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Fiona Bruce and Philip Mould investigate a charming little white flower picture, purported to be by one of the most important abstract artists of the 20th century, Piet Mondrian. Its owner, American Jeffrey Kroll, inherited the picture from his mother and believes it to be genuine. However, the painting was turned down by the Mondrian authentication committee, so the team will have to find new evidence to help persuade them to change their mind. A lot is at stake: if the work is genuine, it could be worth over £250,000. If not, just a few hundred.

Jeffrey has spotted that the picture sold at a major auction house in 1993, listed as a genuine work by Mondrian, entitled the White Chrysanthemum. It has a whole range of intriguing labels on the back, showing what appears to be a solid and traceable history. However, it wasn’t included in the 1998 catalogue raisonné of genuine works by Mondrian. Despite this, Jeffrey still believes it is the real deal. But, as the team know all too well, opening up an old case to find new evidence is never simple.

Philip opens the investigation by heading out to the Netherlands to get to know a lesser-known side of Mondrian’s work – his flower pictures. He also examines it forensically. Under the microscope, it’s clear that the paper was made at the same time as Mondrian was working – so there are positive signs early on. On close inspection, the back of the painting also shows a new provenance lead. Armed with further evidence, he takes it to Professor Aviva Burnstock at the Courtauld Institute in London for more testing. Can the latest scientific analysis help earn the picture a place in a future catalogue raisonné?

Once all the evidence is gathered, the team submit their findings to the world’s leading authority on Mondrian, Wietse Coppes. Does Jeffrey’s painting belong in the catalogue of Mondrian’s work – or could there be a more sinister explanation?