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Its decision to reattribute the painting was “the result of years of close study, conversation and consideration between a team of some of the leading experts in the field,” the museum said in a statement.

He used Fabergé hallmarking tools to reattribute early 1900s pieces made by other Russian goldsmiths or their French archrival Cartier.

And, indeed, there was hardly a picture in Rome I was unable to reattribute to its rightful owner.