:58
    London Dao Bell and Lady Elizabeth lived
  • 00:12:01
    here together with the Mansfield family
  • 00:12:03
    and it was in these grounds that they
  • 00:12:05
    were placed by the
  • 00:12:08
    artist whoever painted our portrait
  • 00:12:11
    would have probably stood at the very
  • 00:12:13
    place where I'm standing he or she would
  • 00:12:16
    have been familiar with everything
  • 00:12:18
    around me here this wonderful green
  • 00:12:20
    pastural setting into which B and
  • 00:12:22
    Elizabeth as friends could sit the
  • 00:12:25
    bridge and that wonderful pink lit
  • 00:12:27
    London in the background
  • 00:12:30
    there are so few 18th century portraits
  • 00:12:32
    where you can actually stand and dwell
  • 00:12:35
    in the place that it was
  • 00:12:38
    set it's the presence of Dao Bell a
  • 00:12:42
    mixed race girl in an 18th century
  • 00:12:44
    portrait of the aristocracy which makes
  • 00:12:46
    this painting so rare and
  • 00:12:50
    important I'm fascinated by her and I'm
  • 00:12:54
    not the only one director Amara Sante
  • 00:12:57
    made a feature film about her
  • 00:12:59
    I'm Keen to find out about Belle's life
  • 00:13:01
    here and why she's become such an
  • 00:13:03
    important figure in Black British
  • 00:13:08
    history so Emma what does this painting
  • 00:13:11
    mean to you well my original interest
  • 00:13:15
    was to find out who we have been as
  • 00:13:18
    people of color going back in time and
  • 00:13:20
    before the wind Rush before that that
  • 00:13:22
    ship arrived in
  • 00:13:23
    1947 and this is one example of that
  • 00:13:26
    there she is in all of her glory not as
  • 00:13:29
    a slave not as we're used to seeing
  • 00:13:32
    people of color often in paintings but
  • 00:13:34
    as something else so on the one hand
  • 00:13:36
    it's a sybol and on the other hand it's
  • 00:13:38
    it's a door it's a question it's a whole
  • 00:13:40
    set of questions and what have you
  • 00:13:43
    discovered in the process of making this
  • 00:13:44
    film about B herself I discovered the
  • 00:13:47
    complexity of her predicament as a
  • 00:13:50
    privileged woman of color in the 18th
  • 00:13:52
    century growing up in Kenwood house more
  • 00:13:55
    wealthy than many white people but not
  • 00:13:59
    fully equal within her own family and
  • 00:14:02
    yet clearly very
  • 00:14:04
    loved while the girls were living here
  • 00:14:07
    the transatlantic slave trade was at its
  • 00:14:10
    peak so a friendship like theirs would
  • 00:14:12
    have been highly
  • 00:14:14
    unusual the artist captures their close
  • 00:14:17
    Bond but the props they hold reveal
  • 00:14:20
    differences in their status within the
  • 00:14:22
    family Lady Elizabeth has a book
  • 00:14:25
    signaling she's educated while da Bell
  • 00:14:29
    has a bowl of fruit firmly suggesting
  • 00:14:32
    that she's seen as an exotic figure she
  • 00:14:35
    must have understood what her privilege
  • 00:14:36
    was and at the same time she must have
  • 00:14:38
    understood that there were many many
  • 00:14:40
    people who looked like her that were
  • 00:14:42
    having extremely difficult lives at the
  • 00:14:45
    time because of um this the slave trade
  • 00:14:48
    and its ramifications you going to mug
  • 00:14:50
    me I I going to mug you it's that
  • 00:14:52
    gorgeous or what and I believe I can run
  • 00:14:56
    the de American download V now and while
  • 00:15:00
    da o Bell lived here Lord Mansfield
  • 00:15:03
    became an important figure in the legal
  • 00:15:05
    debate about slavery he was the
  • 00:15:08
    country's top judge and in 1783 made a
  • 00:15:11
    landmark decision against the slave
  • 00:15:14
    trade Mansfield ruled against the owners
  • 00:15:18
    of a slave ship the zong whose Captain
  • 00:15:21
    threw over a hundred slaves into the sea
  • 00:15:24
    in an attempt to claim compensation
  • 00:15:29
    perhaps it's not surprising then that he
  • 00:15:31
    took special care of Da Bell but it
  • 00:15:34
    would have been far from safe for her to
  • 00:15:36
    leave Kenwood house on her
  • 00:15:38
    own the reality of her life was that she
  • 00:15:41
    had to be protected by her family if she
  • 00:15:45
    stepped out of the her house alone she
  • 00:15:47
    could have been captured by slave
  • 00:15:49
    catchers who wouldn't have thought for a
  • 00:15:52
    minute about questioning who she was who
  • 00:15:53
    she belonged to but would have um zapped
  • 00:15:56
    her away in a heartbeat
  • 00:15:59
    it's very interesting to know that when
  • 00:16:01
    Lord Mansville died he left her in his
  • 00:16:04
    will her Freedom um the interesting
  • 00:16:06
    thing was that she he hadn't left her
  • 00:16:08
    that prior to his death and I imagine
  • 00:16:10
    that was probably because she was safer
  • 00:16:12
    under his protection um and belonging to
  • 00:16:15
    his family than she was simply having
  • 00:16:18
    free papers but then once once he passed
  • 00:16:21
    away all he could leave her with really
  • 00:16:24
    um what were those papers and hope hope
  • 00:16:27
    that she would be safe
  • 00:16:30
    after Lord Mansfield died in
  • 00:16:32
    1793 Dau Bell left Kenwood house married
  • 00:16:36
    a Mr de vinia and had three children she
  • 00:16:40
    died in London in 1804 aged
  • 00:16:44
    42 were it not for this picture she
  • 00:16:47
    probably would have been forgotten but
  • 00:16:49
    it remains one of the earliest positive
  • 00:16:51
    portrayals of a black person in British
  • 00:16:55
    art something very free confident
  • 00:16:59
    um soft and easy about the way she she
  • 00:17:02
    presents
  • 00:17:03
    herself and for me that you know sort of
  • 00:17:06
    finger on her cheek to me says I am here
  • 00:17:08
    I existed you know and I'm very moved by
  • 00:17:14
    that after daell died the painting
  • 00:17:17
    remained here until
  • 00:17:18
    1922 when the Mansville family sold the
  • 00:17:21
    house and moved all their possessions to
  • 00:17:24
    scoon
  • 00:17:25
    Palace so in order to search for Clues
  • 00:17:28
    as the identity of the artist I need to
  • 00:17:31
    head back to
  • 00:17:35
    Scotland meanwhile I'm leading the
  • 00:17:38
    investigation into Charlie's
  • 00:17:41
    picture I've arranged to bring the
  • 00:17:43
    painting to London here there are
  • 00:17:45
    archives we can research and forensic
  • 00:17:47
    tests we can carry
  • 00:17:50
    out but first i'm meeting an expert in
  • 00:17:53
    Black portraiture can Professor
  • 00:17:55
    Charmaine Nelson from Harvard University
  • 00:17:58
    help me get close closer to the
  • 00:18:01
    artist Shain this is the first time
  • 00:18:03
    you've seen the painting what strikes
  • 00:18:06
    you about it initially so first of all
  • 00:18:08
    to have black sitters be the focal
  • 00:18:10
    points is quite incredible there's a
  • 00:18:12
    whole tradition of black enslaved
  • 00:18:14
    subjects being included in high art
  • 00:18:17
    portraits where white people are at the
  • 00:18:18
    center of the images in those situations
  • 00:18:22
    the black enslaved subject is
  • 00:18:24
    deliberately compositionally peripheral
  • 00:18:26
    they're on the outskirts of the scene
  • 00:18:27
    and the portraits are not about them
  • 00:18:29
    here there's no one else but them so
  • 00:18:32
    this is
  • 00:18:33
    extraordinary so this suggests an artist
  • 00:18:35
    who is doing something quite radical for
  • 00:18:37
    the
  • 00:18:39
    time and chain has also spotted some
  • 00:18:42
    unusual stylistic traits in how the
  • 00:18:44
    girls have been
  • 00:18:46
    painted the other thing that's
  • 00:18:48
    extraordinary is the attempt by the
  • 00:18:49
    artist to capture the deeply curled
  • 00:18:52
    texture of African hair a lot of artists
  • 00:18:55
    in this period straighten the hair to
  • 00:18:57
    make it look more like European key in
  • 00:19:00
    here also here what's really dramatic
  • 00:19:03
    and interesting is that there's a book
  • 00:19:06
    because if we're dealing with the period
  • 00:19:07
    of transic slavery uh enslave people
  • 00:19:10
    were not not allowed to learn to read
  • 00:19:11
    and write and I'm assuming because of
  • 00:19:13
    the way she's looking heavenwards that
  • 00:19:15
    this is a Bible that would be my guess
  • 00:19:17
    too for white Sitters of high art this
  • 00:19:20
    is a standard Trope of I can read
  • 00:19:22
    because I'm of a certain status that's
  • 00:19:23
    the same thing that this artist is
  • 00:19:25
    bestowing upon this the older female
  • 00:19:27
    subject here that's
  • 00:19:31
    extraordinary the details of the hair
  • 00:19:33
    and book are remarkable given that in
  • 00:19:36
    19th century Britain black people were
  • 00:19:38
    often portrayed as grotesque
  • 00:19:41
    caricatures but these stereotypes were
  • 00:19:44
    being challenged by an increasingly
  • 00:19:46
    popular campaign to abolish
  • 00:19:48
    slavery so could it be that our artist
  • 00:19:51
    is connected to this political
  • 00:19:54
    movement the fact that these girls are
  • 00:19:56
    being treated with dignity and respect
  • 00:19:57
    unlike so many of the caricatures we saw
  • 00:20:00
    in the early 19th century what do you
  • 00:20:03
    think is happening here is this a
  • 00:20:05
    message about the Abolitionist Movement
  • 00:20:08
    is it simply an artist who happens to
  • 00:20:09
    find painting black sitters interesting
  • 00:20:13
    what do you think is happening I think
  • 00:20:15
    the rendering of the sitters and their
  • 00:20:17
    intimacy the the use of the book and the
  • 00:20:20
    implication that the the one sitter at
  • 00:20:22
    least if not both are literate is a
  • 00:20:25
    decision on the part of the artist to
  • 00:20:26
    elicit empathy or sympathy from the
  • 00:20:29
    viewer you know to actually see them not
  • 00:20:32
    as objects but as individuals as human
  • 00:20:35
    beings that to me speaks to an
  • 00:20:37
    abolitionist tendency if not outright
  • 00:20:41
    propaganda so this painting is very
  • 00:20:44
    significant and very rare then
  • 00:20:47
    absolutely it's a very very powerful
  • 00:20:48
    important
  • 00:20:50
    painting this artist clearly had a very
  • 00:20:53
    radical view of how black people should
  • 00:20:55
    be portrayed in art this is increasingly
  • 00:20:57
    becoming a political painting and that
  • 00:21:00
    of course to me is really
  • 00:21:05
    [Music]
  • 00:21:08
    fascinating back in Scotland I'm on the
  • 00:21:10
    trail of who painted Dao
  • 00:21:14
    Bell at scoon Palace the Mansfield
  • 00:21:16
    family has an extensive archive so I'm
  • 00:21:19
    Keen to search for evidence
  • 00:21:22
    here archist Sarah Adams oversees the
  • 00:21:26
    family's private papers which dat back
  • 00:21:28
    to the late 1700s when Dao Bell and the
  • 00:21:32
    painting were at Kenwood house in
  • 00:21:35
    London she's been looking for any record
  • 00:21:38
    of the
  • 00:21:40
    painting Sarah thank you so much for
  • 00:21:42
    borrowing through the archives now
  • 00:21:44
    what's the earliest reference to this
  • 00:21:47
    picture the earliest reference we
  • 00:21:49
    managed to find was
  • 00:21:51
    1796 so that was just 3 years after Lord
  • 00:21:54
    Mansfield died and that's in an
  • 00:21:57
    inventory
  • 00:21:59
    it's listed amongst some items in a room
  • 00:22:02
    it's just called the ground floor at
  • 00:22:04
    Kenwood we can see the reference to the
  • 00:22:06
    picture here it says Lady Elizabeth and
  • 00:22:10
    Mrs dinea okay so so Mrs davinia being
  • 00:22:15
    da Bell's married name that's her
  • 00:22:16
    married name CU at this point she was
  • 00:22:19
    married so this is definitely our
  • 00:22:22
    painting but there's no mention of an
  • 00:22:24
    artist and why is it without a
  • 00:22:27
    frame when we look at the other items
  • 00:22:29
    that are in the room it sounds like a
  • 00:22:31
    bit of a muddle there's other pictures
  • 00:22:34
    there's an old
  • 00:22:35
    bathtub um and then there's some broken
  • 00:22:38
    musical instruments so it would suggest
  • 00:22:40
    that at this point just three years
  • 00:22:42
    after Lord Mansfield died the painting
  • 00:22:44
    was at Kenwood but it was perhaps in
  • 00:22:45
    storage feels almost as though it's been
  • 00:22:49
    sidelined so it sounds like the painting
  • 00:22:52
    was no longer on display and with no
  • 00:22:55
    effort made to attribute the
  • 00:22:57
    work and later records reveal that even
  • 00:23:00
    more details about the painting have
  • 00:23:02
    become lost in the passage of time we
  • 00:23:05
    can find the painting still at Kenwood
  • 00:23:08
    uh in an inventory which was made in
  • 00:23:10
    1904 portrait of lady Finch Hatton
  • 00:23:13
    seated in a garden with an open book and
  • 00:23:16
    a attendant so at this point
  • 00:23:19
    they they didn't know who Dao was I mean
  • 00:23:22
    what a chilling thought I mean da was
  • 00:23:24
    one of the family in the course of a
  • 00:23:26
    century she's just lost her identity
  • 00:23:28
    just become a sort of add-on a
  • 00:23:30
    decorative add-on in the picture yeah
  • 00:23:32
    and in the 1910 inventory she's not
  • 00:23:35
    mentioned at all it's just described as
  • 00:23:38
    a portrait of lady Elizabeth no name no
  • 00:23:43
    name how telling is it that although
  • 00:23:46
    Lady Elizabeth remained identified Dao
  • 00:23:49
    Bell had been
  • 00:23:52
    forgotten but I've also asked Sarah to
  • 00:23:54
    look into Lord Mansfield's private
  • 00:23:56
    account books from the late 18th century
  • 00:23:59
    when he commissioned the painting did he
  • 00:24:01
    record payments to any
  • 00:24:04
    artists here we go so we can see that in
  • 00:24:08
    1776 in October he paid David Martin
  • 00:24:13
    £200 David Martin the the Scottish
  • 00:24:16
    Portrait Painter
  • 00:24:18
    yes born in 1737 in f David Martin was a
  • 00:24:23
    highly regarded artist popular with the
  • 00:24:26
    aristocracy he studied under fellow
  • 00:24:28
    Scott Alan Ramsey and his painting of
  • 00:24:31
    American politician Benjamin Franklin is
  • 00:24:34
    on display in the white house but sadly
  • 00:24:37
    Lord Mansfield doesn't record what he
  • 00:24:40
    paid Martin for so it doesn't time
  • 00:24:42
    directly to the
  • 00:24:44
    painting and then a little bit
  • 00:24:48
    later in
  • 00:24:50
    1785 105 was paid to Joshua Reynolds
  • 00:24:55
    Joshua Reynolds the the president of the
  • 00:24:57
    Royal Academy the the towering figure of
  • 00:24:59
    18th century
  • 00:25:00
    portraiture but again Mansfield doesn't
  • 00:25:03
    record what he commissioned Joshua
  • 00:25:04
    Reynolds for so it doesn't connect him
  • 00:25:07
    directly to the painting
  • 00:25:10
    either however Reynolds did paint this
  • 00:25:13
    unfinished portrait of a black British
  • 00:25:15
    subject Fran's barber in or around
  • 00:25:20
    1770 could this have inspired Mansfield
  • 00:25:22
    to ask Reynolds to paint Dao
  • 00:25:25
    Bell we now have two prime suspects
  • 00:25:29
    Joshua Reynolds and David
  • 00:25:32
    Martin I need now to to narrow this down
  • 00:25:36
    further to have a look at the stylistic
  • 00:25:38
    evidence see if I can pin one of these
  • 00:25:41
    artists to our
  • 00:25:45
    [Music]
  • 00:25:47
    painting back in London we've sent
  • 00:25:49
    Charlie's picture to AV viiva burnstock
  • 00:25:51
    head of conservation at the cold
  • 00:25:53
    Institute to run some forensic tests
  • 00:25:59
    we think the mystery artist was trying
  • 00:26:00
    to make a political statement about
  • 00:26:03
    slavery can we find any evidence to back
  • 00:26:06
    this
  • 00:26:07
    up we're also Keen to see if the missing
  • 00:26:10
    letters from the signature and date can
  • 00:26:12
    be
  • 00:26:13
    revealed are we looking for a South
  • 00:26:15
    American or Spanish name as Charlie's
  • 00:26:18
    Uncle
  • 00:26:21
    suspected but first Aviva wants to show
  • 00:26:23
    us something surprising which has
  • 00:26:25
    appeared under x-ray so this is an x-ray
  • 00:26:28
    xay of the painting which I I did um the
  • 00:26:31
    x-rays are penetrating all the way
  • 00:26:33
    through the painting it actually tells
  • 00:26:34
    you the artist has decided to change the
  • 00:26:36
    composition so this is the artist
  • 00:26:38
    working out what he or she is doing as
  • 00:26:40
    they go along yes yeah the one thing
  • 00:26:42
    that's that's very clear here I think is
  • 00:26:44
    that the position of this girl's arm has
  • 00:26:46
    changed so you can see several positions
  • 00:26:48
    where it was but I think her hands were
  • 00:26:50
    actually in a vshape she was either
  • 00:26:52
    holding a book or perhaps praying at an
  • 00:26:54
    earlier stage of the
  • 00:26:57
    composition this this is a change in the
  • 00:26:59
    tea dress worn by the left-hand uh girl
  • 00:27:03
    but she and also I think the other girl
  • 00:27:05
    were at an earlier stage wearing much
  • 00:27:07
    more up to the neck costumes you can see
  • 00:27:10
    here there's a a costume Which is higher
  • 00:27:13
    uh and then later on it was changed to a
  • 00:27:14
    lower neckline these really nice sort of
  • 00:27:16
    tea dresses that they're both
  • 00:27:19
    wearing the changes revealed by the
  • 00:27:21
    X-ray suggest the artists spent some
  • 00:27:23
    time considering the style of the
  • 00:27:25
    dresses the girls wore and the poses
  • 00:27:27
    they struck
  • 00:27:29
    given the negative attitudes to black
  • 00:27:31
    people at the time the care taken with
  • 00:27:33
    this unusual portrayal strengthens our
  • 00:27:36
    theory that it could be connected to the
  • 00:27:38
    anti-slavery
  • 00:27:40
    movement and I also want to see what
  • 00:27:42
    Aviva discovered when she put this
  • 00:27:44
    signature and date under ultraviolet
  • 00:27:48
    light okay so this is an uh ultraviolet
  • 00:27:51
    fluorescent image of the whole painting
  • 00:27:53
    the most exciting thing of course is the
  • 00:27:55
    inscription which we can read much more
  • 00:27:56
    clearly
  • 00:28:01
    okay so now I think you can see very
  • 00:28:03
    clearly Charlie can you read that cuz I
  • 00:28:05
    can if anything it looks like e
  • 00:28:09
    Jones yeah e Jones and then this is is
  • 00:28:12
    this is this fake it yeah looks like
  • 00:28:14
    it's I read it as ejones fet and then
  • 00:28:17
    there's a date which is very clearly
  • 00:28:20
    1831 whoa
  • 00:28:22
    so it's interesting it's Jones because
  • 00:28:25
    we were LED on wild goose chase and that
  • 00:28:27
    it was could have been juny or there was
  • 00:28:30
    this Latin American I was now to
  • 00:28:32
    pronounce those it might just be Jones
  • 00:28:35
    that's a fantastic breakthrough isn't it
  • 00:28:37
    I mean that's absolutely great it's been
  • 00:28:38
    staring Us in the face the whole time
  • 00:28:41
    God great work AA thank you a
  • 00:28:47
    pleasure well I think we've just had
  • 00:28:49
    quite a breakthrough we can forget all
  • 00:28:51
    those strange Jas honas I'm not even
  • 00:28:54
    sure how to pronounce them it's just
  • 00:28:57
    plain old Jones the artist is e Jones so
  • 00:29:01
    now we need to find out who that
  • 00:29:07
    [Music]
  • 00:29:08
    is back at scoon Palace we're now
  • 00:29:11
    looking at the two prime suspects Joshua
  • 00:29:13
    renolds and David
  • 00:29:17
    Martin we found evidence that they were
  • 00:29:19
    working for Lord Mansfield at the time
  • 00:29:21
    he commissioned the portrait of his
  • 00:29:23
    great nieces da Bell and Lady Elizabeth
  • 00:29:28
    there are several of their works here so
  • 00:29:30
    can I spot any with stylistic
  • 00:29:35
    similarities I'm starting in the dining
  • 00:29:37
    room where I find Joshua reynolds's
  • 00:29:40
    magnificent portrait of Lord Mansfield
  • 00:29:43
    himself Reynolds was in love with
  • 00:29:46
    classical art often with his portraits
  • 00:29:49
    there's a craggy statuesque quality like
  • 00:29:52
    sculpture that's that's come to life and
  • 00:29:55
    one of the things that characterizes his
  • 00:29:58
    work is the is the intelligence with
  • 00:30:01
    which he portrayed his subjects this is
  • 00:30:04
    a lawmaker this is a man with compassion
  • 00:30:07
    as well I mean it's highly
  • 00:30:10
    sophisticated one of his nicknames was
  • 00:30:13
    sosu because of the violent expressive
  • 00:30:16
    brush Strokes that he was quite capable
  • 00:30:18
    of with a big brush and if you look at
  • 00:30:20
    that cuff of the judge's cloak you can
  • 00:30:24
    see a whirlwind of activity you know the
  • 00:30:27
    move of The Strokes now our picture is
  • 00:30:31
    good but does it quite have that degree
  • 00:30:35
    of
  • 00:30:36
    complexity I would argue probably
  • 00:30:39
    not stylistically and in terms of the
  • 00:30:42
    approach to the subject I don't think
  • 00:30:45
    Reynolds is our
  • 00:30:48
    man I now need to see a work by David
  • 00:30:51
    Martin there are several of his
  • 00:30:53
    paintings on display to the public here
  • 00:30:57
    there's one in particular unen to
  • 00:31:00
    examine but it's kept in the Mansfield's
  • 00:31:02
    private quarters in the family's drawing
  • 00:31:06
    room this is Lady marjerie painted by
  • 00:31:09
    David Martin in the
  • 00:31:12
    1760s I want to show lady Mansfield what
  • 00:31:16
    I think could be some promising
  • 00:31:20
    Clues say saf this would have been done
  • 00:31:23
    I think probably 10 years before Dao and
  • 00:31:26
    Elizabeth
  • 00:31:28
    but there are characteristics which I
  • 00:31:30
    think one can see with your two girls
  • 00:31:33
    that's so interesting now what about the
  • 00:31:36
    flowers in the hair absolutely spot on
  • 00:31:39
    flowers in the hair well I mean yes of
  • 00:31:41
    course Marjorie might have liked flowers
  • 00:31:43
    but equally portrait painters I find
  • 00:31:47
    will sometimes impose their own ideas as
  • 00:31:49
    to how someone should look and I think
  • 00:31:52
    that's what we're dealing with here and
  • 00:31:54
    flows in the hair a lovely bit of color
  • 00:31:57
    catching the light are something that
  • 00:32:00
    clearly David Martin enjoys I definitely
  • 00:32:02
    buy into that theory now what about the
  • 00:32:05
    clothes that Indian sort of GS is in the
  • 00:32:09
    other picture it is isn't it with with
  • 00:32:11
    with that with that beautiful gold
  • 00:32:14
    embroidery you see one of Martin's party
  • 00:32:17
    tricks was to allow one color to shine
  • 00:32:20
    through another not everyone could pull
  • 00:32:21
    that one off I think any opportunity to
  • 00:32:23
    use it and he's done it with
  • 00:32:26
    Margery and why should he' be doing it
  • 00:32:28
    with your double
  • 00:32:30
    portrait I'm also struck by the way
  • 00:32:33
    Martin has composed his female
  • 00:32:36
    subjects both lady marjerie and Lady
  • 00:32:39
    Elizabeth have been painted with bright
  • 00:32:41
    red ruby lips almost
  • 00:32:44
    luminous and the heads of all three
  • 00:32:46
    women have an elongated lozen shape to
  • 00:32:50
    them and most obvious of all is the
  • 00:32:53
    finger raised to the face a gesture
  • 00:32:55
    struck by both lady Marjorie and Dao
  • 00:32:59
    Bell gosh why didn't I notice that
  • 00:33:01
    before why haven't all these years I
  • 00:33:04
    hadn't even clicked that the Fabrics
  • 00:33:06
    were so similar and um the hand and in
  • 00:33:10
    fact she's wearing pearls too and big
  • 00:33:12
    ones just like Dao well next we need to
  • 00:33:16
    take this further with forensics and see
  • 00:33:18
    if it's the same hand in both pictures
  • 00:33:21
    we've always wanted to know who painted
  • 00:33:23
    Dao and El Elizabeth and if we could
  • 00:33:25
    find out it would be um a family
  • 00:33:31
    goal meanwhile forensic tests have
  • 00:33:33
    revealed a signature and date on
  • 00:33:36
    Charlie's painting but just who is the
  • 00:33:38
    mysterious e
  • 00:33:42
    Jones back in London we're keen to find
  • 00:33:45
    out so Charlie and I are on our way to
  • 00:33:47
    the Royal Academy Britain's oldest Art
  • 00:33:49
    School established in
  • 00:33:55
    1769 mark pomoy oversees their unique
  • 00:33:59
    archive which lists every artist who has
  • 00:34:01
    ever exhibited here so we've asked him
  • 00:34:03
    for
  • 00:34:05
    help Mark I'm just wondering if you've
  • 00:34:07
    got anything about an artist e Jones the
  • 00:34:11
    first place we could try is an index to
  • 00:34:13
    the summer exhibitions of the Royal
  • 00:34:15
    Academy if ejones um had any involvement
  • 00:34:18
    with the Royal Academy this is where
  • 00:34:19
    it's going to be right and hopefully
  • 00:34:21
    there aren't too many e Jones I lot of
  • 00:34:23
    them oh well 250 years and maybe a few
  • 00:34:26
    all right okay so okay Jones e well
  • 00:34:29
    that's easy architect so let's assume
  • 00:34:32
    it's not that one there are eight
  • 00:34:34
    artists named e Jones who've exhibited
  • 00:34:36
    at the Royal
  • 00:34:38
    Academy but we can rule some out
  • 00:34:40
    immediately they were either working in
  • 00:34:42
    the wrong discipline or the wrong
  • 00:34:45
    period so let's narrow it down we've got
  • 00:34:47
    Jones Miss e
  • 00:34:49
    1833 portrait of Miss forche of the
  • 00:34:52
    king's
  • 00:34:53
    theater but Jones Miss
  • 00:34:56
    Emma looks much more promising I would
  • 00:34:59
    say 1832 girl going to Market 1833 Willi
  • 00:35:03
    and his dog 1834 childhood these are the
  • 00:35:06
    kind of paintings portraits genre
  • 00:35:08
    painting telling a story like yours and
  • 00:35:11
    the right
  • 00:35:13
    time unfortunately there's nothing here
  • 00:35:16
    that sounds like it could be Charlie's
  • 00:35:19
    painting but can Mark shed any more
  • 00:35:21
    light on Emma Jones this is a dictionary
  • 00:35:25
    of artist published in 1874 so if we go
  • 00:35:28
    to the
  • 00:35:29
    Joneses Jones Emma oh madame Madame so
  • 00:35:33
    as it obviously is born in London 1813
  • 00:35:37
    she's reputed to have drawn likenesses
  • 00:35:38
    with great Fidelity before the age of 13
  • 00:35:40
    years she painted portraits and groups
  • 00:35:43
    of children sounds right so this
  • 00:35:46
    biography reveals Emma Jones was born in
  • 00:35:48
    London in
  • 00:35:49
    1813 which means she would have been
  • 00:35:51
    just 18 if she painted Charlie's
  • 00:35:54
    picture and we now know she married and
  • 00:35:57
    became Madame
  • 00:35:59
    soer it's so unusual to find a woman
  • 00:36:01
    working from such a young age and
  • 00:36:04
    exhibiting at the Royal Academy when the
  • 00:36:06
    art world in the 19th century was
  • 00:36:08
    dominated by
  • 00:36:10
    men when I saw the name e Jones on
  • 00:36:12
    Charlie's painting it never occurred to
  • 00:36:14
    me we might be looking at a female
  • 00:36:16
    artist cuz that's pretty rare but I
  • 00:36:19
    think she's looking very
  • 00:36:21
    [Music]
  • 00:36:24
    promising back in Scotland at scoon
  • 00:36:26
    Palace we've called in specialist
  • 00:36:28
    conservators from the University of
  • 00:36:30
    North Umbria we're searching for
  • 00:36:33
    scientific evidence to connect David
  • 00:36:35
    Martin to the picture of Dao Bell and
  • 00:36:37
    Lady
  • 00:36:39
    Elizabeth the forensic experts are
  • 00:36:41
    taking minute paint samples from both
  • 00:36:44
    portraits lady
  • 00:36:46
    marjerie and daido bell and Lady
  • 00:36:52
    Elizabeth they are also using an xrf
  • 00:36:55
    spectrometer to send x-rays to identif
  • 00:36:57
    any common elements in the
  • 00:37:01
    paintings they'll be looking for any
  • 00:37:03
    chemical link between the
  • 00:37:06
    [Music]
  • 00:37:10
    portraits they need to process the
  • 00:37:12
    results at their lab in Newcastle so I'm
  • 00:37:15
    heading back to London to catch up with
  • 00:37:17
    funa who has some news about Charlie's
  • 00:37:25
    painting I think I found out
  • 00:37:29
    painter this is Emma Jones this is a
  • 00:37:32
    self-portrait which is rather beautiful
  • 00:37:34
    isn't it it was highly accomplished I
  • 00:37:37
    mean the the technique in the face that
  • 00:37:39
    stippling is is like a really
  • 00:37:41
    professional miniaturist well she was a
  • 00:37:43
    child prodigy so she exhibited at the
  • 00:37:45
    Royal Academy which as a woman was hard
  • 00:37:48
    enough but her first painting was hung
  • 00:37:51
    there when she was 10 10 years old now
  • 00:37:54
    how did she Foster this prodigious
  • 00:37:57
    Talent that she had her stepfather was a
  • 00:38:00
    Belgian artist well-known artist called
  • 00:38:02
    franois simono so one assumes that she
  • 00:38:05
    learned under his tutelage she got it
  • 00:38:07
    firsthand she did she went to paint the
  • 00:38:09
    portrait of a celebrity chef at the time
  • 00:38:11
    a Frenchman called Alexis soer he saw
  • 00:38:14
    her they fell in love and they
  • 00:38:19
    married this is Alexis soyer's Beast of
  • 00:38:23
    a kitchen I just love this picture
  • 00:38:26
    Factory isn't it I mean look the all
  • 00:38:28
    these people rushing around he was
  • 00:38:30
    famous in London at the time he produced
  • 00:38:32
    cookbooks bottled sauces here he is
  • 00:38:35
    showing people around his
  • 00:38:37
    kitchen now look in this corner here in
  • 00:38:41
    his kitchen what do you
  • 00:38:43
    see food and art not just any art these
  • 00:38:46
    are Emma's paintings Alexis was known
  • 00:38:48
    for proudly displaying her work in his
  • 00:38:51
    kitchen I don't think I can see ours but
  • 00:38:53
    there are some similar looking things so
  • 00:38:56
    where was this this this was just over
  • 00:38:59
    the road at the reform club that would
  • 00:39:02
    don't be ridiculous just there there
  • 00:39:04
    right under your nose all the time all
  • 00:39:06
    the time what I need to do is find out
  • 00:39:10
    whether the club still has any of the
  • 00:39:11
    works there I'd love to be able to get
  • 00:39:13
    to grips with her style and compare it
  • 00:39:15
    to ours well the reform Club is one of
  • 00:39:18
    London's most prestigious clubs it has a
  • 00:39:20
    dress code and this will not cut the
  • 00:39:21
    musard I'm afraid what do you take me
  • 00:39:23
    for I'm an art dealer I have the clothes
  • 00:39:29
    suited and booted and hopefully up to
  • 00:39:32
    funa standards I've arranged a visit to
  • 00:39:35
    the reform
  • 00:39:37
    [Music]
  • 00:39:39
    Club established in 1836 this Grand Club
  • 00:39:43
    for private members was set up as an
  • 00:39:46
    exclusive preserve for well-connected
  • 00:39:48
    and politically liberal Elite
  • 00:39:55
    gentlemen the club have confirmed that
  • 00:39:58
    they do still have one original work by
  • 00:40:01
    Emma
  • 00:40:03
    Jones and perhaps unsurprisingly it's a
  • 00:40:07
    painting she composed of her husband in
  • 00:40:09
    1841 the club's first ever
  • 00:40:13
    Chef can I spot any stylistic
  • 00:40:15
    similarities to Charlie's
  • 00:40:18
    painting so here is Alexis Sawyer
  • 00:40:22
    looking I have to say every inch like
  • 00:40:24
    what he is the celebrity chef in fact
  • 00:40:26
    he's pointing to his signature dish
  • 00:40:29
    breaded lamb cutlets which apparently
  • 00:40:31
    still on the menu today although they
  • 00:40:33
    don't look hugely edible to
  • 00:40:36
    me when you get up
  • 00:40:38
    close there's something very thick and
  • 00:40:40
    Rich about the handling of the paint
  • 00:40:42
    this is not transparent and glazy this
  • 00:40:46
    is quite built up the hands also quite
  • 00:40:50
    robustly painted I I I get a sort of
  • 00:40:53
    memory of something rather similar um
  • 00:40:56
    with our two girls in in that
  • 00:40:59
    setting I've also noticed that the
  • 00:41:01
    painting has rather unusual measurements
  • 00:41:05
    it's 36 * 28 in I don't need to measure
  • 00:41:07
    it it's called the kit Kap portrait it's
  • 00:41:10
    something that was developed in the
  • 00:41:11
    early 18th century had allowed a face
  • 00:41:13
    and hands a little bit else going on and
  • 00:41:16
    it was bigger than just your normal bust
  • 00:41:18
    portrait which is 3025 now by the mid
  • 00:41:21
    19th century although it was used a
  • 00:41:23
    little bit by some artists this was
  • 00:41:25
    becoming old-fashioned so it's something
  • 00:41:27
    that's quite noticeable about this
  • 00:41:29
    painting and it's the same as our two
  • 00:41:33
    girls Emma Jones married Alexis in 1837
  • 00:41:37
    and so has signed her name saw on this
  • 00:41:40
    portrait but she's retained a
  • 00:41:42
    distinctive trait which is also on
  • 00:41:44
    Charlie's
  • 00:41:46
    painting Emma Sawyer fet 1841 fck it fck
  • 00:41:53
    it this is the same term that is used
  • 00:41:55
    this slightly anacron IC oldfashioned
  • 00:41:58
    term used a lot in the 18th century that
  • 00:42:00
    we've got in our two girls fck it he or
  • 00:42:04
    she made it this is a quirk a quirk that
  • 00:42:07
    we see in both
  • 00:42:10
    [Music]
  • 00:42:14
    works I've discovered that many of
  • 00:42:17
    Emma's paintings include children just
  • 00:42:19
    like Charlie's picture but she didn't
  • 00:42:21
    name the subjects like this scene titled
  • 00:42:25
    an old woman and spinning wheel
  • 00:42:28
    this means it might be impossible to
  • 00:42:29
    identify the girls in Charlie's
  • 00:42:32
    picture but I've also noticed that Emma
  • 00:42:35
    seemed to favor intimate and sympathetic
  • 00:42:37
    portrayals of those on the margins of
  • 00:42:39
    Victorian
  • 00:42:41
    society so could she also been a
  • 00:42:43
    supporter of Britain's anti-slavery
  • 00:42:46
    movement in 1831 the date the picture
  • 00:42:50
    was painted the Abolitionist campaign
  • 00:42:52
    was at its
  • 00:42:53
    peak and its most vocal and radical
  • 00:42:56
    support in Britain were women who formed
  • 00:42:59
    their own societies calling for the
  • 00:43:01
    immediate end to
  • 00:43:09
    slavery to search for evidence of a
  • 00:43:11
    connection to these political groups
  • 00:43:13
    Charlie and I are heading to King's
  • 00:43:15
    College
  • 00:43:18
    London we're meeting historian Dr urong
  • 00:43:21
    umaran who's been looking through the
  • 00:43:23
    University's archive that holds records
  • 00:43:26
    detailing the activity I of women's
  • 00:43:28
    anti-slavery
  • 00:43:30
    societies can she help us link Emma
  • 00:43:33
    Jones to the campaign to end
  • 00:43:38
    slavery when I first saw the painting on
  • 00:43:40
    your wall I thought we've got these two
  • 00:43:42
    black girls nicely dressed with the book
  • 00:43:45
    which we assume is the Bible why are
  • 00:43:47
    they dressed so finely why are they
  • 00:43:48
    reading a book why is one of the girls
  • 00:43:51
    looking heavenward as a sign of her
  • 00:43:53
    faith what light can you shed on that I
  • 00:43:55
    think that really links into your really
  • 00:43:57
    interesting organization called the lady
  • 00:43:59
    Society for promoting The Early
  • 00:44:00
    Education of the children of the Negroes
  • 00:44:03
    and this group's main goal was to spread
  • 00:44:05
    Christianity in the Caribbean but also
  • 00:44:07
    to really promote um and improve the
  • 00:44:09
    education of enslaved children now they
  • 00:44:12
    did this through sending clothes money
  • 00:44:14
    books in 1831 there's a report that
  • 00:44:17
    talks about the kind of impact of
  • 00:44:19
    clothes of books that I think really do
  • 00:44:22
    pick up on some of the themes in the
  • 00:44:23
    painting that we have and it notes for
  • 00:44:26
    instance the children's clothing and
  • 00:44:28
    appearance had improved as a result of
  • 00:44:29
    Europeans sending clothes to the
  • 00:44:31
    Caribbean to have witnessed their
  • 00:44:33
    orderly Behavior neat civilized
  • 00:44:35
    appearance and intelligent faces would
  • 00:44:37
    have gratified their kind friends in
  • 00:44:40
    Europe later on the report notes the
  • 00:44:43
    children were continually asking for
  • 00:44:44
    more and more books and I think the
  • 00:44:47
    image itself the children the books the
  • 00:44:49
    ways in which they're so beautifully
  • 00:44:51
    dressed is a reflection of what's going
  • 00:44:53
    on in this
  • 00:44:55
    report that's
  • 00:44:57
    fascinating isn't it I mean so at that
  • 00:45:01
    particular time it wouldn't have been
  • 00:45:03
    completely extraordinary for children to
  • 00:45:05
    be wearing such fine dresses or have
  • 00:45:07
    books would be now described as aid
  • 00:45:09
    supplies definitely and do we know if
  • 00:45:12
    Emma Jones was involved directly in
  • 00:45:14
    these groups unfortunately we don't we
  • 00:45:16
    don't know directly if she was involved
  • 00:45:18
    but given her own um experience of
  • 00:45:20
    painting disenfranchise subjects we can
  • 00:45:22
    imagine that she attended perhaps some
  • 00:45:24
    of these organizations events she had
  • 00:45:27
    friends with people who also were
  • 00:45:28
    directly linked to organizations such as
  • 00:45:30
    this I think that may have influenced
  • 00:45:32
    her decision to paint the beautiful
  • 00:45:33
    picture that she did so that answers a
  • 00:45:35
    few questions then doesn't it oh
  • 00:45:36
    completely this is just so brilliant
  • 00:45:38
    isn't it it brings it together it really
  • 00:45:40
    does but there are also so many layers
  • 00:45:42
    to it that I hadn't appreciate that's so
  • 00:45:45
    interesting thank you so much I think
  • 00:45:47
    that feels like a breakthrough
  • 00:45:49
    completely that
  • 00:45:51
    fascinating this report was published in
  • 00:45:53
    London in
  • 00:45:54
    1831 the very same year of Charlie's
  • 00:45:59
    painting So it seems that this is the
  • 00:46:01
    most likely explanation for our picture
  • 00:46:04
    an abolitionist work inspired by a
  • 00:46:07
    campaign run by British women to send
  • 00:46:09
    clothes and books to slaves in Britain's
  • 00:46:12
    colonies just 2 years later in
  • 00:46:15
    1833 Parliament finally passed an act
  • 00:46:19
    abolishing slavery in the British
  • 00:46:21
    Empire but tragically less than a decade
  • 00:46:24
    later in 1842 Emma Jones died in
  • 00:46:28
    childbirth she was just
  • 00:46:33
    29 after her death her husband Alexis
  • 00:46:36
    soer organized a charity exhibition of
  • 00:46:39
    her works with the proceeds going to
  • 00:46:41
    help London's
  • 00:46:42
    poor it was a fitting tribute for a
  • 00:46:46
    remarkable Young
  • 00:46:53
    artist meanwhile the results from the
  • 00:46:55
    tests from scoon Palace have been
  • 00:46:57
    processed at the University of North
  • 00:46:59
    Umbria in
  • 00:47:01
    Newcastle so lady Mansfield and I are on
  • 00:47:04
    our way to find out if science could
  • 00:47:06
    connect David Martin to one of the
  • 00:47:08
    earliest and most important paintings of
  • 00:47:10
    a black subject in British
  • 00:47:13
    art this could be a significant
  • 00:47:16
    breakthrough Martin is a leading figure
  • 00:47:19
    in Scottish portraiture and some of his
  • 00:47:21
    works are held in the National Portrait
  • 00:47:23
    Gallery in Edinburgh
  • 00:47:27
    but will my hunch about Martin be backed
  • 00:47:29
    up by the
  • 00:47:31
    forensics to find out we're meeting Dr
  • 00:47:33
    Kate
  • 00:47:35
    Nicholson so Kate have you found
  • 00:47:37
    anything that can give us comfort that
  • 00:47:40
    they might be by the same artist well
  • 00:47:42
    we've done some comparisons and we're
  • 00:47:44
    looking at a white sample taken from
  • 00:47:46
    Lady marjerie which we know as by David
  • 00:47:48
    Martin and what the particular chemical
  • 00:47:51
    makeup of it is so we can see that the
  • 00:47:54
    white pigment he used was lead White
  • 00:47:57
    and we can see a mixture of binding oils
  • 00:48:00
    that he used to mix the paint okay so
  • 00:48:03
    there's binding oil is is is is what
  • 00:48:06
    what holds the pigment together and
  • 00:48:07
    makes it into a paint the pigment you
  • 00:48:09
    would just buy is a powder if we look at
  • 00:48:12
    the sample taken from Elizabeth and Bell
  • 00:48:15
    it mirrors perfectly that's
  • 00:48:17
    extraordinary it's like a copy you know
  • 00:48:20
    you could just it's absolutely
  • 00:48:22
    extraordinary if we look at the makeup
  • 00:48:24
    of The Binding oil itself we can see the
  • 00:48:27
    ratio used in both of these paintings is
  • 00:48:29
    the
  • 00:48:30
    same so it's the same gravy as it were
  • 00:48:33
    same gravy same SAU mix that's exciting
  • 00:48:37
    the white paint used on both paintings
  • 00:48:39
    is an exact
  • 00:48:41
    match but what of the test revealed
  • 00:48:43
    about those distinctive red lips I
  • 00:48:45
    spotted on Lady Elizabeth and lady
  • 00:48:48
    marjerie we see this particular graph
  • 00:48:50
    shows steep rise and that says in lady
  • 00:48:54
    margery's lips the pigment used was fam
  • 00:48:56
    million
  • 00:48:58
    compare lady margerie to Lady Elizabeth
  • 00:49:01
    not only do we see it's Vilan but if we
  • 00:49:03
    do further analysis we see even down to
  • 00:49:06
    the Tris elements the two are a match I
  • 00:49:08
    mean the chances of those being
  • 00:49:10
    different artists is pretty remote let's
  • 00:49:12
    face it it's very slim sa if you that's
  • 00:49:14
    a match yeah it's extraordinary I mean
  • 00:49:17
    it's absolutely extraordinary I mean
  • 00:49:19
    there it all is in front of our
  • 00:49:22
    eyes so the forensic results back up our
  • 00:49:25
    theory that David Martin composed this
  • 00:49:28
    painting but to secure a new official
  • 00:49:31
    attribution we'll have to convince the
  • 00:49:33
    art authorities who will need to view
  • 00:49:35
    all our evidence back at scoon
  • 00:49:38
    [Music]
  • 00:49:43
    Palace but first philli and I have
  • 00:49:46
    returned to Edinburgh because I think
  • 00:49:47
    I've made an important discovery about
  • 00:49:50
    Charlie's painting all the evidence so
  • 00:49:53
    far has pointed to Emma Jones being our
  • 00:49:55
    artist
  • 00:49:57
    from the
  • 00:49:59
    signature to the stylistic similarities
  • 00:50:02
    with her other
  • 00:50:05
    work and now we're here to share the
  • 00:50:07
    final Revelation with owners Charlie and
  • 00:50:10
    Sarah and there could be no doubt about
  • 00:50:12
    it as you know we think your painting is
  • 00:50:15
    by the artist Emma Jones she married the
  • 00:50:17
    celebrity chef Alexis
  • 00:50:19
    soer he died in
  • 00:50:22
    1858 and after his death there was a
  • 00:50:24
    sale of painting
  • 00:50:27
    and I believe there I found your
  • 00:50:30
    painting oh wow so let me show
  • 00:50:35
    you and here at Number
  • 00:50:40
    96 two negro children with a book that's
  • 00:50:44
    incredible that's now the title clearly
  • 00:50:47
    in our times is a very unattractive one
  • 00:50:50
    that's not a word we use anymore but in
  • 00:50:53
    those days in Victorian society that was
  • 00:50:55
    a word they use freely
  • 00:50:57
    this I believe is your painting yes and
  • 00:51:03
    what I'm delighted to say is that we can
  • 00:51:05
    add to that because the National
  • 00:51:06
    Portrait gther in London has kindly
  • 00:51:09
    furnished us with a
  • 00:51:12
    [Music]
  • 00:51:16
    letter so this letter is a confirmation
  • 00:51:19
    that they believe after consideration
  • 00:51:22
    that this is by Emma Jones I can't tell
  • 00:51:25
    you how helpful that is that's fantastic
  • 00:51:28
    it's like a certificate of authenticity
  • 00:51:31
    gosh it's fantastic Wonder this is this
  • 00:51:34
    is so exciting really because you've now
  • 00:51:36
    got a fully attributed picture its value
  • 00:51:40
    I can easily see it being worth 60,000
  • 00:51:42
    pounds probably more gosh wow but let's
  • 00:51:46
    just think what you have got I mean
  • 00:51:47
    there are so many collections out there
  • 00:51:49
    Museum collections in this country and
  • 00:51:52
    abroad who would love a painting that
  • 00:51:55
    this represents this is a double whammy
  • 00:51:58
    it's a female artist which is rad and
  • 00:52:02
    it's a subject matter that we badly need
  • 00:52:05
    in order to balance the the social
  • 00:52:07
    history content of collections I have to
  • 00:52:10
    say for me I found this one of the most
  • 00:52:12
    fascinating Journeys I've been on in
  • 00:52:14
    fake or Fortune what I wanted to do was
  • 00:52:17
    find out who the children are that's
  • 00:52:20
    where I've fallen short because when you
  • 00:52:23
    look at all the other paintings here
  • 00:52:25
    head of a child head of a gentleman two
  • 00:52:28
    children with rabbits she didn't name
  • 00:52:30
    it's a bit vague isn't it I'm afraid but
  • 00:52:33
    even though we don't know who these two
  • 00:52:34
    girls are what their names are we have a
  • 00:52:37
    sense now of the kind of lives they
  • 00:52:41
    would have been living the context in
  • 00:52:42
    which they were living and the message
  • 00:52:44
    that Emma Jones was trying to get across
  • 00:52:46
    I find the power of the female voice
  • 00:52:48
    with the
  • 00:52:49
    Abolitionist uh movement you know pre
  • 00:52:51
    the suffragette movement I find that
  • 00:52:54
    really really interesting it's been a
  • 00:52:56
    fascina process and I think you've done
  • 00:52:58
    tremendously well to to find this out we
  • 00:53:01
    couldn't have done it on our
  • 00:53:03
    [Music]
  • 00:53:08
    own but we still need to solve the
  • 00:53:11
    mystery of who painted Dio Bell and Lady
  • 00:53:13
    Elizabeth so we're on our way back to
  • 00:53:15
    scoon
  • 00:53:17
    Palace the leading Scottish artist David
  • 00:53:20
    Martin has emerged as our Prime
  • 00:53:24
    Suspect the case has become more more
  • 00:53:26
    than an intriguing family mystery
  • 00:53:29
    because of the story of Da Bell a former
  • 00:53:31
    slave who became a member of an
  • 00:53:33
    aristocratic family the painting is now
  • 00:53:36
    a work of national
  • 00:53:39
    importance what agitates me about this
  • 00:53:42
    picture is that it's so high-profile and
  • 00:53:45
    therefore the stakes are so much higher
  • 00:53:48
    and as we know the art world can be so
  • 00:53:50
    tough to convince well today we find out
  • 00:53:53
    if we've done enough
  • 00:53:57
    we presented our evidence to Dr Brian
  • 00:53:59
    Allen an expert in 18th century British
  • 00:54:03
    portraiture he's agreed to deliver an
  • 00:54:05
    official verdict but is our case
  • 00:54:08
    compelling
  • 00:54:12
    enough Brian it's it's the Moment of
  • 00:54:14
    Truth you've seen our dossier you've
  • 00:54:16
    considered our
  • 00:54:18
    evidence what's your verdict on the
  • 00:54:20
    painting well I'm entirely convinced
  • 00:54:22
    that this is by David
  • 00:54:24
    Martin this seems entirely concern
  • 00:54:26
    consist with all elements of his style
  • 00:54:28
    and I I feel really confident that we
  • 00:54:30
    can say that uh without doubt well
  • 00:54:32
    that's terrific what do you think that's
  • 00:54:35
    it's excellent and I know the family
  • 00:54:37
    will be absolutely thrilled that we
  • 00:54:39
    found an artist at
  • 00:54:40
    last and this is a picture you've always
  • 00:54:43
    loved isn't it lady Manfield but there's
  • 00:54:44
    always been this mystery about it
  • 00:54:47
    absolutely I mean it's my favorite it's
  • 00:54:49
    my favorite in the collection and it's
  • 00:54:52
    marvelous now that we've solved the
  • 00:54:54
    mystery so the mystery is resolved thank
  • 00:54:56
    you very much what was it about the
  • 00:54:59
    painting that convinced you in
  • 00:54:59
    particular in particular for me it's the
  • 00:55:02
    way he paints suts and satins and
  • 00:55:04
    muslins he has a particular style that
  • 00:55:06
    he learned at the feet of his teacher
  • 00:55:08
    Alan Ramsey the the great Scottish 18th
  • 00:55:10
    Century painter and we can see the
  • 00:55:11
    Hallmark of his period of learning with
  • 00:55:13
    Ramsey in this picture now that we know
  • 00:55:16
    that this is definitely by David Martin
  • 00:55:20
    how does that affect the value would you
  • 00:55:21
    say it's enormously helpful to have a
  • 00:55:24
    name there are so many many institutions
  • 00:55:27
    worldwide and and in this country who
  • 00:55:30
    would love a painting like this I mean
  • 00:55:31
    this is a groundbreaker this is
  • 00:55:33
    sociologically so significant and it's
  • 00:55:36
    also a picture that delivers visually
  • 00:55:38
    it's it's a beautiful image yes it is
  • 00:55:40
    beautiful I mean I can see it being
  • 00:55:43
    worth £600,000
  • 00:55:45
    probably more so what are your plans
  • 00:55:47
    then lady Mansfield um to to keep it
  • 00:55:50
    here to keep it here at the palace it's
  • 00:55:51
    a family heirloom you know we're really
  • 00:55:53
    really proud of it it will be a lovely
  • 00:55:55
    story to tell our visitors from all
  • 00:55:57
    around the world and we can show them
  • 00:55:59
    some of the other David Martins we have
  • 00:56:01
    here at the collection and um it's here
  • 00:56:04
    to stay and it's such an intimate tender
  • 00:56:08
    painting I think when you think about
  • 00:56:09
    the love that old Manfield must have had
  • 00:56:11
    to commission it and now it now has a a
  • 00:56:14
    very different message I think it's it's
  • 00:56:16
    a message about two young girls a
  • 00:56:18
    message about equality as well as Lord
  • 00:56:20
    mani's private feelings about his two
  • 00:56:22
    great nieces it's transformed it I think
  • 00:56:25
    totally
  • 00:56:32
    and now a new pluck can be made
  • 00:56:35
    correctly attributing David
  • 00:56:39
    Martin and also restoring Dao Bell's
  • 00:56:43
    [Music]
  • 00:56:48
    name so we've sold this intriguing
  • 00:56:51
    double who done it but these
  • 00:56:54
    investigations have become more than
  • 00:56:55
    that they've transported us into the
  • 00:56:58
    extraordinary lives of black Britain in
  • 00:57:00
    a difficult chapter in our
  • 00:57:02
    [Music]
  • 00:57:04
    history these paintings show Britain at
  • 00:57:07
    a Crossroads slavery was dividing the
  • 00:57:10
    nation and these pictures are radical
  • 00:57:13
    and for me they represent hope with
  • 00:57:16
    intimate depictions of black Britain and
  • 00:57:20
    we've identified the two artists the two
  • 00:57:22
    British painters who made these
  • 00:57:24
    remarkable images happen
  • 00:57:27
    we've given them back their status and
  • 00:57:29
    now surely they can be properly
  • 00:57:31
    appreciated for the wonderful images
  • 00:57:33
    that they are
  • 00:57:38
    [Music]
  • 00:57:51
    [Music]
  • 00:57:57
    a
タグ
  • art
  • history
  • slavery
  • portrait
  • forensic science
  • investigation
  • David Martin
  • Emma Jones
  • Black British History
  • abolitionist movement