They briefly discuss the Dutch Vermeer forger Han van Meegeren, and how his paintings now look like fakes, but were accepted as genuine in the (early) 1940s, and touch on the nature of fakes and secrets.
Burnstock was one of the team that confirmed that The Procuress in the Courtauld's collection, a version of a 1622 work by Dirck van Baburen now in the Museum of Fine Arts, Boston, was a modern forgery by Han van Meegeren.
At the liberation of Holland, he detected a recently acquired Vermeer at the Rijksmuseum and led ultimately to the exposure of the forger Han van Meegeren.
The subject has attracted few artists since the 19th century, and one of the last notable depictions may be the one painted, as a forgery of a Vermeer, by Han van Meegeren in front of the Dutch police, in order to demonstrate that the paintings he had sold to Hermann Göring were also fake.
The supper was also the subject of one of his most successful Vermeer forgeries by Han van Meegeren.
Han van Meegeren the well-known art-forger lived in Roquebrune and painted here his famous Vermeer fake Supper at Emmaus
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