Detailed Instructions: In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.
Q: A Leonardo da Vinci drawing believed to be worth £100 million is actually a picture of “Sally from the Co-op” in Bolton, one of Britain’s most notorious art forgers has claimed. 
  
 The “La Bella Principessa” purports to be portrait of a young woman possibly from the court of Ludovico Sforza, the duke of Milan, in the 1490s. 
  
 But Shaun Greenhalgh claims he drew the picture in 1978 based on a “bossy” shop assistant he worked with his local Co-op store in the north west town. 
  
 He claims he used an old council document dating back more than 400 years as a canvas and specially created pigments to con the art world. 
  
 He makes the revelations in a new book but experts have cast doubt on his claims over what is already a very controversial drawing. 
  
 • OAP 'sold fake Egyptian statue' 
  
 Mr Greenhalgh, who was jailed for four year and eight months for forgery in 2007, said: “I drew this picture in 1978 when I worked at the Co-op. 
  
 “The 'sitter' was based on a girl called Sally who worked on the checkouts," he writes. "Despite her humble position, she was a bossy little bugger and very self-important." 
  
 The forger said he used a council document dated from 1587 to draw on and a Victorian school desk lid as the backing. 
  
 • Faked art worth £4 million to be shown at V and A 
  
 He claims he then turned the picture 90 degrees while drawing it to imitate da Vinci's left handed style. 
  
 Olive, Shaun and George Greenhalgh 
  
 However, laboratory testing of the artwork over the last two years had concluded it is at least 250 years old. 
  
 Martin Kemp, an emeritus professor at Oxford and an expert on da Vinci, is certain the girl is Sforza's illegitimate daughter Bianca, whose husband was Leonardo's patron. 
  
 • Council plan to display fake Egyptian statue it was duped into buying for £440,000 
  
 And a previous seller said her husband had the painting before she married him in 1955. 
  
 The picture has been mired on controversy since it was listed for auction at Christie's in New York in 1998. 
  
 The then owner Jeanne Marchig told the auction house Christie's she thought it came from 15th century Italy, but was told it was by a 19th-century German and it sold for the equivalent of £14,500 at today’s rates. 
  
 It has since been argued it is a da Vinci and could be worth more than £100 million. ||||| The forger Shaun Greenhalgh claims he produced La Bella Principessa, later to be attributed to Leonardo da Vinci 
  
 The notorious forger Shaun Greenhalgh claims to have faked the Leonardo drawing of La Bella Principessa, said to be worth £150m. This astonishing claim, reported by the art critic Waldemar Januszczak in The Sunday Times (29 November), comes from A Forger’s Tale, a memoir written by Greenhalgh in prison. The book is published by Januszczak’s company, ZCZ Editions.In 2007 Greenhalgh, from Bolton (Greater Manchester), was sentenced to four years and eight months in prison over a series of fakes, including a sculpture of an Amarna princess and assorted antiquities, sculptures, paintings and drawings. His elderly parents, George and Olive, had been involved and were given suspended sentences.Greenhalgh now claims to have produced La Bella Principessa. He says in A Forger’s Tale: “I drew this picture in 1978 when I worked at the Co-op. The ‘sitter’ was based on a girl called Sally who worked on the checkouts... She was a bossy little bugger and very self-important.” To obtain an old piece of vellum, Greenhalgh reused a 1587 land deed. He mounted the drawing on a board taken from a Victorian school desk.The portrait, drawn with ink and coloured chalks on vellum, surfaced in 1998 at Christie’s, where it was catalogued as a German 19th-century picture. It had been consigned by Florentine-based Jeanne Marchig, who said that her husband Giannino owned it when they had married in 1955. If this provenance is correct, then Greenhalgh could not be its artist. The drawing sold for $22,000, going to a Canadian collector, Peter Silverman.In 2008, Martin Kemp, a Renaissance specialist at the University of Oxford, identified the portrait as a Leonardo. Dating the picture to around 1495-96, he believes that it depicts Bianca, the illegitimate daughter of the Duke of Milan, Ludovico Sforza. The jacket of a book on La Bella Principessa by Kemp and co-author Pascal Cotte suggests that it might be worth £150m. Most other specialists have not accepted the portrait as a Leonardo, believing it to be a misattribution.Kemp says that tests on the drawing showed that it was made with pre-17th century chalk. He argues that it is “hugely unlikely” that Greenhalgh would have been able to acquire sufficient old pigment to have drawn the portrait. Describing Greenhalgh’s claim as hilarious, he told The Art Newspaper that “the silly season for Leonardo never stops”.La Bella Principessa still retains her mystery. Perhaps the drawing should now be added to Greenhalgh’s extensive oeuvre, but art history is replete with fakers who have falsely claimed credit for works they did not create. In 1978 Greenhalgh was just 17, so he would have been highly precocious to have produced such a forgery. And in this case, there could be clues: Greenhalgh calls his model Sally, but curiously goes on to say that this was not her real name, which was Alison. He entitles his book a “tale”. When it comes to fakers, things are often not quite as they appear. ||||| ‘It’s not a da Vinci, it’s Sally from the Co-op’ 
  
 Shaun Greenhalgh says he drew La Bella Principessa in 1978, based on a ‘bossy’ girl who worked at a Bolton supermarket checkout (Priv.Coll.& Lumiere) 
  
 IT IS the £100m question that the art world cannot answer. Is the pensive young woman in Renaissance dress a sitter for Leonardo da Vinci? Or is she really Sally the shop girl from Bolton? 
  
 Experts say a chalk and ink drawing of a 15th-century Italian woman is a lost da Vinci worth millions. But in a new book, Britain’s most prolific forger boasts that he drew the picture in 1978, inspired by a Co-op supermarket worker called Sally. ||||| “Truly celestial was Leonardo da Vinci,” said the 16th-century art writer Giorgio Vasari. That verdict has stood for centuries. No one has ever doubted Leonardo’s genius, and in our own time his fame is greater than ever. We should probably therefore have some sympathy for experts so besotted with his name, fame and magic that they foolishly declared an obvious fake to be the real thing. 
  
 La Bella Principessa is a profile portrait of a young woman in late 15th-century dress with her copper hair flattened down at the sides and worked behind into an elaborately bound ponytail. Her skin is pink, her gaze cool – or bored. Martin Kemp, one of the world’s most renowned Leonardo authorities and emeritus professor of the History of Art at Oxford, hailed it as a rediscovered marvel in his 2010 book La Bella Principessa: the Story of the New Masterpiece by Leonardo da Vinci. Museums and other experts have backed Kemp’s claim. 
  
 What a wondrous thing: a newly attributed portrait by the man who painted the Mona Lisa – but the principessa might not be quite so bella after all. She may, in fact, be Sally from the Co-op. Convicted art forger Shaun Greenhalgh claims that he faked this “Leonardo” and that the model is a girl he knew in Bolton in 1975. 
  
 I have no idea whether or not Greenhalgh – jailed in 2007 for other art forgeries – really created this ugly pastiche. But I am absolutely certain that it has nothing to do with Leonardo da Vinci. 
  
 This really is a sorry tale, a revelation of how the most famous and justly revered artist in the world has become the centre of an inflated industry where everything than can remotely be connected with him is hyped to insane degrees of exaggeration or wishful thinking. It is also a warning of the dangers of scientific analysis replacing the good old human eye. For the claim that La Bella Principessa is a genuine Leonardo rests on testing its paper and materials – which apparently date it to at least 250 years ago. 
  
 That’s 250 years before Greenhalgh – but 250 years after Leonardo. 
  
 Facebook Twitter Pinterest ‘The claim that La Bella Principessa is a genuine Leonardo rests on testing its paper and materials.’ Photograph: Lumiere Technology / Pascal Cotte/EPA 
  
 I could buy that. Perhaps La Bella Principessa was created as a fake Leonardo in about 1650. Leonardo was already very famous then and his works were in huge demand; that’s the era when the British royal family bought his greatest drawings. They also had very few ways of authenticating art so long ago. A 17th-century painting of Medusa in the Uffizi was mistaken for a Leonardo until modern times. 
  
 Whenever and by whoever it was forged, La Bella Principessa is not a Leonardo. I honestly don’t know how anyone who loves his art could make that mistake. There is a deadness to this woman’s eye, a coldness to the way she is posed and drawn that has no resemblance to Leonardo da Vinci’s energy or vitality. She looks so miserable she may well be on a break from working at a Bolton supermarket in the 1970s. 
  
 This is a bad artist’s impression of the Leonardo style. That hairpiece with its complex banding is “Leonardesque” – he loved to dress women in fine garments that I suspect he designed himself. But it’s too clumsy, too crude to be a real Leonardo conception; at best, it could be a clumsy copy of a lost Leonardo original. 
  
 The real giveaway is the total absence of an emotional dynamic between this young woman and Leonardo da Vinci. She just sits there, waiting, as if she was posing in a passport photobooth. There is no chemistry and no sense of personality. 
  
 These are the very qualities that make Leonardo’s real portraits so exciting and insightful. Vasari claimed he got the Mona Lisa to smile by having musicians and jesters entertain her. More likely, I think, Leonardo himself got on well with women and they are in on the mystery of his portraits. For it is not just the Mona Lisa who has such a dynamic relationship with her onlookers, teasing us with that enigmatic smile. In his early portrait of Ginevra de’ Benci, Leonardo almost fills the panel with her sad, reflective, big-eyed face. She is a sensitive soul directly engaging the onlooker in her poetic reverie. 
  
 Less reflective and more straightforwardly sexy is The Lady with an Ermine, stroking a rather phallic pet, as she turns subtly with a half smile as if greeting her lover. This painting goes out of its way to suggest erotic drama and emotional games. Leonardo’s portraits are miracles of theatricality, and that’s before you even consider his unbelievably sensitive drawing, exquisite colouring and infinitely perceptive rendering of real human bodies – none of which La Bella Principessa has. 
  
 The most damning comparison is Leonardo’s most superficially similar work, a profile drawing of Isabella d’Este, Renaissance woman and ruler of Mantua, that is in the Louvre. This may be the inspiration for whoever did La Bella Principessa, but the gulf is so vast between the real thing and the fake. Leonardo makes Isabella warm and passionate and full of energy and intelligence – even uncoloured, she glows. La Bella Principessa is just flat and dead and dull. 
  
 Leonardo da Vinci loved women and he worked hard to give them portraits they deserved. La Bella Principessa is a lifeless fake that has none of his vision or delicacy. Personally it looks to me like a Victorian knock-up. The artists may even have based it on a photograph. 
  
 She may even be Sally from the Co-op. She ain’t no Leonardo, that’s for sure. |||||
A:
It might be a da Vinci portrait of a 15th-century noblewoman. Or it might be a fake featuring a modern-day cashier named Sally. Or perhaps neither. Whatever the truth, a forger's "astonishing" claim in Britain has the art world buzzing, reports the Art Newspaper. The claim comes from Shaun Greenhalgh in his new memoir, written while he was serving time for a host of forgeries, as first reported in the Sunday Times of London. He says that a drawing attributed to da Vinci called La Bella Principessa was actually done by him. “I drew this picture in 1978 when I worked at the Co-op," he writes. "The ‘sitter’ was based on a girl called Sally who worked on the checkouts. ... She was a bossy little bugger and very self-important.” The painting is currently in the hands of a private collector and would be worth an estimated $150 million if it is, in fact, a da Vinci. Greenhalgh, though, claims he concocted special pigments and found old material for the canvas to fool the experts. But to make matters a bit more confusing, the Telegraph notes that lab tests suggest the painting is about 250 years old, which would mean neither da Vinci nor Greenhalgh created it. The only thing for certain, argues Jonathan Jones at the Guardian, is that this is not a da Vinci—despite an Oxford art historian's assertion to the contrary in 2008. "There is a deadness to this woman’s eye, a coldness to the way she is posed and drawn that has no resemblance to Leonardo da Vinci’s energy or vitality," writes Jones. "This is a bad artist's impression of the Leonardo style." (A scientist unlocked some secrets about an unquestionably legit da Vinci painting.)