Question: How much did an art-lover offer for the painting?
About the article "Les Demoiselles d'Avignon", section "Public view and title".

Candidate passages:
Monarch of the Glen was prominently featured in an episode of The Goodies.
The Goodies come into possession of the painting, along with a massive debt.
American ""art collectors"" offer to buy the painting for enough to cover the debt, but Bill refuses to sell it as it's his favorite painting.
Ironically, despite his great love of it, Bill mistakenly believes the painting to be of a cow with twigs stuck to its head. 
Giornata is an art term, originating from an Italian word which means "a day's work."
The term is used in Buon fresco mural painting and describes how much painting can be done in a single day of painting.
Knowing how much can be painted in a day is crucial in the Buon fresco technique, because in this technique a watercolor paint, without binder, is applied to wet lime plaster which binds the paint into the surface of the plaster when it dries, making for an extremely durable painting.
An experienced fresco painter knows how much surface can be painted in a day, and wet plaster is applied to the wall in the right amount needed for each day's work.
That amount is the "giornata".
Generally the plaster is applied in a way that will conform to the outline of a figure, or object, in a painting, so that the daily segments will not show, but it is occasionally visible as different sections in a work where the artist may not have been able to replicate a pigment exactly the next day, or where restoration has altered or made apparent the changes in pigment between the sections. 
The Carpenters owned a very rare painting by artist Richard E. Miller titled "Goldfish", circa 1912.
The subject was Miller's wife and daughter.
Miller's daughter died shortly after the painting was completed.
The painting was inherited by Carpenter's niece.
In 1990 the niece offered Goldfish to the Des Moines Art Center.
With little research, the Art Center rejected the offer.
The Art Center already had an example of Richard Miller's work.
The Art Center failed to recognize the importance of the painting in that it depicted the artist's last painting of his daughter.
Carpenter's niece donated the painting to her alma mater Simpson College, Indianola, Iowa with full knowledge of the painting's value.
Simpson college sent Goldfish to Sotheby's auction house for sale in New York 1992. 
The painting was first bought by John Hay Whitney in 1950 for US$30,000.
On May 5, 2004 the painting was sold for US$104,168,000 at Sotheby's auction in New York City.
Sotheby’s did not name the buyer though sources say that it was Guido Barilla, owner of the Barilla Group.
At the time, it broke the record for the amount paid for an auctioned painting (when inflation is ignored).
The amount, US$104 million, includes the auction price of US$93 million plus the auction house’s commission of about US$11 million.
The painting was given a pre-sale estimate of US$70 million by the auction house.
Many art critics have stated that the painting's high sale price has much more to do with the artist's name than with the merit or historical importance of the painting.
"The Washington Post's" article on the sale contained the following characterisation of the reaction: 
The Umbrellas (French: "Les Parapluies") is an oil-on-canvas painting by Pierre-Auguste Renoir, painted in two phases in the 1880s.
It is owned by the National Gallery in London as part of the Lane Bequest, but is displayed alternately in London and at the Dublin City Gallery The Hugh Lane.
In May 2013, it returned to Dublin for a six year period.
The painting measures high by wide.
It depicts a busy street scene in Paris, with most of the people depicted using umbrellas against the rain.
To the right, a mother looks down at her daughters, each fashionably dressed in the styles of 1881 for the afternoon promenade.
She largely conceals a female figure at the centre of the frame, caught in the act of raising or lowering her umbrella, suggesting that the rain is about to start or stop.
The principal female figure to the left of the frame, a milliner's assistant or "modiste" modelled by Renoir's lover and frequent subject Suzanne Valadon, holds up her skirt against the mud and water on the road as she carries a hatbox, but has no hat, raincoat or umbrella.
A vigorous young bearded gentleman seems to be about to engage her, perhaps to offer her shelter under his umbrella.
She, and one of the two girls to the right with a hoop and stick, look out at the viewer, while most of the other people go about their business.
Unconventionally, the focus of the painting is not at its centre, and many of the figures are cut off by the frame, as if the painting were a photograph.
The composition appears natural, but the angles of the umbrellas are carefully arranged to form geometric shapes, with the main figure's bandbox and the girl's hoop adding rounded elements.
The colours are largely blues and greys: a pattern of umbrella canopies across the top of the painting, and the dresses and coats of the people lower down.
Renoir began the painting in about 1880-1, using the loose brushwork and bright palette typical of the Impressionist movement.
In about 1885-6, after losing his attachment to Impressionism and drawing inspiration from classical art he had seen in Italy and the works of Ingres and Cézanne, he reworked parts of the painting, particularly the principal female figure to the left of the frame, in a more classical linear style using more muted colours, and added the background and the umbrellas themselves.
X-ray photography has shown that the clothing of the female figure was originally different: she wore a hat and her dress had horizontal rows of frills, with white lace at its cuffs and collar, suggesting that she was middle class, whereas the simpler clothes in the revised painting mark her out as a member of the working class, a "grisette" not a "bourgeoise".
The x-ray analysis and the changing fashions allow the periods of work to be dated with reasonable accuracy.
Renoir did not exhibit "The Umbrellas" straight away – he may have thought the combination of styles would be too challenging for the public - and he eventually sold the painting to the French art dealer Paul Durand-Ruel in 1892.
He sold it to Sir Hugh Lane, who died in the sinking of the Lusitania in 1915 and left this and other paintings to the Tate Gallery in London in his will.
It came into the possession of the gallery in 1917 (although an unsigned codicil suggested that Lane had changed his mind before his death, and would have preferred the paintings to be displayed in Dublin).
It was transferred to the National Gallery in 1935, but an agreement was reached in 1959 to alternate its display (with seven other paintings from the Lane Bequest) between London and Dublin.
Exceptionally, it was loaned for an exhibition at the Frick Collection in New York in 2012.