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The article introduces three new attributions made in the group of foreign art over the past five years. It illustrates the research work conducted by the National Mikalojus Konstantinas Čiurlionis Art Museum and opens opportunities to integrate the data of discoveries into reinterpretation, evaluation and exhibition of the works of art under discussion. Such first discovery was made about the exhibit from Mykolas Žilinskas collection, a painting Lot and His Daughters, which is now attributed to the painter Bartolomeo Guidobono (1654-1709) from Northern Italy. The new attribution was made in 2003 by the Italian art expert Marco Riccomini, corroborated by the data from the archive M. Žilinskas, conclusions made in 1960 by Professor Hermann Voss. The information on the real author of the painting, biographical data and illustrations presented in his monograph, provided the opportunity to compare this painting against other versions of the same subject. There were differences identified to provide new impetus to semantic interpretations which, in turn, established chronological shifts in the artist's interpretation of the theme, leading, eventually, to preliminary dating of the work in M. Žilinskas collection. The second new discovery is a pastelwork of Claude Pougino de Saint Aubin (prior to 1730-1783), Portrait Jean-Josepho Chabaille d'Auvigny de Morinval. Its attribution and iconography was verified by the English specialist Neil Jeffares. The investigation established that the pastel work should be attributed to Claude Pougino de Saint Aubin, versus Augustin, the identity of the person portrayed was also specified. It also turned out that the work under discussion is the only in the world known pastel work by the artist with its location now established. The uniqueness of the work of art has promoted it to a new level of evaluation; with new weight of significance added, it emerged among the best works of the collection. The third discovery was the Armenian artist Makhokhian (1869-1937) whose canvas The Stormy Sea is safeguarded in the collection of M. Žilinskas. Our previously limited knowledge of the artist was widened by new biographical data provided in 2005 by the art researcher from Armenia Ara Hakobjan, involved, at the time, in writing a monograph on the artist. The information provided opportunities for stylistic or biographic comparisons (parallels in his life and art provide for comparison with these of M. K. Čiurlionis) and helped to date the work, prompting, by the same token, insights regarding exhibition projects. [ABSTRACT FROM AUTHOR]