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he acquisitions policy employed by the Rubens House continues to turn up surprises, and after the announcement of the Clara Serena portrait, the museum has now brought a newly discovered Van Dyck to Antwerp. The work is a study for a portrait that was revealed to be an original Van Dyck during a 2013 episode of the BBC’s Antiques Roadshow. That way the Rubens House has brought the most valuable discovery of this television show to Antwerp on permanent loan. Visitors can see the painting as of today.

In 2013 nothing less than a miracle happened to Jamie MacLeod, a priest from Derbyshire, UK. A painting that he had bought for 500 euros was unveiled as a ‘genuine’ Anthony Van Dyck on the popular TV program Antiques Roadshow.

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A self-portrait by Van Dyck that was dismissed a decade ago as a copy is now hanging in the Minneapolis Institute of Arts, Minnesota, as an original work. The painting, which has been authenticated by experts, was quietly put on display in February, having been lent by a US collector based on the West Coast.

An unpublished paper on the self-portrait, prepared for the owner, dates the work to around 1629 and states that the attribution is accepted by four key experts: Susan Barnes, a co-author of the 2004 Van Dyck catalogue raisonné, Christopher Brown, the former director of the Ashmolean Museum in Oxford, David Jaffé, a former senior curator at the National Gallery in London, and Malcolm Rogers, the outgoing director of the Museum of Fine Arts, Boston.

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It's a rare opportunity to see Old Master paintings in person: Rembrandt, Rubens, Gainsborough, van Dyck and more. Huntsville is the final stop on a 10-museum exhibition tour for "Rembrandt, Rubens, Gainsborough and the Golden Age of Painting in Europe," a collection of 60 paintings from the 17th and early 18th centuries.

Highlights of the exhibition include works by Rembrandt van Rijn, Peter Paul Rubens, Anthony van Dyck, David Teniers the Elder, Jacob Jordaens the Elder, Nicolas Tournier, Jacob van Ruisdael and Thomas Gainsborough.

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The splendidly sturdy "Miss Bentham," a painting by the American George Bellows which was once owned by Andy Warhol, has become the first nude acquired by the renowned collection of the Barber Institute in Birmingham, where she joins works by Botticelli, Rubens, Van Dyck, Van Gogh, and Picasso.

It is only the second work by the painter, regarded as one of the greatest of early 20th-century American artists and much better known for his gritty urban and brutally realistic boxing scenes than for naked ladies, to enter a British collection.

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Nearly £45 million-worth of art has been left to the nation in the last year, including masterpieces by Van Gogh, Van Dyck and Constable, and the personal collection of Lucien Freud.

A report published by Arts Council England revealed the details of 27 gifts offered by private owners to the British public collections, with a total value of £44.3 million.

The sum is double the value of artworks offered to the nation a decade ago, and is the result of the Acceptance in Lieu scheme which allows owners to use important artworks to pay inheritance tax.

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It was the most valuable piece of artwork ever identified in the 36-year history of the Antiques Roadshow.

But the triumph of discovering a rare 17th-century Van Dyck painting was deflated last night after the work failed to sell at auction.

Fiona Bruce, the show's presenter, first spotted the oil painting in December last year and had a hunch it could be a genuine piece by the Flemish artist. After restoration work the painting, called "Head Study of a Man in a Ruff," was verified by a leading authority on Van Dyck.

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Winslow Homers in the shadow of a defunct Beech-Nut baby food plant. A Rembrandt, Picasso, Rubens and Renoir up the hill from a paper mill. The founder of the Hudson River School vying for attention amid baseball memorabilia and old farm machinery.

There are plenty of treasures to be found among the collections of lesser-known, off-the-beaten-path art museums dotting upstate New York. But they're well worth the trek for anyone looking for great art in unexpected places, whether it's the rolling, bucolic countryside typical of many areas or the industrial grittiness of riverside mill towns.

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The Museum of Fine Arts, Boston, unveiled on September 8 its newly renovated William I. Koch Gallery, one of the Museum's grandest spaces, evocative of a great hall in a European palace. Masterpieces from the 16th- and 17th-century Italy, France, Spain, and Flanders hang on walls covered in red damask, complemented by a spectacular display of German silver and four tapestries from the Palazzo Barberini in Rome.

"The Koch Gallery is the most majestic architectural space in the MFA, and the new installation enhances this effort, with an astonishing display of European paintings and silver, virtually unparalleled in America," said Malcolm Rogers, Ann and Graham Gund Director of the MFA, who is overseeing the project and a team of Art of Europe curators and designers.

The iconic Koch Gallery features masterpieces drawn from the Museum's renowned European collection. Among the approximately 40 paintings on view are Nicolas Poussin's Mars and Venus (about 1630), Diego Rodriguez de Silva y Velazquez's Don Baltasar Carlos and Dwarf (1632), Peter Paul Rubens's Head of Cyrus Brought to Queen Tomyris (about 1622-23), and Guercino's Semiramis Receiving Word of the Revolt of Babylon (1624). A major conservation effort was undertaking to treat Anthony van Dyck's Isabella, Lady de la Warr (about 1638), which was acquired by the MFA in 1930. It was recently rediscovered in storage, badly in need of attention and a new frame. Also featured in the gallery are select loans, including Frans Francken's Allegory of Man's Choice between Virtue and Vice (Private Collection, 1635).

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