of the artist Amedeo Modigliani is the subject of at least five catalogues raisonnés. In 2012, the New York Times reported that some scholars and artists' foundations have decided not to publish future catalogues raisonnés because they fear being sued by buyers or sellers unhappy with their conclusions. The question of whether producers of catalogues raisonnés should accept responsibility for determining the authenticity of works was debated at a seminar on 29 March 2012 held at Christie's, New York under the auspices of the Catalogue Raisonné Scholars Association. Wildenstein example An example of individual policies is given by the Wildenstein Institute's stated policy with regard to the authentication of artworks which (at 8 February 2014) was as follows: 'After examination, and based on the opinion of the members of the committee, a recommendation is made in the form of the intention to include or not to include the work under study; a third possibility also exists, that of continuing the examination of the work. Under no circumstance is a recommendation to be considered as a certificate of authenticity or appraisal, and no justification will be provided for said recommendation.’ This policy contrasts with the text of the letter from the Institute which was read out on the first-ever episode of the 2011 British television series, Fake or Fortune?: In the first-ever episode of Fake or Fortune?, broadcast in 2011, the subject was the authenticity of the Claude Monet painting Bords de la Seine à Argenteuil. The painting was submitted to the Wildenstein Institute which is the publisher of the catalogues raisonnés most widely accepted as authoritative on the subject of Monet paintings. The result of this submission was that the Institute, acting in accordance with the wishes of a descendant of the original author of the catalogues, refused to include it in future editions. This decision was taken despite the fact that the Institute had been presented with considerable evidence of the painting's authenticity. In contrast to this decision, episode one series 3 of the programme, broadcast in 2014, investigated one of a group of paintings reputedly by French post-impressionist Édouard Vuillard and on this occasion, a committee of the Wildenstein Institute decided that the painting should be included in their catalogue raisonné for the artist. The art dealer and historian Philip Mould stated while presenting the programme that this painting would be worth approximately £250,000 if it was accepted