The team investigate an 18th-century landscape that could be a lost work by of one of the biggest names in British art, Thomas Gainsborough.

Can the team prove that a portrait attributed to pioneering female artist Maria Cosway is actually an undiscovered work of the great Regency artist Sir Thomas Lawrence?

Bought for just £1, could a small still life be the work of one of the masters of early 20th-century art, Giorgio de Chirico?

The team investigates a beautiful 18th-century Venetian view. Could this be a work by one of the Italian masters - either Francesco Guardi or Michele Marieschi?

Fiona Bruce and Philip Mould examine a still life that may have been painted by prolific artist William Nicholson, but which has been rejected by leading experts on his work. They discover a useful source of evidence in Nicholson's own paint box, but as they delve into the painting's history, they discover it may have been connected to one of the 20th century's greatest art crimes. Fiona meets a reformed forger to discover if he ever faked a Nicholson while Philip takes the painting to Canada to compare it to another of the artist's works.

Fiona Bruce and Philip Mould must prove that a sketchbook is the work of a young Toulouse-Lautrec, overturning a decision made by a committee of experts on the artist. The drawings in the book are of a very different subject matter to Lautrec's famous works, and are dated to when he was a teenager - a period of his life that is largely a mystery. To get to the truth, Fiona and Philip travel to the town in the south of France where Lautrec grew up and visit the grand family home where he spent much of his youth.

Fiona Bruce and Philip Mould investigate a small watercolour sketch that could be the work of sculptor Henry Moore. The piece was found in 2012 in a hoard of artwork stolen by the Nazis. While the unidentified piece has many characteristics of Moore's work, none of the other artworks recovered were by British artists, so it remains a mystery how it came to be there. The team must not only find out who created it, but also who it belonged to, since it may have been looted from Jewish owners during the Holocaust and will need to be returned to surviving descendants.

Fiona Bruce and Philip Mould investigate the origins of two paintings by unknown artists dating back to the 18th and 19th centuries, which unusually for the period, depict black subjects. One is a portrait of Dido Belle, a famous former slave adopted into an aristocratic English family in the 1760s, while the other depicts two children against a tropical landscape, and is believed to have been painted as a protest against the slave trade.

Fiona and art experts Philip Mould and Bendor Grosvenor attempt to help a man who has inherited three paintings supposedly by LS Lowry.

Nicky Philipps needs help in determining whether a mysterious painting housed at Picton Castle in Pembrokeshire is a genuine piece of work by French Impressionist Pierre Auguste Renoir.

Fiona and Philip are at a church in Lancashire, once patronised by Yorkshire's famous Bronte sisters, that is the home of a painting thought to have been made by an Italian old master.

Fiona and Philip attempt to help Under-Sheriff and Secondary of London Charles Henty find out whether two paintings in his possession are as valuable as he believes.

Fiona and Philip attempt to help a man who believes he owns a painting by French post-impressionist Edouard Vuillard.

Fiona and Philip attempt to prove that two paintings are missing works by one of the country's best-loved artists, John Constable.

Fiona and Philip attempt to help Martin Lang try and prove the painting he bought in 1992 is by modern master Marc Chagall.

This week the focus is on Britain's public art collections, in which 17,000 paintings are listed as `artist unknown'. Philip identify several works they believe are by Thomas Gainsborough.

Fiona and Philip examine a painting that owner Patrick Rice thinks is by Edgar Degas. If its genuine, it could be worth about £500,000. They trace the artwork back through time to find out whether it really was created by one of France's greatest artists.

Fiona and Philip take a look at the history of three paintings bequeathed to the National Museum of Wales after their owner died in 1951. It was always thought that the paintings were by landscape artist JMW Turner, but only months after the museum took ownership, experts said that they were fakes.

The tables end up being turned on Philip this week when one of his own pictures are put under the microscope.

Fiona and Philip take a look at a painting they think is an unrecognised work by Monet. They then try to persuade different luminaries from the art world to believe them.

Fiona and Philip take a look at a painting which could be a piece of work by 19th-century American artist Winslow Homer and was discovered at a rubbish tip.

Fiona and Philip take a look at the career of forger Han van Meegeren, who managed to fool galleries and buyers in the early 20th century with his fake pieces by Old Masters.

Fiona and Philip stop the auction of a painting that used to be a German national treasure but was stolen from it's Jewish owners by the Nazis during the Second World War. They then follow the story as it is discovered whether it is the work of Rembrandt.