IN MEMORIAM – “Why We Fight…”

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Triple Whammy Takes Out a Fake Delusion

Supplementary Update – Jan. 18, 2018

Below I publish some research data that could have hugely helped Carmen Robertson come to a believable, more credible – less personally embarrassing – conclusion, about “Spirit Energy of Mother Earth 1974,” and Joe McLeod***, than she did, had she only refrained from setting out to do a targeted assassination of a genuine painting, and a real decent and honourable art dealer, and instead, done some basic Due Diligence, and followed some normal academic research protocols beforehand…

***Joe McLeod was a former academic, a College Dean of English, whose Maslak McLeod Gallery, in the last forty years, did more to encourage and promote the art and artists of Canada’s Indigenous people than any other public gallery or museum that I know of.

Then she also wouldn’t have had to demand total secrecy for her “expert report,” trying to make sure her university colleagues wouldn’t see what she was writing and claiming. And end up hugely publicly embarrassing herself.

And causing her to go on to further compound the malfeasance by aggressively attacking both the journalist – and his “wife-of” – and desperately trying to put a judicial Gag Order on him/her, in a vain attempt to try to keep the public from learning what she was up to with her ultra-secret report she had fabricated “for the judge’s eyes only.”

Being from far-off Saskatchewan, Robertson may not have known that in Ontario, the public has a right to know what is going on in the courts, and any member of the public is allowed to publish related documents that are “in the public interest.” That right to publish it all, is even guaranteed by the “Ontario Protection of Public Participation Act of 2015.”

“Spirit Energy of Mother Earth 1974” – A typical 1970s Morrisseau BDP, clearly by a master artist, and a BDP signature for which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in this way. A forensic authentication of Sep. 25, 2017 found this to be an authentic BDP signature by Norval Morrisseau. But visual art historian Carmen Robertson claims it’s all fake, front and back; that Norval did neither in 1974. They aren’t his colours, his style, his signature, his visual vocabulary, and certainly NOT his Thunderbird…, Blah, Blah, Blah… So, in her unsubstantiated opinion, a SLAM DUNK FORGERY, based on… I dunno, you’ll have to ask her.

That Damning Thunderbird Anomaly – Regarding that Thunderbird that Robertson says is a dead giveaway that a forger did it, because she has not been able to find another example in her small database of source paintings – go figure! – anywhere else… That only a forger would put in something so idiotic and atypical. Hell, that alone, she says, is a dead giveaway the painting’s a fake.

“NOT SO,” thunders back, Dr. Atul K Singla PhD (Forensics) and a man who is a professional handwriting expert, a subject which Robertson only dabbles in – hey it’s a free country – and for which she has NO credentials or expertise for doing even that. Singla, who has testified in court some 500 times, has some words of instruction for the would-be handwriting sleuth from Wascana Creek.

Namely, that no forger would ever do something so idiotic, that would instantly give him away, and send him to jail. If an artist doesn’t do it, not even a stupid forger would.

Dr. Atul K Singla, a full-time, professional forensic expert, who was relied on, believed, and “preferred,” by Judge Martial in Hatfield v Child, said at the time, that NO forger would do what an artist would NOT do. And that includes doing the huge BDP signatures on the back, and embellish it, occasionally with Thunderbirds, or doodles, etc. if the artist had customarily not done it.

“That doesn’t make sense to me your Honour. Because if Norval Morrisseau was not signing the back of the paintings then the forger would not do that. It’s not the psychology of a forger to do something which is not the normal. If Norval Morrisseau was not signing the back of the paintings a forger would not sign the back of paintings because that would be too obvious to be detected.

“The second thing your Honour. There are some extra writings on the back of paintings. From my experience of 29 years, the forger would try to do the minimum. They would not add extra things in the forgery… I would not add extra writings in the forgery to make it more detectable.” (Transcript, p 111, Hatfield v Child, Dr. Atul K Singla, Jun 4, 2012)

To sum up, Dr. Singla, powerfully states: No forger would add anomalies – for example like a Thunderbird – to a painting that an artist would NOT do. Because that would flag his art instantly as a fake and send him to jail.

That, in fact, only an artist himself would dare add anomalies to his own paintings.

By 2018, they have forensically authenticated over 150 Morrisseau BDPs…

This much we know: “Spirit Energy” was purchased personally, by Joe McLeod at Randy Potter Auctions, with his own money, because to him it must have looked “special.” Gallery owners like Joe usually can’t afford to buy their paintings – it’s way too expensive to stock a gallery that way – so they mostly display, and sell, paintings on consignment from other owners. But clearly Joe thought “Spirit Energy” was special enough that he shelled out personal bucks for it on Feb. 14, 2004.

A year later he sold it to Kevin Hearn telling him it was his daughter’s favourite.

On Dec. 4, 2017 I was disappointed to watch and hear Hearn openly sneer in court that Joe had told him that, as an insincere, likely story, just to get him to buy the painting.

Sorry, but I believe Joe, NOT Hearn, because it was one of the few times Joe put up his own money to buy a painting for his gallery, because it was also special to him personally. And probably his daughter.

DNA works like that, you know…

Like Mom; Like Son – I recall taking my Mom to an art show when she was in her late eighties. There were some sixty paintings in the gallery. She looked at them all and I asked her to pick the one she liked the best. You won’t believe this but, completely uncoached, she picked the one I had bought earlier in the day. (below)

Art Cunanan – A Winter Evening 1988 (Art Cunanan)

So, sneer all you like, but DNA works like that, Kevin….

Like Father; Like Daughter – I photographed the huge painting in Joe’s small living room. It’s to my mind a virtual clone, but a lot bigger than “Spirit Energy.” Clearly, whoever liked that would also love this one. Like Joe; like his daughter.

Go ahead Carmen, tell me that a forger, any forger, even with single digit IQ, would paint such a monster size painting, invest in canvas and paint, and expect to sell it, from a no-name artist to anyone for anything?

That it exists, and hung in the home of the man who, for decades, was considered the senior and most respected Morrisseau expert, must stand for something… I believe it speaks for Joe, and his daughter, against the sneering disdain of art collecting neophyte and ivory tickler Kevin Hearn.

But, alas, I had no name and no date, to tie it to “Spirit Energy.” But I suspected, based on its similar palette, and visual vocabulary, it too was probably dated to around 1974.

Research found the name, “Unity of Inorganics,” a wildly idiosyncratic name, for Joe’s painting, below.

“My daughter’s favourite” a virtual clone, but considerably expanded, of Hearn’s “Spirit Energy of Mother Earth, 1974” and Joe, the target of an ungenerous sneer on the stand, by Kevin Hearn. I believe this painting is a slap at Hearn instead. I believe this huge painting that dominated Joe’s tiny room – and was seen almost every day by Joe’s daughter, was the last painting Joe probably saw before he died. And it is no accident that more than any other painting I have ever seen, it resembles “Spirit Energy” that Joe, probably to the regret of his daughter, sold to Kevin Hearn. Oh well, this one called “Unity of Inorganics,” was as good a replacement for it as you can get… Where is it today? I don’t have a clue, but I would bet – as we speak – that it’s in Joe’s daughter’s living room… In memory of Joe, and Kevin Hearn’s “Spirit Energy of Mother Earth 1974.” (FYI – No I am NOT a friend of the family, do not know any of them and have NEVER had contact with any of them, besides Joe.) Finally, note the Wascana Floaters that Robertson claims – as in “Spirit Energy,” – are a sure sign that a forger, not Norval, painted this work. In fact they prove for the Ages, that Carmen Robertson has no business involving herself in authenticating Morrisseau art, especially from such a tiny unrepresentative sample group of paintings that she references. OUCH!!! All her Morrisseau colleagues have published books that feature many Wascana Floaters in genuine Morrisseau works.

Inorganic Beings 1974 – Norval Morrisseau

Further research of the unique title word, uncovered another painting right called “Inorganic Beings” 121 x 122 cm.

A happy coincidence?

Well, it shares a highly idiosyncratic title word “Inorganics” with Joe’s living room painting.

A highly unusual word you will rarely find anywhere.

But it proves to me that it must have been on the same artist’s mind when he painted both similar subjects.

Do you see a similarity between the sprinkling of large eyes in all three paintings? Similar figures; similar distribution of the elements; similar lines of communication; echoes of the same colour palette?

So a lot of artistic similarities in both the visual vocabulary AND titling.

And here’s the final kicker. “Inorganic Beings” is dated 1974.

Like Hearn’s “Spirit Energy of Mother Earth 1974,” and like I guessed Joe McLeod’s painting to be from as well.

I believe it shows that all three paintings were painted by the same artist, in the same time frame, and from the same fountain of inspiration. And one of them has a forensic report of authenticity, tying it scientifically to Norval Morrisseau.

Too many coincidences are NOT a coincidence.

How much of a stretch is it to conclude that all three were painted by Morrisseau in 1974?

I think it hugely dismisses Hearn’s claims about his painting being a fake by some forger, and Joe McLeod being a crook.

Because if it were true, the forger must have faked the other two similar ones as well. And he’s a hell of a forger, because they are NOT DUPES. There are NO copies of these three works anywhere. This forger had a hell of a talent and a superior fountain of original inspiration.

Just like Norval Morrisseau… hell, it was Norval Morrisseau. I know it; you know it. Even if Hearn and Robertson refuse to “fess up,” in public, what they too, very well know, in private…

It all says a lot about Hearn, and a lot about Carmen Robertson’s credibility as a Morrisseau art authenticator. Make that a failed art authenticator.

Another Expert Weighs In

Norm Brown, one of Canada’s finest artists, showing off his art at a show at Artworld in Toronto, ON.

Oh, and another thing: I happen to know that famed Canadian artist Norm Brown reconditioned a couple of hundred or more Morrisseau BDPs from the gallery which is selling “Inorganic Beings 1974.”

I met Norm in a marsh while he was painting scenics and he told me of his related work as an art restorer and framer etc.

He told me that in the late 1990s he was hired to clean, recondition, and mount on stretchers, some 200 Morrisseaus that had been bought at Randy Potter auctions.

Norm said he did NOT know Norval’s work well enough to say whether Norval painted them or not.

But Norm said he could conclusively say, with firm conviction and without fear of contradiction (followed by my editorial comments) that all 200 acrylics on canvas that he worked on:

– “were NOT new, or painted recently, in the late 1990s”
– so they could NOT have been the product of a forgery operation that KRG said was producing thousands of fakes AFTER 2000

My favourite picture of the “straight arrow” selling Morrisseaus to some 200 collectors and dealers. Out of some 2,000 he sold, not a single one was ever returned for a refund. Not even the man who claimed they were all fakes, Don Robinson, brought his 31 back, or asked for a refund of his $54,000. Ask yourself, why not?

– “all had big Norval Morrisseau BDP signatures and dates on the back”
– it gave a time reference as to the possible age of the painting
– it established a style of signature that stayed uniform for all the paintings

– “all showed hugely varying life histories of use and abuse”
– all were clearly sourced from many different owners over time, as opposed to reflecting some kind of uniformity if supposedly produced by some kind of forgery syndicate
– this was entirely consistent with gathering up Norval’s art from collectors, garages, lofts, attics, and hunting camps, etc., all over small-town Northern Ontario, which is, of course, exactly what David Voss – the source for ALL Potter paintings – said was how he and his father amassed the collection they were selling off
– in fact my own two 1976 BDPs SOMA 1976 and FISH 1976, starkly reflect this reality. One being in “good” condition, probably from one owner; the other showing years of abuse probably at the hands of different careless owners.

– “all were clearly twenty or thirty years old”
– the age and condition were consistent with the dates on the back

– “all were clearly painted by one and the same artist”
– which discredits again, KRG’s Robinson family claim, that a supposed syndicate of transparently incompetent forgers were involved in doing thousands of fakes. Not so, says Norm; ONE artist did ALL the 200 plus Morrisseau BDPs he handled.

– And just in case you missed it, Norm’s hands-on expertise and experience in producing and handling Canadian fine art – all his life – far surpasses the sum total of ALL the Robinsons, ALL the Robertsons, Hearns, and Sommers, and ALL their pompositing NMHS collaborators, COMBINED…

And Norm, of course, is a major Canadian talent, who produces “fine art,” not just blabs about it, at “ivory tower” kaffeeklatsches…

And unlike them, Norm has NO personal stake, or diabolical private agenda in this, and has never been documented as fronting for a fraud…

So, how much of a stretch is it, that all 200 plus Morrisseau BDPs that Norm reconditioned in the 1990s, were genuine Morrisseaus painted by the master, and signed on the back in his unique BDP style?

BDP signatures, of which over 150 have now been forensically authenticated…

And for which Judge Martial ruled, in 2013, that there was “overwhelming evidence” that Norval painted probably thousands of these…

And BDPs from a sole source, longtime Thunder Bay collector, David Voss, who provided Randy Potter auctions with some 2,000 paintings from c 1999-2008, which he sold to some 200 of Canada’s leading Morrisseau art collectors and dealers, AND NOT ONE OF WHOM, ever, returned a single painting claiming it was a fake, and demanding their money back, NOT EVEN CARMEN ROBERTSON’S MENTOR, Donald Robinson who kept ALL 31 Morrisseau BDPs he had paid $54,000 for.

All suited up to do Morrisseau authentications… “Golly, jeepers I guess I missed seeing those, or hearing about them.”

I believe it all just points out more damning corroborative evidence, from a widely varying source of credible independent experts, which completely undermines what Hearn and Robertson have been collaborating in claiming, since 2012, in order to boost his unsubstantiated claims in a specious lawsuit about “Spirit Energy of Mother Earth 1974,” being some kind of “fake” and Joe McLeod being a crook.

Other Morrisseau BDPs – ALL FROM 1974
& ALL FORENSICALLY AUTHENTICATED
– that Carmen Robertson Hadn’t Seen or Heard of…

– 1 – Sacred Spirit Totem 1974
– Forensically Authenticated Aug 24, 2010

– 2 – The Spirits 1974
– Forensically Authenticated Aug 24, 2010

– 3 – The Spirits #2 1974
– Forensically Authenticated Aug 24, 2010

Jesuit Preist 1974

– 4 – Jesuit Preist Brings the Word 1974
– Forensically Authenticated Dec 19, 2011

– 5 – Cycle of Salmon 1974
– Forensically Authenticated Dec 30, 2012

– 6 – Spirit Energy of Mother Earth 1974
– Forensically Authenticated Sep 25, 2017

– 7 – Warriors in Circle of Life 1974
– Forensically Authenticated Sep 25, 2017

Warriors in Circle of Life 1974

Cycle of Salmon 1974

One cannot be harsh and scorching enough for Professor Robertson’s deliberate targeting, without substantiation, of a thoroughly reputable icon in Canadian art history, Joe McLeod, as a crook, and accusing him of knowingly and deliberately selling fakes. – On Mar. 25, 2013 Deputy Judge Paul J Martial took note, and paid tribute to Joe McLeod’s honesty, and professionalism, saying “The testimony of Mr. Joseph McLeod is indicative of his care and the detailed efforts to confirm provenance, including the hiring of a forensic expert to examine the signature on the back of the painting indicate that he took his role to provide appraisals seriously. His testimony of the origin of the Cree syllabic signature, the name Copper Thunderbird and his interpretation of the painting “Wheel of Life, demonstrates his depth of knowledge of the painter due to his lengthy association with the artist.” (Martial Judgment, p34  Mar. 25, 2013.) I note with interest that Judge Martial, saw and listened to Joe McLeod talk, face to face, at length of his experience with Morrisseau art, and was impressed. It is something the negligent researcher from Wascana Creek, grossly and deliberately failed to do. Robertson just, out the gate, sneered off McLeod, never sought him out, never called him, never brought up any of her so-called concerns with his “provenance” documents. The “Gotcha” professor just slanged a decent man selling genuine, forensically authenticated art, as a crook, and his art as fake. What is her game? What is her aim? 

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Five Years of Achievements by the Blog – Jan 2013-Jan 2018

Canadian historian, museum curator, investigative journalist, cinematographer and film and television editor, John Goldi csc.    AKA the Blogger      AKA the Random Dude 

“He’s just some random dude on the internet.” – lawyer Jonathan Sommer describing John Goldi csc, before Justice EM Morgan, Dec. 1, 2017

There have been many landmark achievements for this Blog in the last five years.

It has been entirely and only, written and credited to John Goldi csc.

The aim: end the Great Irreparable Harm that malicious art fraudsters, AND their gullible and witless accomplices in the Mainstream Media, have been doing to the Art and Artists of Canada’s Indigenous people, since the greatest art fraud in Canadian history was started by Toronto’s Kinsman Robinson Galleries in 2001

For some highlights Click KUDOS in the header menu.

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Boxing Day Blowout Sale – of Morrisseau-related PDF’s to Die For…

“And a Christmas/Hanukkah Cheer from a Lawyer with Heart”

Brian Shiller, the Defendant’s Counsel, and champion of “Wheel of Life 1979,” as a genuine BDP work by Norval Morrisseau, won his case hands down in every detail, delivering a total knock-out blow to Jonathan Sommer and his witnesses, Margaret Hatfield, Donald Robinson, and their business associate, Ritchie Sinclair, in BOTH the trial AND the Appeal. Just in time for Christmas in 2013.

Read the actual devastating heartfelt Defence written by Brian Shiller (Feb. 2013) on behalf of the ailing, 85 year-old Joe McLeod.   (BELOW) 

Joe McLeod, who was, for decades, considered Canada’s senior and most reputable Morrisseau expert, died in May 2017, with an unresolved and I consider a specious lawsuit hanging over his head.

In fact, Joe McLeod, when first attacked by fraudsters, was the VERY FIRST Morrisseau dealer or collector, to – without hesitation – immediately turn his paintings over to an independent forensic expert – Brian Lindblom – on Jan 24, 2002, winning forensic authentication of the BDP signatures on the backs, from him for seven paintings he had sent for examination.

A Damning & Telling Omission – I note that:

– neither Kevin Hearn did that, in the 13 years he had what he eventually claimed was a “fake” one “Spirit Energy of Mother Earth 1974” – entirely based only on a Ritchie Sinclair orchestrated “take-down” on Jun 22, 2010 at the Art Gallery of Ontario;

– neither did his lawyer Jonathan Sommer – in the six years he was paid to work on the case;

– neither did their “expert” Carmen Robertson – in the five years since she was hired to target Joe McLeod and diss Hearn’s “Spirit Energy” painting, which he bought from Joe’s Maslak McLeod Gallery in 2005.

For over 13 years the NMHS has kept the damning BDP secrets of the notorious Wanker 16 hidden from public view and the scrutiny of Canadian forensic scientists. Why? To keep the world from discovering it has been discrediting, devaluing, and destroying, genuine Morrisseau BDPs.

Ignoring the Blood, the DNA, the Fingerprints on the Murder Weapon – Why did this trio repeatedly NOT choose to do the obvious thing – the right thing – which Joe, and many other honest and reputable art collectors and dealers, openly did in 2002 and after, and refer the signatures to independent professionals, like Dr. Atul K Singla or Kenneth J Davies? Both have a bank of “known” original Morrisseau signatures in pen, pencil, and paint on documents, prints, and paintings to compare.

Hiding Their Wankers – And why the constant deception, and dishonest non-disclosure regarding the NMHS’ own paintings they called “fakes.” A poster child of this gross and continuing malfeasance involved – Oh, No! Not him, again? – NMHS lawyer Richard Baker, the official guardian of the Wanker 16, given to its operatives for training purposes by Toronto’s Robinson family, so they would know exactly which paintings Kinsman Robinson Galleries (KRG) wanted them to target as Morrisseau “fakes” slated for “destruction.”

When he testified, on Dec. 6, 2017, Baker inexplicably refused to bring even a single of the Wanker 16s to court, about which I acidly – but with a knowing smile – reminded him, after he left the stand, and just before Jonathan Sommer shouted me down. But, I had registered my point… And Baker knew it. His face had turned to stone…

He and his NMHS collaborators had failed the acid test. For thirteen long years they had refused to show the public, and investigators like myself, photos of any kind showing the fronts and the BDP backs of the Wanker 16. And when he failed to produce even one for the court, he proved without a shadow of a doubt, what conniving fraudsters he and his colleagues on the NMHS were, and how through their Cultural Genocidal activities, were doing GREAT IRREPARABLE HARM TO THE ART AND ARTISTS OF CANADA’S INDIGENOUS PEOPLE.

Joe McLeod had sent his BDP paintings for forensic authentication…
James White had sent his BDP paintings for forensic authentication…
Joe Otavnik had sent his BDP paintings for forensic authentication…
Michael Moniz had sent his BDP paintings for forensic authentication…
Ugo Matulic had sent his BDP paintings for forensic authentication…
Artworld had sent its BDP painting for forensic authentication…
Bearclaw’s BDP painting had been sent for forensic authentication…
Woodland Art’s BDP paintings had been sent for forensic authentication…
Sunami’s BDP painting had been sent for forensic authentication…
Potter’s BDP paintings had been sent for forensic authentication…
John Goldi’s BDP paintings had been sent for forensic authentication…

I have been reliably informed that this list tops over 150 authentications.

Done, after their paintings were called fakes by the KRG/NMHS fraudsters.

Which alone is a vicious and malicious destruction of well over $100,000 of costs involved in order to prove the obvious. 

Here is a point by point analysis of how to compare your Morrisseau signature with this one, my own painting “Shaman Envelopes SOMA 1976,” ruled as beyond DNA certainty, of 100% authentic, by a forensic handwriting expert, who found NO anomalies whatsoever. NOTE: Courts do NOT require this 100% degree of certainty – only a “highly probable” degree of certainty – before they declare it “proven,” and send a man to the gallows. SOMA in fact was proven authentic by TWO different forensic scientists. Probably the only painting of any Canadian artist ever so vetted.  NOW do you see why the KRG NMHS fraudsters have never sent any of the paintings they claim are “fakes,” – and painted and signed by forgers – for forensic authentication? Because they would ALL come back as authentic Morrisseaus. And the jig would be up. Next stop – jail… And NO conjugal visits…

And ALL had come back, from various independent forensic experts as authentic Morrisseaus. FORENSIC REPORTS ARE PUBLISHED HERE
and in my PDF BIN.

Three independent forensic scientists who have scientifically examined scores of Morrisseau paintings and found them ALL to be authentically signed by Norval, with DNA certainty, and beyond… By 2018 the number of their forensic authentications of Morrisseau BDPs tops 150…

It is an acid test for their art and their claims, that no KRG NMHS operative – not Baker, not Hill, not Phillips, not Robertson, and not Pop, Pup, or Pard Robinson, nor lawyer Sommer – ever dared to do, for obvious reasons, EVER, in the 18 years most members of this group have perpetuated the greatest art fraud in Canadian history.

Just continuing to aggressively refuse to have the BDP signatures on the backs of their so-called “fake” paintings forensically tested.

You know, exactly like all those perps on the crime shows do: refuse to take the breathalyzer; refuse to Walk the Straight Line; refuse to take the lie detector test; refuse to have their hands tested for gunpowder residue; refuse to have the murder weapon tested for Blood, DNA, or Fingerprints. 

SO, for years I collected forensic data “on their own stuff,” and bided my time. Like the cop who for months, shadowed the perp, till he caught him carelessly throwing away a cigarette butt, with DNA, and sealed his fate.

And, in the fall of 2017, I too, had finally done it, and did for them, what they refused to do for themselves… Send the evidence to the scientists…

Three genuine Morrisseau BDPs deliberately, viciously and maliciously exhibited as FAKES in a 2014 Ottawa SAW Gallery “F IS FOR FAKE” exhibit – vetted and approved for inclusion by the National Gallery of Canada’s curator Greg Hill***, and since 2005 a charter member, hand-picked by Toronto’s Robinson family, of their NMHS branch plant operation. Which their KRG gallery use to enforce and police the greatest art fraud in Canadian history. ***SAW Gallery Director Jason St-Laurent told me this personally.

In September 2017, I got forensic authentication for multiple key paintings that were the most intimately tied to this dastardly group, and which they called “fakes”:

– Kevin Hearn’s “Spirit Energy of Mother Earth 1974”
– Bryant Ross’ “Water Spirits 1979” – vetted as fake by NGC Greg Hill
– Bryant Ross’ “Upper & Lower Worlds 1978” – vet’d as fake by NGC Greg Hill
– Donald Robinson’s Wanker #1 – “Warriors in Circle of Life 1974”

Leaving you – and all Canadians to ask: Well who’s the Fake?

Has any group of self-styled art experts, anywhere in this world or the next, ever been more disgraced as utter fraudsters, by genuine independent forensic experts, than this cabal of silks, satins, suits, and snoots? 

In Sep. 2009, Donald Robinson wrote a huge report trying to prove “Jesuit Preist 1974” was a fake (when Joe Otavnik sued Sinclair for trade libel for calling his art “fake.”) Judge Godfrey didn’t buy the report and urged Otavnik to get a forensic finding for the signature. He did, and a year later a top Canadian handwriting expert said it was an authentic Morrisseau signature, with DNA certainty. But Carmen Robertson, who admitted on the stand that she was bad at math, said she had found no authentic BDP from 1974, and OOOPS… missed this one… I’ve now found TWO for her.

Transparency is Always One-Sided – Unlike this conniving cabal, Joe Otavnik (in Otavnik v Sinclair) had, without the slightest hesitation, openly delivered the BDP “Jesuit Preist 1974,” on June 29, 2009, directly to Richard Baker’s Toronto office, where Baker, Don Robinson, Ritchie Sinclair, and John MacGregor Newman, all plotted to call it a “fake.”

Don Robinson then wrote his totally fraudulent “expert” report, full of Morellian idiocies, calling the painting “fake.” A forensic expert, a year later, ruled “Jesuit Preist 1974” authentic, with DNA certainty. So much for this cabal’s claim to having any credibility as Morrisseau experts, or as far as honesty is concerned.

More 1974 Deceptions – I note with interest that Robertson is now doubly-wrong about NEVER having seen authenticated Morrisseau BDPs from 1973-75. Her self-imposed blindness deliberately ignored the fact that TWO paintings with BDPs from 1974 were forensically authenticated: Otavnik’s “Jesuit Preist 1974” and Donald Robinson’s Wanker #1 “Warriors in Circle of Life 1974.”

And NO, neither owner was involved in paying for, or having the authentication done. I was only a facilitator in one; but a public benefactor paid for both forensic examinations, one in 2011, one in 2017.

One of the most damning Carmen Robertson fabrications is her tiny restrictive window of paintings in her database to within 1973-1975. This is a preposterous and idiotic conceit and construct of the most ridiculously contrived kind it’s possible to conceive of. So, what is her game? What is her aim?

From Farce to Folly and Far Beyond – First of all, 99% of Norval’s art – say 15,000 works – is entirely in the private hands of collectors, whom Robertson completely excluded from her 1973-1975 database. So deliberately rejecting many hundreds, possibly thousands of paintings from a three year period of when Norval was at his most prolific period.

While sneering federal government curators racially excluded Indigenous art and artists from the premier art gallery of the nation, Robert and Signe McMichael encouraged Norval and bought his art.

Norval, in fact made his living NOT by selling a few paintings to a few snooty and aloof public galleries*** – undermining them, big time, as a totally farcical source for any kind of representative sample base for anyone seriously trying to deduce anything remotely relevant about his lifetime body of work.

***Let’s note the sterling exception of Robert and Signe McMichael, who, decades before the federal government cultural czars, recognized Norval’s genius. They encouraged him to switch to acrylic on canvas. And they bought his glorious art for the McMichael, when for decades to come his art was racially excluded by the National Gallery of Canada and its curators, who were determined to keep Indigenous art and artists from contaminating the real art by white artists in the premier art gallery of the nation.

Norval sold 99.999% of his art by the “each,” door-to-door, like the Fuller brush man, in parking lots, malls, or on the streets, in countless small towns across northern Ontario, for decades, for $10, $30, or $50, or in exchange for food, services, or lodging. That’s where you find his art, in homes, fishing and hunting camps, tourist lodges, stores, garages, attics, and under beds.

And guess – go ahead – how much paperwork regarding these sales or transactions, was ever exchanged or written down, anywhere, by anyone, in these thousands of Cash Economy deals? Guess what kind of “provenance” trail there is for these thousands and thousands of street sales…?

All fitted out to do research on Norval Morrisseau and his art. The self-declared expert from Wascana Creek.

Yeah I know Carmen Robertson claims each sale was all meticulously noted and logged in, with paperwork, because if it is not, she says, you have a fake Morrisseau. Exposing her as totally ignorant about something else: NOT EVEN AN IDIOT WITH SINGLE DIGIT IQ WOULD, IN ANY WAY, DOCUMENT A CASH DEAL SALE – THE STANDARD NORVAL SALE, INVOLVING THOUSANDS OF PAINTINGS OVER DECADES – which would just stupidly leave a trail that they were cheating the Canada Revenue Agency out of thousands in taxes NOT PAID.

Not even Jay Leno’s “stupid criminals” would do that. But apparently it washes in Wascana Creek.

Robertson is, of course, just dutifully repeating the utter bumpf fed her by Donald Robinson, who professes to believe the same nonsensical crap. But what can you expect from a researcher who says she began studying Norval seriously in 2001, and yet – follow me on this please – never bothered to interview him while he still lived, for seven more years… And now she claims to be the Morrisseau expert…

Yes the Canadian fine art world is full of this kind of surrealistic nonsense.

She’s notorious, these days, because she apparently believes she’s a much better expert by NOT contaminating her beliefs with those of her non-consulted sources. Her preferred pattern of academic research seems to be – It’s much better if they just let me speak for them, and not distract me with unhelpful stuff I don’t want to hear. Remember, she also did NOT interview or contact other key people who could have straightened out her misguided and farcical research approach, methodology, and conclusions: Joe McLeod, Randy Potter, David Voss, James White, Joe Otavnik, Ugo Matulic, John Goldi.

She knew exactly what she was supposed to say about them all. To try to get their “side,” was just a useless distraction for her style of academic research.

Sure the “Expert” was Participating in a Sommer Plot – And, in the same way, Robertson also deliberately sneered off the Judge Martial Judgment, and the Justice Sanderson Judgment, which BOTH hugely discredited everything that Sommer had tried to allege in the only other such Morrisseau “fakes” trial in Canadian history. None of their landmark findings found their way into her report, to contaminate the story Sommer wanted to tell the judge. In fact it’s clear it was a deliberate attempt by her, and her handlers – in line with the secrecy of the report itself – to try to blindside a judge who probably wouldn’t have a clue about Morrisseau art to begin with, by NOT priming him with these previous and hugely negative landmark rulings.

Had Robertson only talked to Norval, instead of puff herself up, he could have set her straight about all her emphasis on fabricated provenance paperwork.

“White man’s paper’s no fucking good.” (Pollock, Dear M, p39)

Second, Robertson ridiculously restricts her database to only a few elite public galleries with atypical holdings. In fact six of the 18 galleries she counted on to give her data, refused to send her anything. So factoring that in, her already tiny and unrepresentative database source, is out the gate, hit with a further deficit of another 33% loss of reliability. But Robertson admitted on the stand – with her girlish giggle – that she’s poor at math. For a start, professor.

Third, public galleries like the National Gallery of Canada had a well-known racist exclusion of the art and artists of Canada’s Indigenous people till c 2000-2006. So they would NOT have been a good source, at the best of times, of Norval’s art from 1973-75. Robertson does not mention, or factor in, this long term racist exclusion, that would have hugely undermined them as a good source for anything credible to do with Norval’s art. She could NOT have been unaware of this; more likely she was trying to help cover up the racist policies of her public gallery colleagues in the very, very recent past. NOT in Sir John A Macdonald’s time; not in the residential schools period; but their aggressive racism against the art and artists of Canada’s Indigenous people, in the 1980s, and 1990s.

A racist denigration of Norval’s art that has now started all over again – since 2001 – targeting and doing Great Irreparable Harm to the art and artists of Canada’s Indigenous people, thanks to the self-aggrandizing campaign launched by the Kinsman Robinson Galleries’ Robinson family manipulating their “insider” NMHS branch plant operation to target Morrisseau art in the hands of their business competitors in order to enhance the value of art its own members own. 

Fourth, Robertson is dishonest and/or deceptive in testimony. She made a big to do on the stand about how the Canadian Museum of History laid out on big tables ALL its huge Morrisseau collection for her to examine to her heart’s content. Trying to make herself look like a big shot doing key research.

The Professor Stacks the Deck – What she hugely failed to tell the court – no she deliberately misled – is that most of that collection of 133 works, is NOT AT ALL acrylics on canvas, which she is supposed to be studying for relevance, but as she says in her own report, OOOPS… “the majority of works are drawings on paper.” (Robertson, report p. 17.) And so utterly and totally irrelevant, and of no help whatsoever, for her to judge “Spirit Energy” by.

It is as ludicrous as pompositing about originals by studying lowlife dupes or copies. But we know this too, is a favorite Robertson research technique. It’s akin to doing a study of luxury mansions, by studying tenement housing. Or studying the Uffizi Gallery masterpieces by researching them at the IKEA poster department.

So, did the museum have five or ten or 15 acrylics on canvas for her to study? And guess how many from 1973-1975? Her own window of research. And how many were BDPs? For some reason she does NOT say. Can you guess why?

Fifth, Robertson is dishonestly manipulative also, in closing the gate at 1975. Why would she do that? No one would restrict a study of Robert Bateman’s art to 1967-1969. NOBODY. Or Picasso’s to 1921-1923… This ridiculous restriction makes NO sense to analyze any artist by. So what is her game? What is her aim?

All artists’ works change widely and wildly during their careers, as they reach out to find their comfort zone. Norval was more unfettered than most, not only in his personal behaviour, but in what he painted, on what he painted, and how, and especially how he signed, and when, and when he did not and why.

Norval’s output, ALL VARIED MORE WILDLY, AND FAR MORE SO, THAN FOR ANY OTHER ARTIST I’VE EVER HEARD OF. From painting on glass bottles, crappy pieces of wood, chunks of stone, slabs of bark, stretched skins, pizza boxes, paddles, spoons, baskets, on paper, cardboard, masonite, wallboard, canvas, movie screens, you name it, Norval was there ahead of you.

And more so, than any other Canadian artist I know, Norval painted huge canvases. Many huge canvases.

Michelangelo of the North – “The World Is,” a Classic Morrisseau on a giant 10 x 12.5 foot movie screen. Get an idea of the size by comparing with the tiny signature on the right. Sure it reminded me of Michelangelo’s work, which I saw on the Sistine Chapel ceiling. Both giants in world art history. And totally unrivaled in their own spheres of artistic expression. Go ahead and tell me it’s a fake, and that some forger with a single digit IQ painted it. And Wow! Look at all those Wascana Floaters that the prairie professor says are certain signs that only a forger painted this work, and that Norval had nothing to do with it… What are they smoking out on the banks of Wascana Creek? I thought the locoweed had been paved over long ago.

Canada’s Only People’s Artist – And all of it – more so than the work of any other Canadian artist – Norval’s original works are scattered in thousands of private homes from coast to coast, and around the world. Like NO OTHER ARTIST BEFORE OR SINCE, Norval made original fine art affordable and accessible to working and middle class people. And Norval gave value for money, not like Robert Bateman, with those worthless crappy repro calendar art knock-ofs, of his that so many people have framed in their rec and living rooms.

So what’s this about restricting an analysis of Norval’s art to three years’ worth of stuff that happens to lie in storage in some crappy vestigial collections in a few public galleries?

Look for an ulterior motive. Look for another private agenda. Look for something contrived, and manipulative… Look for something sneaky, and underhanded. Don’t look for anything to do with scholarship, or academic rectitude, or trying to understand or evaluate Norval or his art…

Donald Robinson was the ravenous under bidder on this “wonderful Morrisseau” as he called it in 2000. A typical BDP “FISH 1976”

Because absolutely, hundreds, maybe thousands of Norval’s canvas BDPs were painted in 1976, that is, within days, weeks, or months of Robertson’s arbitrary 1975 cut-off date? Does this contrived and arbitrary Robertson modus operandi make sense to anyone, even to those with single digit IQs?

Here’s my take. There are a lot of acrylics on canvas painted in 1976. They are all BDPS. Many have been forensically authenticated. Robertson doesn’t want that to contaminate her story line. Remember her aim is that “Spirit Energy 1974” is a unique BDP, has no relatives, in that tiny window of study, and therefore a fake.

Sixth, she’s also trying to protect her mentor Donald Robinson. I happen to have TWO BDPs from 1976, both forensically authenticated. One of them at 100% and one of them by TWO forensic experts. She doesn’t want those, on that basis alone, to contaminate her sample group.

ULTRA RARE – A typical Norval BDP (Black Dry-brush Painting) dated 1976, from his 1970s high point, signed, titled, and dated by his hand, in the black dry brush style. And all called fakes by the Donald Robinson KRG/NMHS cabal. In spite of the fact that some 150 have been authenticated by top forensic experts. And this one, is the first Norval Morrisseau painting ever to be given a “beyond DNA certainty” authenticity rating of 100%, as being painted by Norval. So, who’s the fake…?

Donald Robinson – the self-styled Principal Morrisseau Dealer, the man who told me in 2000, that “he wrote the book on Morrisseau,” and was the under bidder on both these Morrisseau BDPs. They both have huge 1976 dated signatures on the back. Authenticated BDP signatures.

And for some reason are just arbitrarily cut off outside the bounds of Robertson’s inexplicably tiny window of study. To my mind they hugely validate the BDP signature type found on the back of “Spirit Energy,” not discredit it.

But it is NOT something Robinson wants to hear, and is determined to stamp it out with her “out the gate” exclusionary instead of inclusionary style of academic research. Which is to begin with a malfeasant approach by anyone beginning a research project on any topic.

And NO, its NOT arbitrary at all – she brought the gate down, deliberately in 1975, to exclude them and the damning indictment they pose to her study, and to save Donald Robinson’s reputation – what’s left of it.

She didn’t want her fabricated story – that in 1974 or 1975 there are NO authentic BDPs – challenged by someone who says
“Hey, wait a minute, professor. Don Robinson was the aggressive under bidder on two BDPs exactly like your questioned sample and dated 1976. Why exclude them from consideration when they were vetted as authentic by the best Morrisseau expert and were painted – by anyone’s standard of common sense – virtually at the same  time as your questioned sample, only weeks or months apart?”

I note this same cabal of plotters – certainly Sommer and Hearn – refused again – it was reported to me – to deliver, or provide access, to the painting called “fake,” by Robertson, “Spirit Energy,” to the Defence expert Paul Bremner CPPA AIA, for examination when asked in October and November 2017.

What are they trying so desperately to hide?

Morrisseau BDP Wanker #1 front and back exactly as I saw them both as I examined the painting and the signature closely in Robbie’s home in 2015. This is now the second forensically authenticated BDP on canvas from 1974 deliberately ignored by Robertson, to back up her claim that there are NONE, so making “Spirit Energy 1974” an orphaned “fake,” in her opinion. Both this BDP and Jesuit Preist have been hugely publicized as authenticated Morrisseaus for years. Robertson just blames (on the stand) her dysfunctional math skills, her dyslexia, or whatever… Maybe then she shouldn’t pose as an “expert,” and set out to attack a decent guy and his art, with fraudulent allegations. I might add she has NOT seen either painting in hand. I have examined and photographed BOTH in hand.

Why this constant sneaky deceptiveness, by Sommer, Hearn, Baker, the Robinsons and KRG, the NMHS (Phillips, Hill, Robertson, Baker, etc.) with hiding the BDP backs of their so-called “fake” paintings?

The answer is obvious, even to anyone with a single digit IQ.

By 2017 there have now been some 150 such independent forensic authentications of Norval’s BDP signatures on his paintings, including one for the very painting McLeod was being denigrated and sued over “Spirit Energy of Mother Earth 1974…”

“Spirit Energy of Mother Earth 1974” – A typical 1970s BDP which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in this way. And, proving what a far-sighted and wise judge he was, a forensic scientist in Sep. 2017, gave “Spirit Energy” the highest authenticity rating he could give it.

And NO, Joe never paid for it, because he couldn’t afford to do it, even to clear his name… before he died…

So I arranged for it to be done, and paid for, by a public benefactor.

And NO, neither Joe nor Shiller were “friends” of mine. And NO, I never told Joe or his lawyer, I was doing it. Joe died without ever knowing; Shiller learned about it on Oct. 2, 2017, when I announced it in court.

If you have read Joe’s “Defence” – written and filed in 2013  by lawyer Brian Shiller – you will be one of the very few who ever have…

And you will have discovered that one who clearly has NOT read it, is Carmen Robertson, or she could NEVER have written all that totally irrelevant and utter silliness about “provenance” related to “Robert Voss,” “Rolf Schnieder” (sic), “Dr. Irving Jacobs,” or “David Voss,” as the opening diatribe in her “expert” report denouncing Kevin Hearn’s “Spirit Energy of Mother Earth 1974.” 

Shame on your self-declared claims to be a Morrisseau expert on painting authenticity.

Ask yourself, why Robertson would deliberately refuse to contact the one person – “David Voss” – who was clearly documented, in the Defence to the lawsuit filed in 2012, as being the consigning source for the painting she claimed was a “fake.”

So I did what Robertson conspiratorially did not. On the phone, Voss openly admitted to me, in Nov. 2017, that HIS records show he owned “Spirit Energy” and had auctioned it through Randy Potter, on Feb. 14, 2004. No hiding; no sneakiness; no fakery. Just utter transparency, and openness.

The McLeod/Shiller Defence clearly states that the painting was sold at Kahn Auction, run by Randy Potter. BUT ROBERTSON REFUSED TO CONTACT EITHER RANDY POTTER OR DAVID VOSS… Why not?

NO DEFENCE AGAINST LIBEL & SLANDER – By her willful refusal to contact the key people – Potter, Voss, and McLeod – before she started to slang their art as fake, their businesses as fraudulent, and McLeod as a crook – Robertson was in Gross Violation of the protocols of the Defence of Responsible Communication, as demanded by the Supreme Court of Canada, that any writer who publishes, must follow in order to plead the Defence.

Robertson has NO DEFENCE for Libeling these men, and Slandering “Spirit Energy.”

Obviously, theirs was clearly NOT the story Robertson wanted to tell, or was directed to tell… by the fraudsters she had surrounded herself with. What was her aim? What was her game?

Why did she prefer to sneer away all that – which was clearly detailed in the McLeod Defence – and just use her own fabricated “provenance” argument as her defining and primary evidence uttered as the opening bombast in her trial testimony, and the header proof in her closing bluster, at the end of her time on the stand.

Joe McLeod (1928-2017) formerly a Seneca College Dean, became by far, the most senior and trusted Morrisseau expert on the planet, having a personal relationship to the artist, his work, and his family, that went back to 1959, links which he maintained to his dying day.

And go on to claim, on that basis, that in her “professional” opinion, Joe McLeod was a deliberate fraudster and conniving crook, and that he knowingly sold the painting “Spirit Energy,” to Kevin Hearn as a lowlife “fake,” which she claims was BOTH, painted by a forger, and BDP signed by a forger.

And was absolutely NOT – in her opinion, as a self-styled Morrisseau “expert” – painted or signed by Norval Morrisseau, a man she never interviewed, but for whom she has decided to become the mouthpiece.

Joe’s Annus Horribilis 2010 – Ask yourself, why would any reputable academic sneer off reading the Defence of June 2013, a carefully prepared legal document for a trial, and, deliberately ignore ALL the explanations made by a Defendant and his Lawyer in response to a lawsuit; and instead go back a few years, to look for dirt, to a time when NO lawsuit was involved, but an ailing Joe McLeod was under enormous physical and mental attack by fraudsters.

(In fact in Dec. 2010, Ritchie Sinclair was charged by Toronto Police, with multiple acts of Criminal Harassment of the 82 year-old Joe McLeod over the past few months, at his car, his office, and his home.)

Kevin Hearn had also, with malice aforethought, withheld from McLeod – for six days – that “Spirit Energy” had been dismounted as a “fake” at the Art Gallery of Ontario. And then had compounded the malfeasance by lying to Joe, implying to him that the AGO had dismounted “Spirit Energy” as a “fake,” when Hearn very well knew that was a lie, that, in fact, Joe’s arch Nemesis, Ritchie Sinclair, had dismounted it, and that Kevin had a private bragging email from Sinclair that proved it. That Sinclair, acting on his own, had an AGO rental shop staffer remove it from display.

And then it gets worse… for Kevin Hearn…

Some major art works by First Nations artist, and former Art Gallery of Ontario Curator, Gerald McMaster, that he recently exhibited at an Indigenous art exhibit at the McMaster University Art Gallery. Now do you know why McMaster felt totally out of his element – read outside his area of expertise or competence – in judging whether a Morrisseau painting that was dismounted on his AGO watch, in 2010, as a fake, by Ritchie Sinclair and his fraudster cabal, was real or not? Caught completely off guard, by aggressive fraudsters, while he was busy elsewhere, McMaster had participated in the worst incident of cultural genocide in the Art Gallery of Ontario’s history.

“Tears of My Grandmother 1976” – I believe this huge canvas is the finest Morrisseau painting I have ever seen – anywhere. Compare this Morrisseau with the two works by McMaster above. How much knowledge transfer does McMaster bring from his artistic background of painting a cowboy and a white politician, to Norval’s style of art, totally invented by an internationally acclaimed art genius? Now you can appreciate why McMaster himself concluded “well, not much,” and why he asked Kevin Hearn if he could borrow his painting “Spirit Energy” for some months of study, and consult with another expert first. Only then could he make a ruling. AND HE NEVER DID… Alas, by McMaster NOT stepping up to the plate, immediately, when Sinclair involved the AGO in a fiasco, the genuine painting had already been dismounted, discredited, denigrated, and devalued WITHOUT CAUSE… And that will be part of his AGO legacy and art bio FOR THE AGES.

The Damning Gerald McMaster Confessions – Hearn knew something else too, which his own emails also confirm. That Gerald McMaster, the AGO’s Curator of Canadian Art, admitted to him he DID NOT know if “Spirit Energy,” was a fake; that he DID NOT have the expertise to know if it was fake; that he needed more months with the painting BEFORE he could make a judgment; furthermore, that he needed to CONSULT WITH SOMEONE ELSE FIRST, BEFORE he could decide.

In short, McMaster confessed to Hearn, that it would take a lot more time and effort and consulting with real experts, to determine if the guy that had been shot to death was actually guilty…

I believe Joe died without ever knowing that Hearn was lying to him, and sneering at him behind his back, with minor level AGO staff – it’s all in the emails – and that the agent for Joe’s Annus Horribilis of 2010, and his declining years, was NOT, either AGO Director Matthew Teitelbaum or Curator Gerald McMaster, as Hearn was trying to imply to him, but was actually Ritchie Sinclair, whom Joe had refused to accept as a gallery artist several years before. Joe called Sinclair’s wannabe “Indian art” – by a white Indian imposter/impersonator – “ersatz.” Nowadays, it’s called cultural appropriation.

IN FACT – What you can consider Joe’s last will and testimony, regarding the fraudster attack that had blighted his last years, can be found in Brian Shiller’s pre-trial documents of November 2015.

Both Brian Shiller and Joe, were still, at this late date, under the false illusion, that the Art Gallery of Ontario curators had removed “Spirit Energy,” from the AGO exhibit in 2010, because of complaints from some random gallery visitors. TOTALLY FALSE OF COURSE. BUT HOW WERE THEY TO KNOW OTHERWISE? All they had to go on was Joe’s recollection of what Kevin Hearn had told him…

And that, of course, turned out NOT to be true.

In fact from 2010 to 2017, the Art Gallery of Ontario’s role in this AGO art scandal has been one of totally bunkering down, with no comment. Clearly AGO principals have been notified by lawyers, that they had better shut up, or face the real possibility they will be sued for malicious slander of property, and/or curatorial negligence, etc., and the whole sordid mess will become even more public, and destroy their patron base of volunteers and donors.

The Hearn Emails Prove it All – Hearn had been highly evasive, as well as lying about the “Spirit Energy” dismount to Joe in 2010; Hearn has lied about it ever since. And he could get away with the deception, because the AGO curators, who had been embarrassingly caught off guard by the fraudsters behind Kevin Hearn, refused to come clean, in 2010, even though Joe, with registered letters, vainly demanded they do so.

A position of total non-involvement and non-disclosure, which the AGO has maintained ever since.

Joe died before he knew the truth; Shiller would only discover it later, when I published the June 22, 2010 email, which I found in the Hearn/Sommer evidence box, that indicates clearly that:

– the AGO curators had NOTHING to do with dismounting Hearn’s “Spirit Energy”

– that Ritchie Sinclair had told Hearn he had done it, unilaterally, and that he would tell Kevin all about it later.

Sinclair had clearly done it to get even with Joe, a man he has targeted physically and mentally, in any way he could, since Joe had turned him down as a gallery artist and was active in getting Sinclair’s Faux-nishinaabe art dumped from the next door Scollard Gallery in Sep. 2008.

On Dec. 5, 2017, I heard Hearn give testimony that repeatedly tried to fool the judge by claiming that AGO curators had removed his art, claiming it was fake, but offered no proof beyond hearsay, from either AGO executives Teitelbaum or McMaster.

Hearn, in retelling his story, kept constantly mixing up what he knew, from whom he knew it, and when he knew it. He constantly garbled up the chronology of the story he wanted to tell.

It did NOT reflect the documentary record of his own dated emails that were in his own evidence box. (But then I’m probably the only non-litigant to have read them.)

And Hearn took great pains to try to distance himself from the chummy, June 22, 2010 email from Sinclair – which clearly said who was responsible – with Hearn even going so far as to say he did not even know Sinclair at the time… WOW. I believe Hearn better find a better script writer… Read the email in the Blog’s PDF BIN and decide for yourself.

Hearn did establish one thing to my mind. He’s not the nice guy he spent considerable time explaining to the court, that he was. His is NOT a voice, Joe, or you, can trust. And the proof for it all, is in his lawyer’s own evidence box, and his damning personal emails that some dope put in the public record as part of his case.

It is my firm belief, that even if no Defence expert ever shows up in court, there is loads enough circumstantial and actual evidence in the Sommer evidence box to totally undermine his lawsuit, and render it NOT PROVEN.

Remember: The standard – the Burden of Proof – that Sommer and Hearn must meet is: they have to prove the painting is fake. And after listening, non-stop for five days – the only journalist or member of the public to do so – to all their best witnesses and experts, I believe they have hugely failed to do so.  

Like they have previously tried to do, in Hatfield v Child, the same cast of collaborating characters (Sommer, Robinson, Sinclair, Baker & the NMHS) start the process all over again with another gullible art collecting neophyte, Kevin Hearn, who admitted “Spirit Energy” was the first work of art of any kind he had ever bought, and loved it for five years, until…

Until, Ritchie Sinclair came calling with Bad News – his painting was fake… and he had taken it down from an AGO exhibit, and advised a lawsuit…

And some Good News – here’s a way you can make a cool $100,000 plus. AND get all your costs back… Just hire this guy from Sutton, Quebec. 

On Dec. 5, 2017 Hearn admitted his costs had climbed close to the $100,000 mark if not more. Brian Shiller, far more experienced and wiser than anyone on the Sommer team, estimated Hearn was looking at some $200,000 in eventual costs, for a $20,000 painting.

And I have just told you my take on his prospects in the lawsuit.

Yes it is exactly as insane as it sounds…

This time with a lawsuit following a Sinclair orchestrated – NOT an AGO – dismount of Hearn’s painting, at the Art Gallery of Ontario in June 2010.

My take on all this was PROVEN IN SPADES in Dec. 2017 when not a single curator or director from the Art Gallery of Ontario showed up to testify under oath in court, that AGO curators had dismounted “Spirit Energy” as a fake in 2010. Or that they had proof it was a fake in 2010, or had proof of it in 2017. Or admitted participating in any of it…

Then up stepped one Carmen Robertson, from far-off Wascana Creek, Saskatchewan, willing to loudly and brashly speak for EVERYONE… with an “expert” report agreeing that Ritchie Sinclair, convicted Libeler, and Slanderer, documented cyber terrorist, and notorious Indian imposter/impersonator, was right, about Hearn’s painting.

And she was more than willing to tell it to the judge, just as long as she could be assured her “expert” report would be kept totally secret from everyone else…

Which is where I come in…

Now ask yourself, why would Robertson maliciously cherry-pick, as the corner-stone for her “expert” report, a tossed-off “provenance” letter Joe had kind-heartedly given to Kevin Hearn***, during that stressful time – the summer and fall of 2010, and which, however relevant, or not, it was in 2010, was in fact, in 2013, totally IRRELEVANT anymore.

*** I wouldn’t have done it. I know no one else who would have done it. Because it’s impossible to do for 99% of the art sold at auction in Canada, and especially so, for Morrisseau art. But Joe just could never escape that dumb “teacher” in him – from his early teaching years and time as a College Dean – who wanted to do the “right thing,” to make a beginning art collector feel good about his art. Feel as good about it as Joe did.

It reminds me hugely, of a banker in 1979, when I turned in my teacher’s pension to start a film and television production business, who faced me dead-on in his office, and sternly volunteered: “If you ask me, teachers should never get into the business world.” Joe knew what he meant…

Beyond that, remember that Joe was a well-recognized Morrisseau expert by leading art institutions. Remember, that in 1996, the Canada Revenue Agency relied on him as its Morrisseau expert, when its investigators suspected they were being sucker-punched by a group of lawyers with wildly inflated tax credit amounts fabricated by Donald Robinson in a pump and dump scheme of 216 Morrisseaus they bought to flip for big bucks to public galleries.

In fact, except among fraudsters embarking on a malicious witch hunt, that unfortunately tossed-off error plagued memo had been, long ago, passed over, and superseded by the “Defence,” a responsible legal document penned by Brian Shiller (in consultation with Joe) based on superior information, that accurately answered ALL the questions about Provenance of the painting that would be tested in court by a judge.

And should also be referenced, first, by any credible academic or investigative journalist before running off wildly on some suspiciously targeted goose chase hoping to slang a decent man and his genuine art.

Unfortunately it was dug up by someone looking for dirt, who quickly found a use for it.

Unforgivable – Ask yourself what was Robertson’s aim?; what is her game? For what, can only be considered a totally malfeasant research approach by any academic, pretending to check into the “provenance” of “Spirit Energy,” as an issue of public interest and national importance.

From some deep dark and inexplicable void inside her she appears totally determined to target and skewer Joe McLeod, and a painting that was also – I believe it with all my being, notwithstanding Kevin Hearn’s deliberate sneer on the stand – exactly as Joe apparently told Hearn at the time “my daughter’s favourite” in the shop. Oh and did I say it was forensically authenticated? What does that say about Robertson’s expertise? And her motivation for what she is involved in doing?

“My daughter’s favourite” a virtual clone, but considerably expanded, of Hearn’s “Spirit Energy of Mother Earth, 1974” and Joe, the target of an ungenerous sneer on the stand, by Kevin Hearn. I believe this painting is a slap at Hearn instead. I believe this huge painting that dominated Joe’s tiny room – and was seen almost every day by Joe’s daughter, was the last painting Joe probably saw before he died. And it is no accident that more than any other painting I have ever seen, it resembles “Spirit Energy” that Joe, probably to the regret of his daughter, sold to Kevin Hearn. Oh well, this one called “Unity of Inorganics,” was as good a replacement for it as you can get… Where is it today? I don’t have a clue, but I would bet – as we speak – that it’s in Joe’s daughter’s living room… In memory of Joe, and Kevin Hearn’s “Spirit Energy of Mother Earth 1974.” (FYI – No I am NOT a friend of the family, do not know any of them and have NEVER had contact with any of them) Finally, note the Wascana Floaters that Robertson claims – as in “Spirit Energy,” are a sure sign that a forger – not Norval – painted this work. In fact they prove for the Ages, that Carmen Robertson has no business involving herself in authenticating Morrisseau art.

PDF5 Defence – Hearn v McLeod – Shiller – June 2013
– “A voice from the grave,” penned by a lawyer with “heart”
– Shiller defending an honourable guy and his genuine Morrisseau art

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A Forensic Historian Chases Authenticity NOT Provenance

Update – Dec. 30

“Commander of the Canadian Army Calling”

This past week I got a typical email of a type I constantly receive as curator of the Canadian Anglo-Boer War Museum.

Rewind: I founded the world’s first “internet museum” in 1999. The museum, won a rare honoured designation, and financial support, from the Government of Canada as “A Canadian Millennium Project” in 1999, for an innovative heritage initiative that listed as the official founding curator – a mandatory requirement – historian John Goldi csc, and the credentials he brought to the task. MUSEUM MENU

Who is this unnamed and unprovenanced man? Join us on a Great Canadian Heritage Treasure hunt.

My museum was used by Archives Canada as a model when years later, it started its own virtual internet museum. My museum is still, 19 years after I founded it, the largest and most lavishly illustrated internet museum in the world, far outstripping, in large illustrations and educational modules, anything else published by the great museums of the world, including the Imperial War Museum in London, the Smithsonian in Washington, and the Canadian Museum of History. FEEDBACK

(And unlike most other “internet museums” which publish only virtual collections, using lowlife cribbed pictures and documents they copy and paste from other internet archives – hence virtual museums – my museum actually showcases ONLY a bricks-and-mortal collection of some 7,500 unique antique paintings, documents, and artifacts which it alone has in its vaults. Exactly like the major public museums in the world.)

Chasing Authenticity Because There is Never Any Provenance – The story behind this single photo is a very good illustration of how I, as a forensic historian – an investigative journalist of history – track down and evaluate Canada’s antique material culture to rescue valuable historic Canadian cultural artifacts from the trash heap of history, because there is NEVER any provenance, and often not even any identification attached.

Each historic item has to be researched and evaluated by itself, by cross-checking it with other genuine authenticated pictures and documents – that were themselves previously authenticated – to establish: “Is it a match?”

This article which I published in 2004, gives a good example of what I have done thousands of times in order to establish the authenticity of the 7,500 paintings and artifacts in my museum. AUTHENTICATING DUNDONALD

I, and my professional colleagues who do this curatorial sleuthing, do NOT, as some art historians are wont to do, just sit before a painting and bluff, bluster, and blow at it, hoping that if they are loud enough, brash enough, and insistent enough, it will transform itself into something they desperately want it to be – for some undisclosed personal motivation – when no amount of willful braggadocio will ever do that.

No credible historian or museum curator I know would ever do that.

Let alone mount a wrong-headed attack on an item’s supposed written provenance, cadged together by some distracted respondent (like in Joe McLeod’s case) or some other uninformed motivated seller. And then on that basis to call it a fake. It would be a ludicrous pursuit for anyone knowledgeable about vetting Canada’s huge repository of material culture to attempt.

“He’s just some random dude on the internet.”

The CJC arriving in Toronto from remote rural Sutton, Quebec

Delivered – in court – with all the sneering mockery that a CJC*** type lawyer from remote, rural Quebec can muster against a longtime
– internationally-acclaimed top Canadian film and television documentary cinematographer, director, writer, editor, and producer, an
– internationally-acclaimed creator and distributor of award-winning educational film and video programs to thousands of schools, universities, corporate and government offices, in every Canadian province and every US state, a
– winner of over 130 international awards for film & television excellence in competition with the best documentary producers from around the world, a
– a nationally-honoured and acclaimed Canadian heritage promoter and activist, and an
– internationally-acclaimed internet museum curator and credentialed historian

***According to the Barreau du Québec (the Law Society of Quebec) Jonathan Jerome Sommer is NOT licensed as an Avocat (an provincially accredited lawyer) in Quebec, and is NOT licensed to practice law there under Quebec statutes. In other words he could NOT sue Joe McLeod from Quebec. In Quebec he is only registered with the Barreau, as a Conseiller Juridique Canadien (CJC), a minor Barreau affiliate status only introduced in 2008.  It was started to accommodate those few lawyers who live in Quebec, but who have no recognized or licensed provincial status there, but have standing in some other province.

This is probably why Sommer advertises himself as a “Virtual Lawyer” in his bio. And how trying to track him down for service, I discovered, from the address that the Barreau du Québec provided me, that he actually works most days in remote, rural Sutton, Quebec. And the tenant on the main floor of an old clapboard house there, affirms that Sommer works upstairs, on the “deuxième étage” most days.

ACCOMPLISHMENTS OF “A RANDOM DUDE ON THE INTERNET”

An unparalleled accomplishment by filmmakers anywhere in the world. I know of no other Canadian show that has won these unique international award distinctions. Other, large feature television shows and series like this, when done by National Geographic, CNN, History Television, A&E, NBC, CBC, etc., typically employ scores – even hundreds – of people in research, planning, writing, scripting, pre-production, location scouting, shooting, directing, sound, voice, and music recording, gophering, pre-editing, fine-cut picture editing, sound mixing, (voices, music, FX, etc.) In an unheard of accomplishment, only two craftspeople, Joan Goldi and John Goldi csc, did ALL PHASES OF PRODUCTION IN THE FIELD AND IN THEIR HOME STUDIO EDITING SUITES, for both landmark setting programs, and delivered the shows on cassette, ready for broadcast to CBC and History Television. (We hired only one person – the CBC’s Linden MacIntyre to narrate the Boer War for us. It was the only non-CBC job he ever took, since he had last narrated our one-hour documentary “My Land is My Life” in 1986.) “OUTRAGEOUS! FOUR GOLD MEDALS” – Worldfest President J Hunter Todd

FEEDBACK – Or possibly Mr. Sommer was referring to this…

Or perhaps this:

In an unparalleled accomplishment, in one eighteen month period, Joan Goldi and John Goldi csc won 80 international awards for excellence in documentaries (all Canada-specific) at top US international film and television festivals. I know of no other Canadian who has ever accomplished this feat. At eight festivals we were the top Canadian award winner; at three festivals we won DOUBLE GOLDS – our Silver, Canada-specific documentary, beaten by our Gold, in competition with the best producers from around the world. I know of no Canadian who has ever accomplished this, even once. let alone thrice. And NO, not a single award was “local,” or came from our “home town” Toronto, or our “home province” Ontario.

All Awards and Distinctions – mostly local “home town awards,” listed by Carmen Robertson from Regina Saskatchewan, in her not-so-secret-anymore “expert” report. And TWO are merely “nominations,” with both actual awards going to someone else local, with more meritorious works. On Dec. 1, 2017, Robertson, in collusion with lawyer Jonathan Sommer, and Kevin Hearn, has started to make sexist, misogynist, and gender bigotry attacks, on Joan Goldi simply because she is the “wife-of” the Blogger. Joan Goldi’s name is credited, with multiple craft functions, on every single one of the countless international awards we have won. But Joan Goldi has never had any credit of any kind on my personal Blog. Someone should tell Robertson and Sommer that even if this kind of sneering behaviour at spouses, or “wife-of” the blogger, is acceptable where they come from, in Regina and Sutton, Quebec, it is NOT in the rest of Canada, or in other civilized areas of the modern world.

“Just a Random Dude on the Internet” – Some Accomplishments:

Capt. James Cooper Mason DSO Published and documented that the world’s first combat cameraman, in history, was NOT Robert Capa in 1936 in Spain, but a Canadian, Capt. James Cooper Mason, who took the world’s very first combat photo in the front lines of an active battlefield at Paardeberg on Bloody Sunday, Feb. 18, 1900.

An Event of National Historic Significance – Got the Canadian government to declare “Canada and the South African War an event of  national historic significance” (by Heritage Minister Stéphane Dion in 2005) and get dates for the Boer War added to the National War Memorial (2014).

Scared Shitless at Ipperwash Part 1Publicly Exposed the Infamous & Murderous Attack on Indigenous families at Ipperwash – by racist government officials, police forces, and the mainstream media – in 1995, exposing it all in a feature documentary that won the PLATINUM super-prize for “Investigative Journalism” at the world’s largest film and television festival in Houston, TX. It exposed the worst racist malfeasance by the establishment (government, police, media) against Indigenous people in Ontario history.

Scared Shitless at Ipperwash Part 2 – My 73 days of research “behind the barricades” of Camp Ipperwash convinced Ontario’s SIU (Special Investigations Unit), on Dec. 8, 1995, at 11 a:m, to abort the ending of its 3 month-long investigation, that found NO police officer guilty of any malfeasance in the killing of Dudley George. The SIU agreed to restart its investigation if I would act as liaison to get its investigators behind the barricades, from which ALL police forces and outsiders – both native and non-native – were barred. I arranged access, and accompanied the SIU as its investigators entered Camp Ipperwash and filmed its activities inside.

Scared Shitless at Ipperwash Part 3 – The Ipperwash Inquiry (2004-2007) – in the only hearings it held in a private house – sat for two days in mine, in 2004, reviewing my on-site documentary footage, filmed interviews, and personal recollections from 1995. Its lawyers knew everything they would ever learn, in great detail,  just by listening to my historic interview video tapes*** of ALL the people who were on the shooting site, recorded a decade before. The inquiry knew it all, from the horse’s mouth – Susan Vella wrote notes, non-stop, for two days of viewing – BEFORE it even began its hearings and taking depositions from people trying to recall events from 10 years before. In one major case a totally key and insightful participant had died in the interim. My tapes had preserved his eloquent testimony for the Ages (***”Boy are these ever high quality” – Inquiry lawyer Susan Vella)

Exposed As Fakes, 100 Top Victorian “Combat Photos”

Exposed as Fakes – Canada’s two most famous “combat photos.”

Exposed Canada’s Worst Ever Publishing Disaster – The Canadian War Museum’s 42 worst egregious pictorial errors in its illustrated history of the Boer War.

Published the Largest Portrait Gallery of Canadians on the Internet

Published the Largest Fake Archival Detector on the Internet

Proposed a Scientific Classification System for Historic Stone Relics

Proposed a Make-over of Canada’s Embarrassingly Gloating War Memorial – to alter it from a jingoistic, gloating, misogynist relic of bygone days, to become a “Hearts and Minds” memorial to a past generation, suitable for modern times and peoples.

Rolled up a huge list of landmark victories in exposing the worst art fraud in Canadian history with TheMorrisseauHoaxExposedBlog.com.

Chasing provenance for any item is a fool’s game – or a historian’s – not only because it rarely ever even exists, even in fragmentary ways, due to everyone who once owned an item, not caring in the slightest about recording such things, or always, for a thousand reasons, trying to hide where it came from… But for a historian, like myself, who always welcomes more, rather than less information, it can be a nice addendum to any item. But a highly questionable addendum at the best of times. And a dastardly distraction most of the time.

Because from long experience, I have found that family provenance – which the uninformed might assume would be the best possible source for credible information on historical items in their possession – is most times, the worst, and frequently ludicrously erroneous.

In her “expert” report and on the stand, Carmen Robertson blustered about how important provenance is – when it isn’t. And under cross-examination she was forced to admit, something she had tried to hide from the judge, that even in the public galleries about which she bragged so much, the provenance listings among the Morrisseau paintings she had checked, were almost entirely incomplete.

“Good Old Joe” McLeod was hounded to his grave by a specious lawsuit, championed by a local ivory tickler, a prairie professor, and a rural Quebec lawyer, calling him a crook and his paintings fakes. Shame on them.

Now why wouldn’t they be fakes too, when she uses the erroneous and incomplete or inaccurate provenance listing for “Spirit Energy,” to publicly call Joe McLeod a liar, and a deliberate crook, and also her idea of proof that therefore his painting must be a forgery?

But we didn’t need to be told that mos t museum artifacts have no verified provenance. All knowledgeable curators and historians have always known that.

In fact of the 7,500 authenticated items in my museum 99.99% have NO provenance attached. None… Nix… Nada… Zip… for a hell of a lot of reasons you already know about.

And this colossal lack of information about who once owned these things down the decades, in no way undermines in any way the authenticity of these rare Canadian historic items.

I note that the research officer for the General Commanding the Canadian Army, did NOT ask me to provide provenance. His non interest in provenance, is ALWAYS the standard response by publishers, professors, or museum curators around the world who ask for copies of my images. They evaluate the material culture by what it is, NOT by who actually may or may not have owned it, at some defined or indefinite period in the past. Or any BS claims I might make hoping to make a sale…

“Hello, Richard, Carmen here… Are you for real?”

When challenged by the Defence, in court on Dec. 8, 2017, Carmen Robinson loudly and aggressively told the court, she had indeed tracked down the name – which she refused to disclose – listed on another provenance document – not just the one for the McLeod/Hearn painting… For a painting she called “The Land” above. That “research” – as only three people in court knew, was a joke – because it only amounted to just calling up Richard Baker to see if he was “real” and had owned it. Baker, her long-time NMHS colleague, her helpful “Fly on the Wall” during the trial,” and for whom she helpfully, privately “documented” his Morrisseau collection, presumably answered, “Yes it was me, Carmen!” Baker got “The Land” from Morrisseau c 1976 and flipped it as a donation to the McMichael in 1982. All of it is already hugely publicly documented. So much for what passes for supposed research, in Wascana Creek, checking out a single name in a provenance list. And vetting the name of a pal who is already highly documented by the Canada Revenue Agency and the McMichael, in relation to this painting. And at the risk of compounding the embarrassment there is a famous damning Robertson Wascana Floater in this 1976 painting. So does that make this painting a “fake” after all? Like she says it does “Spirit Energy 1974.”

And the corroborating example Robertson chose to give, on the stand, about the importance of a provenance name, was absurd, to be polite. She used as a supporting example, to successfully confirm a name on a provenance list, her research of a name attached to a painting called “The Land.”

That painting had but a single name in its provenance documentation. And that name, which she says she “researched” – but chose not disclose to the court – was none other than her longtime crony on the NMHS, lawyer Richard Baker, and a man for whom she had “documented” his personal art collection.***

And who was sitting right in front of her when she loudly gave her testimony about it. In fact when she started to talk about this I immediately swiveled in my seat to catch Baker squirm uncomfortably in his chair. Because he and I were the only other people in court, who knew exactly what was going on.

*** “I observed this work (another Baker painting) first hand while documenting the (private Richard Baker) collection in 2012.” (Carmen Robertson report, page 6, and page 63.)

And of course, her vetting Baker’s personal collection, hugely makes it balloon in value, especially since both also aggressively collaborate to denigrate the Morrisseau BDP art that you and I – and thousands of other collectors around the world – have, as crap.

Baker’s name in lights on the 2006 Morrisseau Retrospective catalogue, put there by another longtime – 13 years – Baker crony and fellow NMHS member, NGC Curator Greg Hill. As a personal favour to the Robinsons, Hill also included paintings of other KRG clients, Pustina, Zelinski, Whent, and Plis.  Just as in Red Lake, in 2008, Hill had maliciously denigrated, dismounted, and devalued genuine Morrisseaus of KRG enemies, as a favour to the Robinsons. All five Morrisseaus, which Hill and Ruth Phillips, had discredited at Red Lake, were later forensically authenticated as genuine Morrisseaus.

I smell smoke, don’t you? – Richard Baker, in an unguarded moment on the stand, when asked about 15,000 paintings Norval had possibly painted, boisterously disagreed,

“Oh, no. We’ve reduced that down to 5,000.”  Trying to bridge the gap between himself and his art consultant, Robertson, who said in her not-so-secret anymore report, that Norval’s “oeuvre” is “above 1,000 works.”

It was something so outrageous that it was one of the few times the lawyer for the Defence chose to question something said by a Plaintiff’s witness during cross-examination.

Baker in case you missed it, is mostly notorious these days for utterly failing to bring a single example of the NMHS Wanker 16 to court to show the public the proof of what an NMHS fake looks like; to prove the Hearn v McLeod lawsuit has any merit; to prove he has credibility on anything to do with Morrisseau or art; and to prove that the NMHS is anything other than a branch plant operation*** of Toronto’s Kinsman Robinson Galleries “provenance manufactory” involved in deliberately doing Great Irreparable Harm to the Art and Artists of Canada’s Indigenous people.

With the help of lawyer Richard Baker, a man he appointed to the NMHS in 2005, Donald Robinson wrote a huge 114 page report trying to prove “Jesuit Preist” was a fake. Judge Godfrey didn’t buy it and urged Joe Otavnik to get a forensic finding for the signature. He did, and a top Canadian handwriting expert said it was an authentic Morrisseau signature, with DNA certainty.

***Thanks to an Otavnik court action, Baker had been publicly exposed as taking part in a secret meeting in his Toronto office, in early July, 2009, with Donald Robinson (KRG), John MacGregor Newman (Assistant Director of KRG), and Ritchie Sinclair (KRG Fraud Enforcer), in a plotting session to examine, discredit, and devalue, the Otavnik painting “Jesuit Preist 1974.” Robinson wrote a 114 page “expert” report in September, calling it “fake.” At the suggestion of Judge MD Godfrey, Otavnik, a year later, went to get the painting forensically examined. It was found to be completely genuine (Dec. 2011)

AND WOW! Another BDP from 1974, a year in which Carmen Robertson says her “research” found no evidence of any genuine Morrisseau BDPs***. This painting and its forensic authentication have been published for many years, since 2011. Where the hell was she looking?

***Robertson also deliberately ignores Kinsman Robinson Galleries’ own Wanker #1 “Warriors in Circle of Life 1974,” which I had also managed to get forensically authenticated, in Sep. 2017, as a another genuine Morrisseau BDP from the same year as “Spirit Energy of Mother Earth 1974” was painted.

There are of course others, of an artist called prolific, over a period of some 40 plus years, by everyone. (Compare: other prolific artists are Doris McCarthy (c 35,000 works); Picasso (between 50–100,000 works.)

Another forensically authenticated Morrisseau BDP from 1974. The most embarrassing Wanker of them all… Don Robinson bought 31 BDPs, including this one as his first, at Potter auctions. This was one of 15 he sold. Those he couldn’t sell – the Wanker 16 – he gave to the NMHS to use as templates for selecting Morrisseaus he and KRG wanted them to discredit, devalue, and destroy. I have seen it in hand; I publicized its existence; I publicized its forensic authentication. Now ask the Robinsons whether they have bought it back – my belief – and whether they have given it to Richard Baker and the NMHS, to put in among the other Wanker 16, in the ash can? THEY WON’T EVER, SHOW YOU, OR THE JUDGE, ANY OF THE WANKER 16. SO I’M SHOWING IT TO YOU… So you can see how it looked before it turned to ash…

Trust me, Carmen and Richard will get their act together on their numbers soon enough… Just as soon as she finishes vetting his name on “The Land.”

Baker was the only person who had ever owned that painting (The Land), and he only had it for a couple of years or so, getting if from Norval when he said he was his lawyer (1975-82), before he flipped it for a good tax credit to the McMichael Gallery in 1982.

“Vetting” names of lawyers who flipped Morrisseau paintings, as “research,” is a huge joke. Because the lawyers involved – Baker, Zelinski, Pustina, and Whent – got them directly from Norval, then only kept them a couple of years, or less, before flipping them for big tax credits to public institutions.

ALL these names, and donations, are ultra-heavily documented: from Norval, directly to lawyers, and directly to public institutions, accompanied by mountains of public gallery and Canada Revenue Agency paperwork.

(The lawyers Pustina, Zelinski, and Whent, flipped 216 Morrisseau paintings between 1984-86. Whent, in a private email said every single painting came from Gary Lamont who was Norval’s dealer and carouser, at the time, but that Norval vetted each one in Gary’s company.)

If ever there was a provenance trail that DID NOT NEED TO BE VETTED FOR AUTHENTICITY OF PROVENANCE, it is paintings from Pustina, Zelinski, Whent, and did I mention, Richard Baker?

Nobody, but nobody I know, would possibly question their names on any provenance list.

But they would certainly wonder about the utter folly, and private agenda, of anyone to call it “research” to check any of them out? Like of “The Land” and Richard Baker.

In fact their Morrisseaus hugely PROVE the exception regarding provenance.

99% of Morrisseaus can never claim to have provenance of any kind comparable, in any way, to these lawyer CRA donations. In fact MOST Morrisseaus – like 99% of most fine art sold at auction – have none or a vestigial minimum left. And that includes the many hundreds I have seen and including my own purchases. It’s nice if you can get it, but it matters NOT A JOT if you can or can’t get provenance. And 99% of people who buy art, in Canada, or anywhere else, do not give a damn either. Because, hey – it’s all totally irrelevant.

“Fuck off” with your provenance” says Tom Hoving, former MOMA Director, one of the 20th century’s top fine art experts and a specialist in fakes, frauds, and fine art forgers.

And if you don’t believe that, you open yourself up to being sucker-punched by fraudsters making claims they have manufactured just for gullible dupes like you… and David Mirvish… and Steve Martin… and Taylor Thomson. All lost millions for mindlessly believing “guaranteed foolproof provenance” for the art they bought.

Remember Tom Hoving:

“Provenance is a laugh, the fact that it came from so and so, and so and so gave it to the prince of so and so. Fuck off! That can all be faked up. Same thing with iconography. All of that stuff is superfluous and of no importance.” (Thomas PF Hoving, longtime Director of New York’s Museum of Modern Art, international expert on art forgery, and called by the NY Times, “probably the most influential museum official of the postwar period” quoted in, The Forger’s Spell, Dolnick, p242)

Est sicut factum est… The painting is what it is; not what someone – even a misguided professor – says it is.

So how corroborative or indicative of the importance of provenance is Robertson chasing down Baker’s name to check out chain of title authenticity of a painting he is documented as getting directly from Norval Morrisseau when employed by him as a lawyer? Would you call that researching a name? What kind of credible research of provenance was that? Can you figure out what she was up to, by bringing up this distracting canard in court? In reply to a query about what other provenance lists of names she had researched.

In short she seems to say “I checked and found Richard Baker answering to his name, proving he once owned ‘The Land,’ like it says, proving it’s authentic like he is.”*** Sadly, and damningly, her argument seems to continue,  “When I looked for ‘Robert’ Voss, he didn’t exist, proving he couldn’t have owned ‘Spirit Energy.’ So that proves it’s a fake by a forger. Case closed.”

Duuuh… It would seem to me, that a more responsible approach for any thinking person – what the law says an average person would be expected to do in a similar situation – would have been to just call up Joe McLeod or Randy Potter and say, “Hey, I’ve got a problem with this Robert Voss name?” Within seconds, both could have told her they never heard of it – that there was merely some mistake in recollection. But NOT Robertson, who had another agenda she was more interested in pursuing…  

Memories of Honest Ed – Warmest feelings for Ed, who gave me a cashier’s job in 1962, to help put me through university, and especially, since at the Christmas party, he shook my hand and said he was glad to have me aboard. And his inheritor son, David who blew $12 million of Dad’s money on “fake” Jackson Bollocks . “But” he sputtered in self-defence, “The best people assured me the provenance was gold-plated and fool-proof!” Well David, gold-plated anyway… I do believe David would have some words of wisdom for Professor Robertson and her claims about “provenance” as a sign of authenticity, for anything, but a fool…

*** This Robertson “test of authenticity” is, of course, all by itself, absurd.

COMPARE: David Mirvish’s name is attached to three Jackson Pollocks as the original buyer and owner who shelled out $12 million for them. A phone call to Mirvish would have established that provenance trail as foolproof, with David admitting ownership, and the authenticity of the provenance – and the painting – therefore supposedly established. Case closed.

Not so fast professor…

The Mirvish paintings ALL turned out to be TOTAL FAKES, whether David’s name was authenticated as attached or not. Not only that, but David Mirvish was the LAST one in the world to admit they were fakes, persisting in hanging on to his false claim, years after all the top experts in the world had denounced his art and his wrong-headed and stubborn delusions about its authenticity.

And that was for paintings of rather recent vintage and purchased from the best and most reputable New York art gallery.

Note how the con goes right to the top where the best people dress up to impress each other. Art fraud is all about MILLIONS, not the penny ante stuff for which Norval sold his art for decades.

“If you can’t dazzle them with brilliance, baffle them with bullshit.” WC Fields

Not only because of that, but because whether you are ever able – or not able – to establish, “Chain of Title,” about who owned it, where and when, over the years, IT HAS ABSOLUTELY NO BEARING WHATSOEVER, on what the item in front of you actually is…

So, get over it, wasting your life chasing Fool’s Gold. Suspect something unsavoury is afoot, by those trying to distract you by insistently attempting to lead you down the garden path to chase “Provenance” or “Providence” or whatever you want to call it…

Better call in a forensic historian, or a forensic handwriting expert, to do an evaluation based on some scientific analysis of the material culture itself.

Something you can get your teeth into.

Which you assuredly can not do with gusts of prairie wind blowing in from Wascana Creek.

Which is exactly what I did, with regard to authenticating “Spirit Energy of Mother Earth 1974,” to get away from the bluff, bluster, and blow, blasting in from Wascana Creek – let a scientist look at the material culture itself. A man I did not direct, did not solicit, did not know, and did not pay.

He did NOT, BEFOREHAND, for some reason, ask what the provenance for the painting was, before starting his own scientific examination of the signature and its authenticity.

Or what some prairie professor claimed it was or was not… In fact Robertson – who has NO creditation in material culture analysis or authentication NOR handwriting analysis or document examination credentials listed in her bios – brashly and boldly, has said for years, that the painting AND the BDP signature were total fakes… Aggressively continuing to sneer off forensic experts and multiple judges who have examined the evidence and are diametrically opposed to what she claims about Morrisseau art.

On Sep. 25, 2017, the credentialed and certified handwriting expert, authenticated “Spirit Energy” as a genuine Morrisseau BDP, giving it the highest authenticity rating he was able to give it… And he swore to that before a notary. He also said he has so far authenticated some 100 similar Morrisseau BDPs, as authentic, when compared to his large database of original Morrisseau signatures – on letters and paintings – that he has amassed over the years.

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Provenance – Part 1 – International/National Markers

UPDATES Ongoing – Dec.

From Farce to Folly to Fronting a Fraud
Robertson Targets “Wife-of” the Journalist
          Fly on the Wall – The Catbird Seat
Robertson Chases Provenance
          “Just a furniture salesman”
          Hearn Sneers – “My Daughter’s Favourite”
          “Calling Dr. Jacobs”
Robertson’s Embarrassing Moment
           The phone call Old Joe never got
           Introducing David Voss
           Thank You Rolf Schnieders
           Kiss Me, Valentine
A Hug For Gabe

Is your real name really Richard Baker?
Sic the Police on the Goldis
This is Repeating on Me – Police Report

The Sommer Family Unleashed
            John Goldi Gentleman

            Sinclair/Sommer Website
 Robertson Reading a Lesson
            The Secret is Out
Sommer Trashes the A Team

          Sommer Presents his B Team
Baker’s Face Turned to Stone
The NMHS – Beneath Contempt
The Red Lake Incident
Damned if you do; Damned if you don’t
Calling David Voss NOT
World’s Worst Art Authenticators
KRG Manufacturing Provenance

Who’s the Fake
SLAPP Suit or Gag the Reporter

“Fuck off with your Provenance… and Iconography…”

“Fuck off with your provenance” says Tom Hoving, former MOMA Director, one of the 20th century’s top fine art experts and a specialist in fakes, frauds, and fine art forgers.

“Provenance is a laugh, the fact that it came from so and so, and so and so gave it to the prince of so and so. Fuck off! That can all be faked up. Same thing with iconography. All of that stuff is superfluous and of no importance.” (Thomas PF Hoving, longtime Director of New York’s Museum of Modern Art, international expert on art forgery, and called by the NY Times, “probably the most influential museum official of the postwar period” quoted in, The Forger’s Spell, Dolnick, p242)

Internationally, most art – billions of dollars in art – is sold without provenance, of any kind, because it is unknown, due to the centuries old tradition of fine art sellers and auctions – worldwide – to protect privacy, by hiding and refusing to disclose ALL sales data. Noah Charney says the obvious for all of us who are knowledgeable about Canadian fine art and buying at top auction houses. And a very well-known fact, among knowledgeable art collecting professionals,  of which Kevin Hearn, and his art advisor, Carmen Robertson, seem to be blissfully unaware…

“No other multi-billion-dollar-a-year legitimate industry has such a reliance on handshakes, cash transactions and purchases without provenance…” says Noah Charney, founder of the Association for Research into Crimes against Art and author of the novelThe Art Thief. (Macleans Mar 17, 2013)

“Since the 1990s – as Curator of the Canadian Anglo-Boer War Museum – I have purchased hundreds of, mostly antique, fine art paintings in oil and acrylic, pastel, tempera, watercolour, gouache, charcoal, and pen and ink, from top Canadian artists; hundreds of rare original antique prints, lithographs, hand-coloured lithos, chromolithographs, photogravures, woodcuts, engravings, posters, sheet music, photos, and postcards; and hundreds of rare, high value Canadian historical artifacts, from all the top auction houses in Canada: Sotheby’s, Ritchie’s, Sotheby’s-Ritchie’s, Joyner’s, Walker’s, Levis, Hodgins, Waddington’s, Joyner-Waddington’s, Bonham’s, Hennock, Gardner’s, Town Hall, Touch of Class, Gordon’s, etc. SAMPLES

“Some of these I have sold, and always without any provenance whatsoever EVER being asked for, or given, to international collectors, and top American and British museums. Including an ultra-rare original 1834 FW Stillman hand-coloured lithograph of an American sugar cane mill “Easily Managed by Negroes” to the Henry Ford Museum, Dearborn, MI. (Though the Ford has had an original of this monster machine on display since the 1930s, staff had failed, for years, to locate an original advertising litho anywhere. After numerous exchanges with the Ford curator testing my expertise on what I had, he announced he was super pleased to buy this ultra-rare hc litho he found while surfing my Museum.)

Sharing wall space, at Museum London (ON), from left to right, with Group of Seven artists JEH Macdonald, Fred Varley, and Lawren Harris, are two of the Canadian Anglo-Boer War Museum’s own, fabulous Arthur Hemings: “Canadian Pioneers 1931” and “Shooting the Rapids 1930.” The paintings were on the road for over two years as part of an Arthur Heming show that went from London, to Old Lyme, Connecticut (the Florence Griswold Museum, the Home of American Impressionism) and then to the Confederation Centre for the Arts in Charlottetown, PEI.

A rare Canadian Heritage Treasure, that graced Canadian history books for almost a century, Arthur Heming’s “Shooting the Rapids” aka “The York Boat, 1930.” It is one of my most expensive acquisitions, BUT it came without a smidgen of provenance, even though it was only painted in 1930 by one of Canada’s most famous and esteemed artists and writers. Its chain of title was erased long ago. But word of mouth “provenance,” by sneaky staff told me the last owner was the President of Simpson’s. Verbal hearsay provenance going back one owner, by malfeasant auction staff, is the best you can ever hope to get at any fine art auction. HEMING

“Some of these paintings have gone on international tour and were proudly hung alongside the finest works from the National Gallery of Canada, the Canadian Museum of History, and the Royal Ontario Museum in top museums and art galleries in Canada and the US. Without a single elite curator, ANYWHERE, EVER, demanding to see a letter of provenance, from me for any of my works.
ON TOUR

“Copies of these original artworks have been purchased by Canadian, American, and British book and magazine publishers, university professors, and international governmental heritage ministries, to illustrate their exhibitions, books, brochures, posters, or to hang in their museums. Without a single picture editor, curator, or professor EVER, asking for provenance. EVER… Being informed fine art professionals they NEVER ask because they know it is NEVER provided or available from any international fine art auction houses and so NOT available from fine art curators and dealers like myself.

The Canadian Anglo-Boer War Museum’s own “But mother was too quick for him” visibly dominates wall space shared with two famous and fabulous possessions of the National Gallery of Canada, Arthur Heming’s “How We Travelled 1926,” and “Leaping Caribou 1925.” The curator of Museum London, who organized the international Heming tour, and published a commemorative book of his art, considers “Mother was too quick” one of his most superlative works.

One of the most expensive and valuable paintings in my collection Petocahhanawawin or Poundmaker, is simply the most fabulous portrait of a Canadian Indian chief ever painted (pastel on paper), one of only four “copies” known to exist and each made, with slight differences by Edmund Morris before he died in 1913. Today “his Indian portraits are now considered priceless.” The three other copies are in Archives Canada, Museum London, and in the celebrated “Hall of the Chiefs” in the Saskatchewan Legislature. There was NO provenance or chain of title that came with this fabulous original work. The unhappy, losing, under-bidder, I was quietly informed, by Sotheby’s staff, was the Royal Ontario Museum, also willing to spend big bucks, for a painting with NO PROVENANCE.

“In not a single case, when I originally bought the over 7,500 items in my collection, was I EVER give a letter of “provenance,” of any kind by the auction house, though – as a passionate historian – I often demanded it, quite strongly, without a single success… Ferocious non-disclosure, and aggressively guarding the privacy of the seller always listed as “Private Collection” in the catalogue, and never identified is the universal credo for ALL fine art auction houses worldwide. You are buying a painting or artifact AS YOU SEE IT; you are NOT, EVER, buying provenance or chain of title – let alone a document of any kind listing “provenance.” You will never be given the name of the last owner of a painting, let alone a list of all the previous owners before that. Because, due to a long history of universal auction non-disclosure, on previous occasions, the current auction, literally, knows nothing it can pass on. 

“And anyone who claims differently is delusional beyond redemption, or malfeasantly acting on behalf of some fraudulent enterprise, or both.”
(John Goldi csc***, since 1999 the Curator and Director of Research and Collections, of the Canadian Anglo-Boer War Museum, which references a bricks and mortar collection of over 7,500 rare, original historical paintings and antique artifacts. Of which, 99.9% have no provenance or “chain of title” back to the original owner. (The CA-BWM is the world’s first internet museum – Honoured and Funded, as “A Canada Millennium Project” by the Government of Canada, in 1999, & the model that Archives Canada copied when it launched its own internet museum, years later). *** John Goldi is an Honorary Life Member, as a “Director of Cinematography” of the “Canadian Society of Cinematography,” the professional association of Canada’s film and television cinematographers, and was granted the Society’s top honour, the “csc,” “for outstanding achievement in the art of cinematography.”) MUSEUM

University of Regina’s Carmen Robertson when challenged in court as to why she called Kevin Hearn’s “Spirit Energy of Mother Earth 1974” a fake, loudly thundered out for her first reason “Because its provenance letter has errors in it.” And for her second reason, another letter that she said had mistakes regarding the art, in it…

Inventing New, Fake Provenance Markers to Promote a Fraud – Begging to differ, with top international art experts, are a few local Canadians, who work together, publicly and secretly, on behalf of a private agenda to advance another entirely different, “alternative set of facts” regarding “provenance” in art. An idea they borrowed from Donald Trump, in order to try to legitimize their claim that there are “thousands of Morrisseau fakes by umpteen forgers” out there.

And that Kevin Hearn’s “Spirit Energy of Mother Earth 1974” is one of those, supposedly damningly exposed as a fake because of errors in its provenance or chain of title letter.

Letters of Provenance that are, of course, ABSOLUTELY NEVER EVER even given, when 99% of art is bought from a fine art auction anywhere in the world.

“If you can’t dazzle them with brilliance, baffle them with bullshit.” WC Fields

Bonnie Czegledi, a Toronto lawyer and international stolen art sleuth, is a product of Harvard, Yale, and Osgoode, and a member of the Canadian, American, and International bar associations, thinks the art world has changed for the worse.

“… what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.” (Jack Pollock, Norval Morrisseau’s longest (1962-1981) & most successful (12 shows) dealer, Dear M, 1989, p182)

“Over a period of a few years, I discovered that the business of art is one of the most corrupt, dirtiest industries on the planet. There are no regulations… It’s not pretty. The patina of loveliness that most people associate with art didn’t exist in the reality that I found. It was filled with criminals – and a lot of different kinds.” (Bonnie Czegledi, quoted, Hot Art, Knelman, p25)

Hopeless and Helpless Putty in Their Hands… – Kevin Hearn will eat crow for the rest of his life for allowing himself to be manipulated into calling a genuine Morrisseau a “fake.” But don’t feel sorry for him; feel sorry for the countless Indigenous artists across Canada to whom his fraudulent and malicious lawsuit did Great Irreparable Harm, over many years, and destroyed the valuation of Norval Morrisseau’s art in the tens of millions, of collectors around the world. Including numerous old people I have talked to who lamented that they had counted on selling their Morrisseaus to help pay for their old age, only to be told “Sorry, they’re worthless, because of the doings of Sommer & Hearn.”

“Provenance is very important…” pouts Kevin Hearn, an art collecting neophyte, who bought his first ever painting, or work of art of any kind, with Morrisseau’s “Spirit Energy of Mother Earth 1974,” a painting he now claims, he is advised, is a “fake” because the provenance letter he was given has errors…

And for which, in an astonishing and inexplicable set of mysteries: 
– Kevin Hearn has refused, for twelve years, to have a forensic report done on its huge Morrisseau BDP signature,

– his lawyer, Jonathan Sommer, has refused, for 6 years, to have the forensics done, and

– his art expert, art historian Carmen Robertson, has refused, for 4 years, to order the forensics done. 

Is this a possible reason? When, outraged by what I consider curatorial malfeasance of the highest order by this trio of plotters, I arranged to have the forensics done and paid for, by a public benefactor, the independent professional handwriting expert authenticated the BDP signature as Norval’s, with the highest level of DNA certainty he was able to give it. Forensics

“It is my professional opinion, as an art historian, that Kevin’s painting is a fake because the provenance document has errors…” thundered Canadian Art Historian Carmen Robertson across a Toronto court room, in responding with the first and primary reason, she gave when asked, as to why she claims “Spirit Energy” is fake. Expert

For those of you who have never bought art before, look at it her way – the Kevin Hearn, the Jonathan Sommer, and the Carmen Robertson way.

Please Explain to Me Their Take on “Provenance”

OK… say Kevin had bought a 10 seater Mercedes limo (instead of a painting) to ferry around the Barenaked Ladies and their groupies, and was given an ownership for the limo (read letter of provenance here for the artwork). Then he discovered that the dealership, had, alas, misspelled his name, got his address wrong, and mistakenly put another client’s name in the Bill of Sale, from which he would draw the obvious conclusions, and sue their ass off, claiming – with suitably over-the-top outrage – that these Bill of Sale errors prove that: the vehicle has only 6 seats, is a Chevy, not a Merc, and is not a limo at all, but a dump truck… In other words, a fake… We wish the Barenaked Ladies well, with their limo lawsuit…

“Whatever” for sale inside Kinsman Robinson Galleries, where I photographed it. A bargain; it comes with complete provenance, fully assured by KRG. Will you be the lucky buyer?

And yes the Canadian art world is full of surreal idiocies like this, involving people who have either deluded themselves into believing it’s true, or have been manipulated by others, also similarly deluded.

“Provenance is everything in the art world!”*** snorts art fraud founder Donald Robinson, who then makes sure his loyal clients get all the provenance they want by custom manufacturing it in the basement of Toronto’s Kinsman Robinson Galleries.(***KRG Principal Morrisseau Dealer Blog May 8, 2008)

Alas, I would submit to you, that Donald Robinson’s record as an art expert and “provenance” provider is NOT all that reliable.

Providence or Provenance?

The concept of “provenance” is so little used in conversation in art auction circles, that people routinely confuse the words because they don’t know any better, about the meaning and use of this unfamiliar term or concept. “Providence” is the hand of God, Divine Intervention, or Fate; “Provenance” is chain of title, or a chronological list of previous owners of a painting, etc.

There is no relationship, whatsoever, between the two words other than that “Even God won’t be able to help you if you try to track down the Chain of Title of your auction-bought fine art painting.” But it certainly exposes uninformed amateurs, or malicious and/or deluded self-proclaimed “experts,” as impostors, when they open their mouth, or try to ascribe magical powers regarding authenticity about paintings to the term.

The Lowdown on “Providence” and Nazi Gold

I well remember, in November 1950, my father and I – I was ten – coming out of the huge main door at the far left end of the central train station in Zurich, CH (the city where I was born) and crossing the most famous street intersection in all Switzerland, the Bahnhofplatz. We were heading for the Bahnhofstrasse (Railway Station Street) on the right.

1950 – They walked over Nazi gold. These photos were taken by famed Swiss pioneering photo journalist and military photographer Hans Staub (1894-1990) who was our next door neighbour, where we all lived near the entrance to Switzerland’s biggest military airbase in Dübendorf in the late 1940s. Staub, considered the dean of Swiss photojournalism,  took our last family photos before we left for Canada in Dec. 1950.

The Swiss were neutral in World War I and II, playing their usual role of staying out of wars in the 19th and 20th centuries, that destroyed over 100 million lives and trillions in property of other war consumed peoples in the world.

So for centuries, Switzerland has been a safe haven for political refugees from other countries, like many Russian Bolsheviks including Lenin, who stayed in Zurich before they returned to Russia to overthrow the Tzar. And countless Jews fleeing from Germany and Austria.

(My father, who like every Swiss male, was mobilized for the entire war, ran internment camps housing many Jewish refugees during World War II. When he married, in 1940, a Jewish refugee artist painted a portrait in oil of my mother, as a wedding present. It’s – next to our photo archives – our family’s most prized possession.)

The Making of a Master Cadet

Postcards from World War I show the traditional Swiss determination to avoid the bloodletting of war that ultimately killed some 25 million non-Swiss people, all thanks to the elite establishment associates of the Royal Houses of Russia, Austro-Hungary, Germany, and the United Kingdom, fighting it out to see who was top dog in the world. The Swiss military had its guns poised against any intruder – German, Austrian, or Allied – as the Dogs of War piled up the bodies, and put the torch to civilization outside its borders.

My Dad Was There – When War Games are Deadly Serious – The most famous war games in history took place in 1912 – two years before World War I broke out – when the Swiss invited German Emperor Wilhelm II (in grey above) and his top generals (in grey on the left) to watch the Swiss Army “at play…” The men in black are Swiss. The Kaiser is talking to President Forrer, of the Swiss Republic, founded in 1291. On the right is Swiss Commander-in-Chief “Major” Wille – the Swiss don’t like generals or military poseurs (no men or officers ever wear even single medals) – who was married to German Chancellor Otto von Bismarck’s daughter. Wille is credited with saving countless Swiss military and civilian lives, by staging these games, and so convincing the German General Staff that any attack on, or through Switzerland, was foolhardy and would be a long drawn-out war of attrition that would drain German military resources needed elsewhere. Beyond are the civilians watching it all. My father, as a seven year old, is among them. This postcard is NOT a DUPE, printed in 1995 or 2015, but an ultra-rare original from 1912. By acquiring this historical document, I was able to examine the back, and can confirm its authenticity, and age. It is postmarked on the day, and was bought by someone who was – like my father – at the scene, and who proudly wrote home “I saw the Kaiser up real close.” There are many blank-backed postcards like this, but no others carry so much corroborative information, and emotional punch, about the people, place and event, on the back, as this one does. With all historical documents – of which this postcard is a superb example – to gauge authenticity, you MUST  see and examine the original, in hand, front and back, and not some lowlife DUPE seen in some picture book. DUPES from which you can deduce nothing reliable or credible WHATSOEVER. 

Historical or Hysterical? – And for those who think I am overstating, read this backgrounder referencing events only two months after the Swiss Army Games.

“The German Imperial War Council of 8 December 1912 was an informal conference of some of the highest military leaders of the German Empire. Meeting at the Stadtschloss in Berlin, they discussed and debated the tense military and diplomatic situation in Europe at the time. As a result of the Russian Great Military Program announced in November, Austria-Hungary’s concerns about Serbian successes the First Balkan War, and certain British communications, the possibility of war was a prime topic of the meeting.

“In the continuing debate on the causes of World War I, historians like Fritz Fischer and John C. G. Röhl consider the conference a decisive step to war, long before the July Crisis.” (Wikipedia)

The Swiss Army Games they all had seen two months before convinced the German High Command that it could greatly improve the odds in their favour against the Allies, by ruling out any invasion of Switzerland. The games had convinced them a German-Austrian attack on the Swiss would be prohibitively damaging to the German military’s quest for victory on the western front. 

(Germans, Austrians, and Swiss share the same written language – German. It’s the language of education in the Swiss/German parts of Switzerland. But the Swiss/Germans have their own “Swiss” language, the speech of everyday communication that only they – not Germans or Austrians – can understand. French is the next major language group. In school I was educated in German; at home we spoke Swiss. My father was fluent in German, Swiss, and French – he was an unabashed Francophile, and had for years, in the 1920s lived in the French part of Switzerland, then spent the 1930s as a businessman in Marseilles, and Paris. The most revered general in Swiss history, because he prevented the Nazis from invading Switzerland, was Guisan, from the French part of Switzerland. He presented Dad with his athletic tropies.)

The 1912 Dupe “Back” That Makes All the Difference in Authentication of Any Historical Document or Work of Art – A DUPE with no back, an unpublished back, a Blank back, or a picture book, could have been fabricated in 1918 or 2018. It is valueless for any kind of authentication, of any kind, about the original it supposedly represents. The postmark stamped Sept. 11, 1912, locks this postcard into a corroborated time frame six days after the Swiss military maneuvers took place (Sep. 4-5, 1912).  The postmark is Müselbach, CH, close to where the maneuvers took place. The stamp is from the period. “I saw him up close,” is part of a period letter. I will NOT translate the letter for you. Like every other legitimate expert, I am a professional – as a historian, a museum curator, a visual artist, and an investigative journalist – and value my work. I expect to be paid for my services. Exactly like forensic expert Dr. Singla, was paid to show up in Hatfield v Child to give expert testimony on “Wheel of Life.” I have also paid Dr. Singla twice to appear in court. He has done it over 500 times. I cannot understand how Professor Robertson would NOT also, value her services, and instead, show up in court claiming to be an “expert” and doing it – she claims – for free as a volunteer, for altruism. I know no one, in this world, or the next, who would believe her. She is, of course, exactly following the same model of her mentor, Donald Robinson, who also volunteered “for free out of altruism” to write huge fraudulent reports slanging Morrisseau art for Ritchie Sinclair, before multiple judges discredited his reports, testimony, credentials, and claims, and even lawyer Jonathan Sommer suddenly dumped him as his expert on Oct. 2, 2017. What is her game? What is her aim? For Free? Did she really pay for her expensive plane fare to Toronto to testify, her high priced hotel bills, and fancy meals, out of her own pocket? Or out of the University of Regina’s Visual Arts Department? We shall never know because she is so deceptive and covert about so much of what she has done in the fabrication and promotion of her “expert” report. A report which is ALL based on Dupes and for which she publishes NOT a single Back of her database of paintings which she claims are legitimate. And about which, she was – in court – over-the-top, inexplicably loud, and vituperatively angry that it has been published, and wildly sexist in accusing my “wife of” the journalist, of being involved in doing it. Clearly Professor Robertson, from remote and distant Wascana Creek, SK, has never heard that Ontario guarantees the rights of ANY member of the public complete freedom to obtain ANY court document and to make copies, and to publish anything that is “in the public interest.” She also seems unaware that Ontario’s Protection of Public Participation Act of 2015, protects people who do it, like myself, from malicious prosecution with SLAPP suits or a Gag Order to shut me up. Alas, it makes no provisions to prevent vile, unsubstantiated attacks by gender bigots on “wives-of…”

The Painting & the BDP Back the Professor’s Report Denigrates – “Spirit Energy of Mother Earth 1974” – A typical 1970s BDP which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in this way.  And, in fact, years later, it shows just how wise Judge Martial was, when, on Sep. 25, 2017,  I got confirmation from an independent scientist that in fact this BDP was forensically authenticated as a genuine Morrisseau. And yet in a stunning and damning omission, the BDP Backs of the five paintings Robertson does show in her report, and uses, intending to slang a decent man – for years a target of fraudsters – she has NOT ordered a single painting, including this one, forensically tested for authenticity by an independent forensic expert, though she had FOUR YEARS TO DO IT. Forensics be damned – ignore the blood, the fingerprints, and the DNA on the murder weapon – she clearly seems to say, preferring to follow an “alternative set of facts,” instead, full steam ahead, in following a script and an agenda someone else seems to have provided for an academic I consider a loose cannon.

By holding firm to neutrality, as vicious wars destroyed civilization outside its borders, Switzerland became seen as a safe place for all kinds of countries, politicians, celebrities, and corporate operatives, including the Pope, to stash countless trillions in gold, in times of war and peace, with totally assured anonymity.

Looking up the Bahnhofstrasse the main street in Zurich, from the roof over the door of the train station. My father led me to the travel agency on the corner. I remember the large Cunard White Star ocean liner model in the window. We were buying White Star Line tickets that, weeks later, in December 1950, would take our family to Canada. (Historic photo postcards are all from late 1940s showing how it looked when we were there. These are NOT picture dupes; I own the originals that I have examined in hand in person. As a museum and art curator, and historian I will NOT embark on what I consider a fool’s errand, to pomposit about the authenticity of this or that, based on lowlife copies – or patches of memory – of originals, if I have not IMMEDIATELY seen them in hand. Though I am aware that some art historians eagerly do this. I consider their practice just as valid, as an authentication methodology, as the “Driving while Black” tool is helpful to many police forces for detecting diabolically guilty criminals.)

I learned only 67 years later, that my father and I had been literally walking on top of rooms full of Nazi gold. In 2017 UK historian James Holland (“Hunting for Nazi Treasure”) stood on the rooftop on the middle top left, as an expert pointed out that all the Swiss banks had underground rooms full of gold, under the entire length of the Bahnhofstrasse. Holland’s expert told him she had seen them, but that NO banking official would ever admit to any of it to anyone. EVEN THE EXISTENCE, LET ALONE THE PROVENANCE, OF THE NAZI GOLD, WAS AS JEALOUSLY GUARDED A SECRET AS TO WHO THE PREVIOUS OWNERS OF YOUR AUCTION-BOUGHT FINE ART PAINTING ARE… JUST NOT AVAILABLE, THANK YOU… It makes for a long television series, as Holland and his fellow sleuths try to track down art ownership documented only on shipping lists. And rarely finding anything. IT IS EXACTLY WHAT YOU WILL FIND IF YOU TRY TO TRACK DOWN THE “PROVENANCE” OF YOUR PAINTING. Thanks to the policy of fine art galleries, and auctions, not only in refusing to disclose it, but often giving their art a total make-over, like Toronto’s Kinsman Robinson Galleries does, to foil internet sleuths trying to track down its previous history, so preventing clients from discovering any of it.

Using “Providence” in “Hunting for Nazi Treasure”
The nightmare of tracing the provenance of lost and plundered billions of dollars in art is writ large in hour after hour of programming trying to track down missing art looted by the Nazis in World War II.

This international television series, featured on the History Channel had the pick of historians and ended up with the UK’s James Holland, who is listed as having some unspecified “history degree.” He is part of the “Gee whiz, golly gee, Wow, boy that’s unbelievable, you don’t say, I would never have guessed it!” mindless and breathless school of historian commentator too much in evidence on Television.

In one long and vigorous on-camera presentation, Holland kept strongly, repeatedly, and definitively talking about “providence” in tracking down the missing art. It is astonishing, that a historian, claiming to be an art expert, makes such a colossal boner on a prepared camera presentation on an internationally broadcast television series.

It is even more damning that NO ONE at the executive level, with vetting responsibility, on a major international series on fine art, caught and corrected this giant boner during all the stages of writing, shooting, and editing, so they could obliterate this colossally embarrassing mistake by a clearly amateur historian who was out of his depth doing a fine art story.

It does show, in the strongest terms, how unfamiliar and irrelevant this concept is among fine art experts, that they can’t even get the name – let alone what lies behind it – correct.

I believe Holland and his crew would have found a lot more Nazi art if they had used “provenance” – regardless of how useless it is – rather than “providence,” as their chief research tool.

It is damningly telling that the series is a HOAX, because whether Holland and his crew are on the “providence” or “provenance” trail, they find NOTHING themselves, no matter how many holes they drill in walls, bricks they remove, pits they dig, or caves they crawl into. All the art they “find” was ALL previously found by others, mostly by accident, or by families disclosing war trophies, from an estate when someone dies, or by cops chasing crooks. Or by some scientific methodology like metal detectors, NOT the mindless blathering of some windbag wannabe art historian supposedly tracking “providence.”  

The series proves in spades, that chasing “provenance” and “providence” are both equally useless in tracking and finding lost art, and ALWAYS lead to dead ends. Like the Freeport in Geneva, CH, where possibly billions in art treasures have been stored in totally enforced anonymity for decades. Nobody, but nobody, handling art anywhere in the world wants to leave a paper trail of any kind.

Holland and his crew, posing as hunters for Nazi art treasures, would have far more success if they turned to hunting bedbugs in downtown Toronto hotels.

“Dupe Test for Dummies” – Here is a test, for all those of you, who like to make authoritative judgments about iconography, colour, palette, or the authenticity of original art, pictures, or photos, based on looking at DUPES or pictures in books – which is the preferred research methodology that Carmen Robertson used to research data for her “expert” report on Morrisseau art. Pretend you’re doing research on a history of zeppelins, and  tell me, authoritatively, what’s going on, in this fabulous photo of a great historic occasion? For those of you who don’t read German I’ll translate – “First Trip of the Zeppelin to Zurich, July 1, 1908.” It’s over the main door of the train station.

Sorry But You Fail… Miserably – The Zeppelin photo is a total FAKE. Here is the original photo which clearly is from before 1908, and into which the zeppelin was fraudulently pasted to create a forged document to fool the unwise who are dumb enough to pomposit based on photo dupes in books or digital jpegs of originals. So your claims about iconography are shot. So is anything about the year it/they were printed, sometime between 1900 and 2017. (Until you see the originals and the backs.) And NO you cannot make any evaluations of colour and palette either. They were all totally made up by the artist who mocked up the DUPE. There is NO relationship between what he dreamed up, to please the potential buyer, and the actual colour, let alone the hue, of any of the buildings, or trams. Even the clouds are fakes… So this photo – with or without the zeppelin – is also a fake. In fact based on my research of over 1 million antique postcards – of which I acquired over 900 to examine the originals in hand – I can safely say without fear of contradiction that 99% of supposed “real photo” postcards produced – worldwide – from 1895-1940, are FAKEOGRAPHS – a term I coined to describe real photographs that have been Faked in a major way. (Fakeographs predate Photoshop which was only invented in 1988.) 

My undercover Nazi party infiltration in 1965 lasted only two days. Having John Beattie, surrounded by his thugs, shout at me, from three feet away, and threatening me, at midnight behind a curtained storefront, on a back street in downtown Toronto, was enough to convince me to abort my investigative journalism. These days, I’m not so cowed or timid when confronted by evil.

The “Providence/Provenance” Follies Continued…

Donald Robinson, who has styled himself as the Principal Morrisseau Dealer, and promoted himself as a knowledgeable art dealer, for many decades in the tony Yorkville area of Toronto, is one of the worst offenders, proving he has no clue what the hell he’s talking about.

Hatfield Defence lawyer Robert Dowhan (Hatfield v Child) also repeatedly, used the wrong word “providence,” himself, over and over again. His excuse is that he is only a lawyer. He was fired, shortly after, and replaced by Brian Shiller.

But Dowhan still allowed Robinson all the rope he needed to hang himself, and display for the Ages, this leading Toronto art dealer’s colossal ignorance on the topic of “provenance,” or “providence” as he preferred, repeatedly, to call it. And a man who also claims to be a fine art and Morrisseau expert…

And Robinson’s was NOT  a slip of the tongue; Robinson hugely mispronounced and confused the terms, in clear language caught by the transcriber, on one occasion, three times in a row in his emphatic and pompositing style – I heard him; I saw him; I read the transcripts – of his cross-examination on Sep. 1, 2011.

Donald Robinson“… it was a massive scale of acquisitions and it’s incredible. For example my gallery currently specializes in just these types of paintings, older historical, older paintings with a good providence, and we – routinely when we get paintings consigned to us from private people, a lot of them from Thunder Bay area and from northern Ontario – it’s routine that we would receive a letter with it, a gallery invoice, other documentation, that if it didn’t come from Norval it came from someone else, but some sort of trail and record and providence is so important. None of these paintings have any providence whatsoever.” (Transcripts, Hatfield v Child, Sep 1, 2011, p19)

In fact, to my mind he gave the best backing for them being genuine Morrisseaus, exactly because they DID NOT have a list of previous owners. That NO ONE was huckstering them as having a chain of title back to Norval, in the mists of time, some decades before. In international sales Tom Hoving (longtime MOMA director) says provenance is almost always faked.

Chain of title is impossible to get, or research, for 99% of Canada’s – or for internationally sold – fine art works. In a recent wasted one-hour, History Television “Hunting for Nazi Treasure” crew, supposedly on the look-out, by “provenance,” for hundreds of thousands pieces of missing works of art, discovered not a single one, nor a huge repository of a reported stash of a million secret works of art with NO names, NO provenance, NO owners, NO representative pictures, secreted behind a giant wall of concrete, barbed wire, and security guards, who told them to leave or else.

And with no other Canadian artist, is the chain of title more elusive than for Morrisseau, a notoriously fanatic street vendor and door-to-door hawker of his own art, trading it for cash, goods, or services, in countless remote towns and villages across northern Ontario, and everywhere else he had lived, over a period of forty years. Making it totally impossible to trace or confirm any of the more than 10,000 paintings Donald Robinson estimated – in (Hatfield v Child) testimony – Norval painted.

The problem is far worse.

I believe 10,000 is a very low figure for Norval, who is reported as painting 40, 50, or 60 works at a time, and was certainly capable of painting many in one day alone. In one painting (not forensically authenticated) Morrisseau claims, on the back, he painted some 23,000 as of 1991.

Compare: Doris McCarthy probably painted some 35,000 works (she claimed one a day). Picasso is credited with 50,000 works of art (some say double that). So…

From Farce to Folly to Fronting a Fraud: Lawyer Richard Baker, is on the record now, in court, as claiming that Norval’s lifetime output is “down to 5,000” – that’s 5,000 folks! – or one every three days over a 40 year period, says the lawyer for the Norval Morrisseau Heritage Society (NMHS).

And his NMHS colleague, art historian Carmen Robertson, with a straight face, says it is “over 1,000.”*** Or to put it another way, by her count, 25 paintings a year, or one every two weeks, over 40 years… When selling them for $20, $30, or $50 bucks a piece wouldn’t keep him in booze, let alone, food, shelter, or clothing for any time. On an annual income say, of $750 a year… (Well Robertson did admit on the stand her daughter is the math whiz in the family, not her.)

*** “Prolific, in his output, paintings and drawings by Morrisseau amount to well over 1,000 works.” (Carmen Robertson report p 10, based on no footnotes or references)
It’s pretty clear that if Robertson calls an artist “prolific, in his output” over 40 to 50 years, and comes up with “over 1,000 works,” something is hugely out of whack in her math computation, AND her use of the English lanquage, and knowledge of the fine art world. (To go along with her spelling, grammar, and other publishing negligences.) But even a misplaced decimal point, for starters, at 10,000 pieces, is very low by any McCarthy or Picasso “prolific” standard. Or is she just being directed by someone to be deliberately malicious.

Of an artist called uncommonly prolific, and who often painted 30, 40 or 50 paintings at a time… And could easily paint many in a day. And had a painting life of some 45 years.

Will someone tell me what the hell is going on with these two longtime collaborating cronies and members of  the Norval Morrisseau Heritage Society? Spouting such absolute nonsense…

Both clearly appear to have a one-track agenda: to boost the value of Baker’s Morrisseaus – she’s his art consultant (evaluator & authenticator) – it’s in her report*** – and probably one of the things she didn’t want publicly disclosed before they testified together.

*** “I observed this work first hand while documenting the (private Richard Baker) collection in 2012.” (Carmen Robertson report, page 6, and page 63.)

Baker clearly appreciates his longtime art colleague, as he apparently angles for someone to give him elevated Canadian tax credits for his Morrisseau “Donations,” (or simply to up the sales value of his art) while they collaborate in and out of court, to destroy the value of everyone else’s art, in order to boost his.

Out of Control Attack on the “Wife-of” a Blogger

BAKER AND ROBERTSON ALSO WORKED TOGETHER, WITH KEVIN HEARN, TO TRY TO PUT A SLAPP SUIT, AND A GAG ORDER ON THE JOURNALIST WHO HAS FOR FIVE LONG YEARS, LEGALLY, BEEN EXPOSING IT ALL TO THE PUBLIC, work that is now protected under the terms of the Ontario Protection of Public Participation Act (PPPA) of 2015.

THEY WERE ALSO TARGETING THE SOLE WRITER’S “WIFE OF,”*** JOAN GOLDI, BY MAKING TOTALLY AND WILDLY ABSURD AND FALSE CLAIMS, BECAUSE THEY CAN – conveniently Protected from a Libel and Defamation lawsuit, by Court Privilege.

***Robertson seems to be totally unaware that it is sexist, misogynist, and gender bigotry run amok, to blame, attack, and vilify the “wife-of” the only person who is listed – and has been listed for five years – with a writer credit on my personal Blog, John Goldi. My wife is NOT  a credentialed historian, NOT a longtime recognized and honoured museum curator, and NOT a credentialed visual artist like I am, which is my backgrounder for authoring the Blog. So for Robertson, out of pique, to go on to accuse the “wife-of” – who has nothing to do with my personal Blog – of all kinds of drivel she makes up in her mind is beneath contempt. Would she vilify Graeme Gibson because she considers Margaret Atwood’s “The Handmaid’s Tail” crap? Probably.

And for her to fail to recognize that professional women can be separate persons, and have separate identities, in their own right, from their husbands is at best, antediluvian.

An angry sexist, misogynist, and gender bigotry rant from Wascana Creek, against the “wife-of” the Blogger… People can read my Blog and make up their own minds, whether I have documented what I write about, and whether Robertson has written a credible professional, academic report, and proven her claim that “Spirit Energy of Mother Earth 1974” is the fake she says. I note that an independent forensic scientist – whom I do not know and did not pay – supports ME IN MY VIEW, in a sworn affidavit, that the painting the angry professor says is “fake,” is NOT FAKE at all. Furthermore, that the painting is, in fact, GENUINE. And so roundly dismisses her claim to having any kind of credible, believable, or trustworthy Morrisseau expertise in authenticating real Morrisseau art. But then you already knew that… And I can “unequivocally” say, that after listening to ALL the evidence put forward by her and the other eight Plaintiff’s witnesses (NONE of whom she heard), I saw or heard NOTHING that I believe could endanger that forensic report’s validity, in any way, and IN FACT, a hell of a lot that supports it… And I can also say, “unequivocally,” I heard a hell of a lot more evidence than she did, during the 3 1/2 days she was NOT in court. My highly informed opinion, from digesting it all, is in effect, that Joe McLeod was not deceptive, was never a crook, had nothing to hide, and the painting he sold, was by every accepted standard, and Due Diligent procedure he tried to pursue to authenticate it – once it was challenged, without evidence I might add – NOT PROVEN AS A FAKE. And so remains confirmed as the genuine work by Norval Morrisseau that McLeod told Kevin Hearn it was when he sold it to him. I have NOT seen a single document presented that supports what Carmen Robertson claims, and NOT EVEN A SINGLE SO-CALLED FAKE PAINTING BY ANYONE to illustrate their/her claim. Or to prove that the 150 authenticated BDPs are all “fakes.” From her all we heard was loud reading lessons full of Bluff, Bluster, and Blow. Which is her right; but there is nothing behind it but some prairie wind. And certainly nothing scientific, let alone evidentiary. I, along with the forensic scientists affirming some 150 BDPs as authentic, am in good company, as the target of Robertson’s notoriously Sneering and Dismissive Attitude. In her “expert report” she also famously, and deceptively sneered off both the Trial Judge and the Appeal Justice, who BOTH handed down landmark decisions that any reputable academic in her place would have read, digested, and disclosed. She did not; instead she deliberately hid them, and their absolute conclusion that the BDP paintings she sneers at as “fakes,” were 100% genuine, on the front and back. And hid their conclusion that there was “overwhelming evidence” that Norval signed thousands of BDPs, of which she says – and Sommer’s case claims – there are NONE. Her fabricated report has ALL the appearance of a collaboration, we learned in court, started with Hearn and lawyer Sommer, in 2012, to try to fabricate a secret report and a deceptive report, to fool a trial judge in an attempt to cover up the disastrously discrediting Martial and Sanderson judgments of the same discredited claims already previously made by Sommer in Hatfield v Child. (in 2013). But fear not; her sneering attitude that attacks anyone who has superior knowledge to hers, cannot make the evidence, from multiple credentialed independent experts, and learned judges, go away just to please her and her handlers.

Regina art historian Carmen Robertson noted ALL  her Awards & Distinctions in her enormously long, seven page report Bio. I note with interest that TWO of the four distinctions are merely “Nominations” for Awards she had hoped to get. Her two “Nominations” are actually “Awards I tried for, but failed to get.” Better candidates with better work, actually won those two local (Regina, and Saskatchewan) awards.

Where thousands of copies of “wife-of” Joan Goldi’s internationally-honoured, film, television, and educational programs can be found in libraries, schools, universities, corporate and government offices, in every Canadian province, and every US state. HER OWN NAME “Joan Goldi” IS CREDITED ON ALL OF THEM. But, NOT so strangely, she has NO CREDIT on my personal Blog.

And for a woman who lists her own Awards as a few local things in Regina, from the “home town” crowd, to flail and sneer wildly at Joan Goldi, whose 130 plus international awards (PLATINUM, GOLD, SILVER, BRONZE, & FINALISTS) at ALL the top American film and TV festivals,  for Canada-specific documentaries which she has crafted, written, and produced, and top those of any other Canadian producer I know of, beggars common sense, let alone professional standards of modern civility.

I know of no other Canadian who won “Double Golds” in international television competition, and Joan Goldi did it THREE times with different Canada-specific documentaries at three different US international festivals in competition with the best programs from producers around the world.

Joan Goldi walked off with the heavy and prestigious “Golden Sheaf,” Saskatchewan’s top international film and television award.

At Canada’s top Science Television Documentary showcase Joan Goldi was the only English-language producer – out of 27 from around the world – to have TWO of her programs Selected for Show at Télé-Science, hosted in Montreal by Radio-Canada.

(The CBC’s David Suzuki had only ONE selected, and the CBC’s Mark Starowicz also had only ONE, both from multi-million dollar budget CBC series. Joan Goldi’s documentaries came from a low budget cable series.)

Her very first film on a First Nations family, funded by turning in her teacher’s pension, won Best Film, at the North American Indian Film Festival in San Francisco.

As a television writer she won international Gold at Houston Worldfest. She also won Saskatchewan’s top Gold Award, the Golden Sheaf, for a First Nations feature documentary that also premiered on Parliament Hill.

As an investigative journalist in her own right, she won the PLATINUM super prize for Investigative Journalism, for another First Nations documentary, at the world’s top film and TV festival. No other Canadian has ever won it.

Her creative work and her art, was installed as masterpiece showcases, in top British, American, and Canadian Museums. Her long record of film, television, and website promotion of Indigenous human rights, culture, and history, is unsurpassed and internationally recognized and honoured.

That’s a start for the lowlife “wife-of” the Blogger.

CREATING A HATE DOCUMENT

THE RAGING TRIO  CLAIMED – as loony as it gets – that My “WIFE-OF,” AND I:

– HAD ILLEGALLY HACKED INTO ROBERTSON’S COMPUTER and that,
– WE WERE TRYING TO SABOTAGE HER JOB APPLICATION TO CARLETON UNIVERSITY,
and NO I’m NOT making this vile crap up. They therefore demanded that we, the journalist and the “wife-of,”
– BE BARRED FROM THE COURTROOM DURING THE TRIAL (Dec 2017) 
– THAT I BE BARRED FROM FURTHER PUBLISHING,
– THAT MY BLOG BE SHUT DOWN AND BANNED,
– THAT WE BE HUGELY FINANCIALLY PENALIZED,
– THAT WE BE INCARCERATED FOR AN INDETERMINATE PERIOD OF TIME.

The only threat missing from this trio of plotters is that WE BE SHOT AT DAWN!!! Though that might be in the mail… (So we have notified our next of kin, and are working on our wills, and arranging that our Labrador, Fanny, be taken care of in our absence.)

Yes the world of Canadian fine art fraud is full of total surreal idiocies like this. And the courts are plugged up with this vile stuff…

As Toronto lawyer, and international fake art sleuth Bonnie Czegledi said:

“Over a period of a few years, I discovered that the business of art is one of the most corrupt, dirtiest industries on the planet. There are no regulations… It’s not pretty. The patina of loveliness that most people associate with art didn’t exist in the reality that I found. It was filled with criminals – and a lot of different kinds.” (Bonnie Czegledi, quoted, Hot Art, Knelman, p25)

I believe, by Robertson launching this hugely vitriolic, and totally unsubstantiated partisan attack – under the cover of court privilege – and making common cause with the Plaintiff and litigating lawyer Sommer, to claim that John Goldi and his “wife-of,” criminally hacked into her computer etc., is vile beyond all compare.

And, is in fact, just as unsubstantiated and inaccurate as her vile attack on Joe McLeod.

(She says she called the cops; they could have told her in an instant, that nothing of the sort could be traced to any of our IP addresses. And I’m sure they did. But like in Joe’s case, evidence be damned; she was determined to get her pound of flesh, by hook or crook. And was NOT going to let TRUTH get in the way. Exactly as in fabricating her malfeasant “expert” report and vitriolic attack on the universally well-respected Joe McLeod and the well-documented provenance of “Spirit Energy of Mother Earth 1974.”)

Her charges and claims are ASININE to put it politely.

IN FACT, as anyone with single digit IQs could confirm,  I COULD CARE LESS WHAT SECRETS ARE ON HER COMPUTER. WHAT IS DAMNING BEYOND ALL COMPARE, IS WHAT SHE HAS PUBLISHED, NOT WHAT SHE IS HIDING. And it’s confirmed by all her angry outbursts about my “publishing” her work, NOT my “criticizing” it. Because, people she did not want to see it, whom she referred to as “my colleagues,” can now read it and form their own conclusions.

Nothing she is hiding can possibly be worse than what her report betrays about her lack of credible research, scholarship, and publishing integrity. AND IS EXACTLY WHY I WELCOMED HER APPEARANCE IN COURT because she elaborates further, by providing MORE information about her research, her opinions, her methodology, her databases, her preconceptions regarding art, the market, Morrisseau etc. That further just hugely illustrates how, why. and where, she went so totally wildly wrong about Joe McLeod and the art he sold.

By showing up in court, I knew she would just dig the hole deeper and darker…

NOTE: Which is why – though most court journalists even tweet from the courtroom and/or publish almost instantaneously I did NOT. I had the right to Blog instantly but chose NOT to exercise my right, for the week. I did NOT want to become a distraction. I had waited for years to hear these witnesses. And believe me, I heard plenty, and SAW plenty in the court, and in the foyer, from ALL of them.

So get over it. A conscientious and professional journalist always, wants MORE, not less information. It is only fraudsters who, have something – or a LOT – to hide, who try to crush information, reporters, and disclosing information to the public.

For Robertson to aggressively join a campaign in order to kill the journalist, and “his wife-of,” WITHOUT A SMIDGEN OF EVIDENCE, SHOULD HAVE INSTANTLY DEMOLISHED HER SO CALLED CLAIM TO BEING CONSIDERED AS AN “ARM’S LENGTH” expert or “FRIEND OF THE COURT.”

Justice Ed. M. Morgan denied ALL their Gag Order demands. I was able to attend court and hear all the testimony. I was again, now since 2010, the only journalist*** to cover a Morrisseau-related trial in its entirety.

One angry jealous man, whose business office, as reported by the Barreau du Québec (Law Society of Quebec) is in remote, rural, Sutton, Quebec.

***Jonathan Sommer keeps angrily and wildly shouting out “he’s not a journalist; he doesn’t work for any newspaper,” as he has loudly done in multiple courtrooms.

He seems terminally incapable of understanding that the Hon. Beverley McLachlin, and her colleagues on the Supreme Court of Canada, deliberately threw out the term “journalist” in 2009, as outdated, and irrelevant in modern communication, and replaced it with “anyone who communicates on a matter of public interest.”

Mr. Sommer seems angry over the fact that I have earned what is probably North America’s – perhaps the world’s – top television journalism award. In 2005, my 1 1/2 hour feature television documentary, “Ipperwash: A Canadian Tragedy,” won the PLATINUM super prize, for “Investigative Journalism” at Worldfest Houston  – the world’s largest film and television festival – in international competition, with programs submitted by the best television producers from around the world.

Winner of over 130 international film and television documentary awards, longtime Canadian historian, investigative journalist, cinematographer, and film and television editor John Goldi csc.

That documentary feature was also honoured in Canada, by being featured as the Season Premiere, on CBC’s top signature, prime time documentary series, “The Passionate Eye.” 

It was also a Finalist in the New York Festivals, and a Finalist, at the North American Indian Film Festival in San Francisco. It is also being used by Amnesty International, to teach audiences around the world, about human rights abuses carried out against Indigenous populations in Canada.

Fortunately, in Canada, we have the Defence of Fair Comment, and the Defence of Responsible Communication, (both from the Supreme Court of Canada 2009). In Ontario we also have the Protection of Public Participation Act (PPPA) of 2015, as anti-Gag Order legislation, to prevent vicious SLAPP suit attacks by vengeful interests seeking to harass and scare public communicators from exposing their fraudulent machinations on issues of “public interest” and “national importance.”

Federal and Ontario provincial legislation that art historian Robertson, in far off Wascana Creek, apparently has either never heard of, or does not like, and thinks she can ignore, and that her attorney, Mr. Sommer, is either totally ignorant about, or has deliberately withheld the information from her.

And then it gets worse…

“Fly on the Wall” – Richard Baker – the NMHS lawyer, and Robertson’s longtime colleague there, her Morrisseau art consultant, and her fellow slanger of “wife-of” on this lawsuit – before he testified, was also Robertson’s “fly-on-the-wall” in court. I saw him every day, sitting in rapt attention in the front row of the public gallery during ALL the testimony of her fellow witnesses in the days that preceded her appearance. ALL the other witnesses for both sides were forbidden – as is the standard practice – from being in court to hear others testify, for obvious reasons – they will prep each other and change their testimony when their turn comes to “speak the truth under oath.”

How Mr. Baker being in court full-time, even though he was to be a witness, was arranged by lawyer Sommer is beyond me.

It’s very, very difficult to hear at the back of the courtroom – a chronic problem in countless courtrooms where I have gone to witness trials – and where the public is forced to sit, far behind where the lawyers are talking quietly, and away from you, at the front. Very often it’s even impossible to hear the judge talk.

And Mr. Sommer talks especially quietly when he doesn’t want the public – especially John Goldi – to hear what he is saying. I could not hear what he said regarding “exemption status” from the witness ban, for Baker, and at other times when he mentioned “the Goldis.” So I had no way of knowing, or recourse to find out, if he was accusing me of pedophilia, shaking down parking meters, or beating my invalid grandmother.

I only knew it was nothing commendable about either me, or my “wife-of.”

“The Catbird Seat” – NMHS Lawyer Richard Baker’s job seemed to be to sop up all that his fellow witnesses said, and the Defence’s cross-examination of them, for three and a half days, before he gave his own testimony (he was prepped by hearing the Sommer preamble, Kevin Hearn’s lengthy testimony, as well as Robert Fox, and John Vincett)… So Baker could tailor his own testimony, fully prepped by all these who had gone before.

More damningly yet he was now, also, in the catbird’s seat to coach Robertson before she came on the stand, fully forewarned and prearmed, as the very last witness on Day 4 with complete reports on what ALL the witnesses had said and what had been their weaknesses. Baker was the ONLY witness in court with that catbird seat vantage point. No doubt he learned lots with which to coach Robertson before she had to appear as the last witness.

I don’t believe anyone else in court – besides me – realized that Robertson was Baker’s “art consultant,” since at least 2012, personally “first hand” “documenting” – she says in her report – and authenticating his private collection. And neither of them openly disclosed this other close previous relationship of the “fly on the wall lawyer” with the “expert,” to Justice Morgan.

Introducing Robertson’s Take on Provenance & A Question of Credentials

I had watched, and listened, as art historian Carmen Robertson, for over three hours, on the stand – mostly loudly reading her prepared report – explained how she “documents” a painting, to decide if it is fake or real.

And then I realized she lists NO credentials at all, anywhere in any of her bios, as an art auctioneer, art assessor, art evaluator, art valuator, art appraiser, forensic expert, handwriting expert, or document examiner. And lacks antique art or artifacts assessing or evaluating credentials, certificates, diplomas, or degrees of any kind. She shows no expertise as an art collector.

And she shows NO expertise or experience with the fine art auction, or private gallery market, where over 99% of Canadian fine art and antiques change hands.

Rather than casting her net wide – like reputable academics do when starting a research project, or police investigators do in launching a criminal probe – she likes to restrict – out the gate – her database, by sticking to a few small collections of a few close colleagues in a few public galleries.

And unlike in other investigations, where EVERYONE, out the gate, is considered a suspect, Robertson clearly set out, from the beginning, to target one Joe McLeod with all the dirt she could fabricate. It does NOT make for a very credible “expert report” of her so-called “investigation.” And explains, hugely, why Robertson so explosively blew up in court and in legal documents, because a so-called “expert report,” that she had been assured WOULD STAY TOTALLY PRIVATE, had been made public and available to be seen by her fellow academics and university colleagues as well as ALL Canadians.

And since you asked – yes ALL OF IT done legally under the Ontario laws that govern such things, but apparently unknown to the prof from far off Wascana Creek. But then, as her report, and her testimony, make clear to me, there is so much else she doesn’t know, or pretends she doesn’t know. Luckily the document is now public and you can see for yourself the many absurdities about Morrisseau, and Morrisseau art, it contains.

AKA Paul Bremner CPPA, AIA

“A Mahogany Secretaire to Die For” – A 1780s Georgian Secretaire that once belonged to the Smallman family of London, ON, that founded Imperial Oil in 1880. It was already over 100 years old when Eleanor Smallman brought it into the Waverley Mansion, one of the largest private residences ever built in western Ontario. She had local craftsmen cover the entire surface with extravagant wood inlays. It was the feature item inside the Mansion when the estate was put up for auction in 1948, in what was – after the Casa Loma sale – the biggest auction ever held in Ontario, lasting 11 days and featuring a 124 page catalogue. Becoming an expert in furniture appraisal – to separate the real from the fakes – demands professional training, learning, expertise, and certification far beyond what is required of an art historian or teacher. SECRETAIRE WOW

“He’s just a furniture salesman” loudly and laughingly slanged the Plaintiff’s lawyer Jonathan Sommer in court, trying to denigrate the “expert” for the Defence, Paul Bremner CPPA, AIA.

I thought it was unkind and unbecoming of a lawyer, but what the hell do I know…?

In fact being an antique furniture and art appraiser or assessor demands hands-on skills, expertise, and learning in material culture that is far beyond those required of a teacher or your basic sneering lawyer.

And I sure as hell know all about it because I was once a high school teacher, and adult educator, and for the past 25 plus years, as an antiques material culture curator, with thousands of museum purchases from countless hundreds of antique and fine art auctions, under my belt, sure as hell know the difference in the skill sets involved. And sneering isn’t one of them.

And Paul Bremner, whose expertise and credentials go back 40 years, was certainly more learned than Jonathan Jerome Sommer, even in Morrisseau art – let alone in assessing, and authenticating fine antique “furniture” like the  1780s SMALLMAN SECRETAIRE  and the
1820s Caron/Fitzpatric/Kernan/Sevigny/Russell/Goldi desk.

Paul Bremner CPPA, AIA, was in fact, one of two experts – the other was Joe McLeod – who certified “Wheel of Life 1979,” as a genuine Morrisseau, before “Wheel” was subject of the landmark Hatfield v Child trial and appeal, and a painting Sommer loudly called a “fake.”

Paul Bremner CPPA, AIA, was “preferred” as an expert on Morrisseau, by BOTH the trial Judge Paul J Martial and the Appeal Judge, the Hon. Madam Justice Mary Anne Sanderson, over lawyer Jonathan Sommer and his supposed “experts,” reports, and witnesses, ALL of whom they “rejected.” Behind Bremner is “Wheel of Life 1979,” forensically authenticated with a rating of 100% by Dr. Atul K Singla, PhD (Forensics), and two judges. And wot the hell is that??? Why it looks like a “Wascana Floater” – AND A DECORATIVE ONE AT THAT – that Professor Robertson claims is s sure DOUBLE sign of a fake – like in “Spirit Energy of Mother Earth 1974” – and something only a forger – never Norval – she claims, would have ever painted…

Judge Martial and Justice Sanderson BOTH confirmed that Bremner and McLeod were right, and the preferred “experts” that should be heeded, and that the lawyer, Sommer, and his “experts” didn’t have a clue what they were talking about.

In fact judge Martial pointedly told Ms. Hatfield she should have gone to Bremner and McLeod, as well as just sneering them off – I heard her; I saw her; I read her transcripts – and only listening to Robinson and Sinclair.

Now consider Sommer’s replacement expert for the multiply-discredited Donald Robinson. Her opening broadside, on Dec. 7, 2017, was against errors in the “chain of title” aka “provenance” related to “Spirit Energy of Mother Earth.” As it was in her “expert” report. A day later, asked to sum up her proof of why “Spirit Energy” was a fake, her concluding summary was again, headed by a closing broadside against “errors in its letter of provenance.”

GOTCHA Joe! – Her opening pitch was an attack on the alleged “provenance letter” Joe McLeod had given to Kevin Hearn in July 2010, regarding the chain of title for a painting Joe had sold him some five years before. Joe, knowing nothing of the sort (a “provenance letter”) is ever given out in the fine art world, tried to cadge a helpful memo together, from patches of his memory, to make Kevin feel better about his art. McLeod very well knew that Kevin was becoming a gullible victim of malicious voices, the source and identity of which Joe McLeod very well knew.

In her “expert report” Robertson had ripped, with a vengeance, virtually “out the gate” into the names on that so-called provenance list, as damning proof the painting was a “fake.” It was her totally farcical opening broadside in her testimony on Dec. 7, 2017 and her closing broadside when asked to sum up her claims on Dec. 8, 2017.

As if three or four names, hastily jotted on a memo have anything real to do about whether the actual painting was painted by Norval Morrisseau, or becomes something different than it is.

“It is what it is; not what someone says it is!” – And no expert, can say anything, no matter how sage, or how silly, about a work of art and change it to something it isn’t.

Anymore than the Eaton family matron’s visceral diatribe, “I wouldn’t hang that shit in my house,” caused a change in the value of the Indigenous art she was discrediting…

Or anymore than a child, saying “Presto,” can hope to change a VW Beetle, into a Cadillac convertible…

And hopefully, someday, word will get out to Wascana Creek…

From Farce to Folly and Beyond… – Robertson claimed she had, literally, out of the blue – if you can believe this – called private Morrisseau collectors and dealers***, demanding disclosure of private art sales business information, regarding “Spirit Energy,” and who responded, quite understandably, as if they were being ambushed and investigated by Revenue Canada, for art sales they had illegally made via the underground Cash Economy without paying taxes…

“Calling Dr. Jacobs…”

“Nope, never seen or heard of hide nor hair of that painting” was their predictable reply, of course. Or, doing the smart thing, they would only speak through a lawyer, like Dr. Irving Jacobs did.

Since You Asked – LAWYER? Why would Dr. Jacobs call a lawyer? Lawyers are for intimidation; lawyers are to protect oneself from accusations of wrongdoing when the cops or government investigators are on your ass!!! Maybe about something you have a bad conscience about… About where someone smells smoke, and wants to look for the fire… Like maybe illegal, Cash Economy sales?

Why didn’t Dr. Jacobs grab, instead for his Accountant? Doctors have both lawyers and accountants. If Jacobs was interested in being forthcoming and seeking data on paintings and on dates listing their relevant financial transactions, only his Accountant would have that information. Why didn’t Jacobs have his Accountant call Ms. Robertson?

Carmen Robertson BS – Robertson is trying to say that Dr. Jacobs, with his LAWYER’S response, that he has NO INFORMATION ABOUT A PAINTING SHE IS ASKING ABOUT, is actually calling Joe McLeod a liar, WITH CAUSE.

Utterly false, of course.

In fact anyone with common sense, or a single digit IQ – considering all the other documentation that is available regarding Joe McLeod on this subject – is that Dr. Jacobs is NOT running from, or distancing himself, from Joe McLeod at all – let alone impugning Joe’s honesty – BUT IS RUNNING FROM HIS OWN ACCOUNTANT AND FROM SOMEONE ON THE PHONE – A STRANGER – APPARENTLY PROBING HIS PAST CASH ECONOMY DEALINGS and targeting a certain – and who knows how many other, paintings from his past business dealings…

Scary stuff, for anyone, let alone a highly reputable doctor. Especially in the huge climate of fear that has ballooned due to thousands of such CRA attacks on thousands, probably millions, of Canadians, as publicized in the media in the last few years. Better call my lawyer, fast.

In fact Jacobs is reported by auctioneer Randy Potter “to have bought Morrisseau BDPs at his auction,” along with some 200 other Morrisseau collectors. McLeod also mentioned Jacobs as a consigner of Morrisseaus at his Maslak McLeod gallery. Jacobs, like most tailgate sellers has no personal art gallery, so he. like they consign art to those – like McLeod – who do. This way their art gets exposed, full-time, to buyers. Most of McLeod’s art at his shop was consigned like this. Joe couldn’t afford to have personally bought all the art he sold.

Joe just mixed up which paintings involved Jacobs. And Jacobs, probably suspecting he was being investigated for Tax Fraud, just reached for his lawyer to put as much distance between himself, Potter and McLeod as he could.

*** Note the aggressivity of Robertson in seeking out private collectors, only when she’s on a mission to slang Joe McLeod. In fact private collectors are an enormously large and reputable group of Morrisseau owners, whom she never approaches when she amasses and inexplicably restricts her very tiny database of Morrisseaus to only a few public art galleries.

How Representative a Database Sample is This? – Only 12 out of 18 public galleries Robertson solicited, responded. Six refused, so her own database validity is already degraded by 33%. And worse, she ignored some 40 art galleries across Canada that specialize in First Nations/Morrisseau art. Let alone thousands of collectors, many with substantial holdings.

And six of even those few public galleries Robertson asked to send data, refused to cooperate with her, and send her materials. Only 12 agreed to send lowlife dupe images. And the public galleries – contrary to what Robertson claims – have mostly inferior, unwanted, cast-off Morrisseaus.

As everyone who knows anything about Morrisseau art knows, the leading public galleries – especially the National Gallery of Canada (NGC) – racially shunned Norval and his art during his entire 40 year plus, painting life. IN FACT ALL INDIGENOUS ART AND ARTISTS. Norval had long been unable to paint when the NGC finally allowed in his first work of art.

The first Morrisseau accepted by the National Gallery of Canada. The NGC bosses did not even have to “waste” their acquisitions budget to buy it. It was donated… I don’t think it’s among Norval’s best… Do you?

And contrary to what Robertson claims, that the public galleries have the best quality Morrisseaus, it is just NOT true.

The NGC is a good case in point. It sneered off ALL INDIGENOUS ART AND ARTISTS till 2006 when Norval became the first Indigenous artist to win acceptance by an all white cabal of gate-keepers at the Nations’s premiere art gallery. At a time that 99.999% of ALL Norval’s art was in private hands.

So firstly, as a matter of national NGC policy for 150 years, it did NOT buy, accept, or even want his art, let alone his “best stuff’ as Robertson claims.

Secondly the first Morrisseau art the NGC acquired, were “donations,” two minimal Morrisseau paintings from well-meaning donors embarrassed about the racist exclusion of Canada’s Indigenous art and artists from the NGC.

And the “best works.” Not on your life. And yes, I have seen both donated originals, the first Morrisseau paintings accepted by the NGC, up close and personal. And NO, I would NOT buy either, or hang either in my house.

There are far, far better Morrisseaus competing for wall space out there. And yes, they’re all in private hands, not in the puny public collections run by Robertson’s conniving cronies and colleagues.

To sum up: all real Morrisseau experts know that the vast overwhelming thousands of Morrisseau paintings, by far, are in private hands. And this is certainly the case with the finest Morrisseaus, like my own 4.3′ x 6.4 foot “Tears of My Grandmother 1976” which I would NOT EVER exchange with any other Morrisseau work in any other private or public gallery.

“Tears of My Grandmother 1976” – I believe this huge (128 x 198 cm – 4.3′ x 6.4′) acrylic on canvas BDP, is the finest Morrisseau painting I have ever seen – anywhere. It soars far above, even his best representational art, by tackling better than any other artist has ever done, the cultural genocide carried out by a colonial white society against a helpless minority population. It is this unique form of artistic expression, which never existed anywhere in the world before, that Norval invented and contributed to the art of mankind. And need I add, there, sitting totally ignored, are a couple of Professor Carmen Robertson’s damnable “Wascana Floaters.” And I bought it – you won’t believe this – from a man Kinsman Robinson Galleries and its enforcer Ritchie Sinclair, long said DID NOT EXIST, and was a fictional invention of Randy Potter. And so a man Professor Robertson also did NOT bother to seek out, or interview, before writing her “expert” report. That man is David Voss, who is an utterly key witness regarding the source of the Hearn painting and the flood of other genuine Morrisseaus that arrived in the Toronto area from 1999-2009. For some reason I had no trouble at all in finding and talking to Voss…

Nor would I exchange my spectacular “Medicine Being from Sacred Fish Stomach 1976,” BDP (92 cm x 162 cm) which is the largest and most magnificent fish Norval Morrisseau ever painted. (No wonder Donald Robinson, the self-styled Principal Morrisseau Dealer, was the under bidder on this spectacular Morrisseau BDP canvas, on Jan. 26, 2000. Its BDP signature has been forensically authenticated through a public benefactor – not by me.)

Just one of many black, drybrush signed, titled, and dated paintings (BDPs) authenticated by Morrisseau, Robinson, and in this case, also by a top forensic scientist. So ask yourself: why would Robert Fox testify that Norval “didn’t paint green” like in “Spirit Energy of Mother Earth,” and OOOPS…. here. That Norval had a rule, “only earth colours.” Based on Fox, once upon a time, having seen Norval complete one painting – on brown paper not canvas. (Oh, did I mention, that a very green “Spirit Energy” is – unlike Fox – also forensically authenticated, like Fish.)

And this is from the stash of only one of thousands of private Morrisseau collectors. Which Robertson uniformly ignored when she cadged together her tiny database.

Introducing David Voss – BOTH spectacular Morrisseaus were bought from David Voss, one directly from him, and one through Randy Potter.

Exactly the same consignor who provided Potter with Hearn’s painting, “Spirit Energy of Mother Earth 1974.” The same source which Brian Shiller’s Defence, written for Joe McLeod, references the painting through to and through Kahn Auctions.

And another key Morrisseau art expert whom Robertson NEVER TALKED TO, OR SOUGHT OUT. David inherited a huge Morrisseau collection from his father John Voss, who had been gathering the paintings over many years, and who had often given Norval a place to paint.

One of the Robertson provenance names was an elementary first name error, a mix-up of “Robert” for “David.” This was Robertson’s favourite proof of a fraud by old Joe. It is also the silliest.

In fact the documentary record made that clear, that the frail and ailing 82 year-old Joe had absent-mindedly slipped in “Robert” instead of “David” Voss, who is the actual name documented as the consigner on the Feb. 14, 2004, auction record when McLeod bought “Spirit Energy” at Potter auctions. So sorry, Carmen, no fraud there. Your research is slipshod again.

If she had only bothered to read the Defence filed by Brian Shiller, she would have known that Joe McLeod clearly says the provenance of the painting is from Kahn Auction, run by Randy Potter. Potter says ALL his Morrisseaus came from David Voss. It’s on his corporate paperwork. And it’s also in court testimony (Mar. 18, 2010) by Donna Shea, Randy’s wife and auction manager.

Why would any duly diligent researcher so wrong-headedly ignore all this published documentation, in favour of so aggressively pursuing a private vendetta of a name no one has ever heard of? Including, as the public record makes clear, neither had Joe McLeod.

A simple research phone call to either McLeod or Potter would have cleared up that “Robert” Voss canard. And would have prevented Carmen Robertson from embarrassing herself as she did by chasing a man only she – in the whole world – believed existed.

Is it any wonder that Robertson’s research found “Robert” Voss had never owned “Spirit Energy?”

And in fact, in spite of all the predictable tactical evasiveness of Jacobs, Voss, and Schnieders, to a probing mystery phone call out of the blue, Joe McLeod had had previous business relationships regarding Morrisseau art with all of them – Voss the father; Voss the son; and Dr. Jacobs – acting as a consignee at his Maslak McLeod Gallery for Morrisseau art directly or indirectly.

So sorry, but nothing sneaky or deceptive or dishonest about Joe in the slightest, or Randy Potter, both of whom have run, either a legitimate Art Gallery or an Auction House for decades. Their records have to please Revenue Canada. They wouldn’t dare risk their businesses, by doing undocumented shady dealings. Unlike many car tailgate dealers.

And Randy Potter, also, has ALWAYS been totally above board in providing his official business invoices of ALL his sales when asked. Which is why I know he sold “Spirit Energy” and I know the consigner was David Voss. And I know it was sold on Feb. 14, 2004, and to Joe McLeod. End of story of the provenance on this much maligned painting.

If anyone is going to be sneaky, regarding their auction dealings in paintings, better look to the part-time dealers in Morrisseaus, selling out of their garages, or off their car’s tailgate… like Schnieders, Voss, and Jacobs, and countless thousands like them.

In my decades of attending countless hundreds of antique and fine art auctions, I have encountered many hundreds of antique dealers in paintings and artifacts – ALL of whom have dealt in the Cash Economy, on a continuing basis.

And you know exactly what their response would be if some unknown idiot calls them up out of the blue, demanding they disclose private business information regarding their past art sales…

I happen to know, for a fact, that Rolf Schnieders kept two sets of books – I meant to say one “official” set of books. In fact, I have testimony from his buyers that proves he sold many Morrisseaus privately without reporting sales to Revenue Canada.

Rolf Schnieders (1928-2015) like many Canadian immigrants immersed himself in the culture of his adopted country and reveled in its business practices. Rolf recognized genius in Canadian Indigenous art and artists, decades before the “suited curatorial snoots” in Canadian government circles did. And Canadian Morrisseau collectors, worldwide, are grateful that he collected, preserved, and distributed their art.

And I have information from reliable sources, that can document that he often gave away his record photos of paintings, AND his purchase logs of them, ALONG WITH THE PAINTING WHEN HE SOLD THEM, IN ORDER TO REMOVE ALL TRACES THAT COULD BE TRACKED BACK TO HIM. On paintings for which he had NOT remitted taxes to Revenue Canada. A practice done by thousands of Cash Economy dealers all over Canada, every day of the week. None of them are stupid enough to keep records of cash sales…

So Schnieders could say, in all honesty, “Yes, Ms. Robertson. Have just checked my Canada Revenue records, and there is no record of “Spirit Energy” in any of them.”

The Globe estimates that 2.3% of Canada’s business is underground and amounts to some $42 billion a year. This huge underground Cash Economy is a fact of Canadian fine art commercial sales as well, but of which art historian Carmen Robertson, in the splendid isolation of her ivory tower above Wascana Creek, seems blissfully, or conveniently, unaware.

Just more slip-shod research and execrable reporting, before the Professor speaks out publicly with totally fabricated and undigested crap, slanging a decent guy, Joe McLeod, and his genuine Morrisseau art.

And then it gets worse…

GOTCHA Carmen! – Robertson who ruthlessly scorches a frail, 82 year old man, awaiting heart surgery, for memory lapses, has some of her own, when she repeatedly misspells the name of Rolf “Schnieders” in her own academically researched, and prepared report, as “Schnieder.” Of a man she claims, no less, to have talked to in person on the phone… Yet didn’t learn how to even spell his name properly.

Worse yet, on the stand the learned professor repeatedly mispronounced Rolf’s name as “Schn-eye-ders,” when it is properly pronounced Schn-ee-ders. Even her lawyer Sommer was embarrassed enough to correct her repeated mistake, rather than let her go on, as it clearly became apparent to everyone in the court that it was NO single slip of the tongue. Just more inept research and bad reporting.

And who’s he to correct anyone? I once heard Sommer, mistakenly refer from memory to someone as “Karla Homolka.” No one took him to court about it or made a federal case out of it, or slanged him as a devious liar.

And Robertson also, just giggled her repeated mispronunciation off as just a silly thing girls do.

But good old Joe got no giggle from her. She ran over him with the KRG NMHS Wanker Express…

Sinclair tried for years to win a place among the passengers of the KRG & NMHS “Wanker Line” Express. Now Robertson is trying her damndest to prove she’s worthy of a window seat, instead of being stuck inside…

In fact, not even a simple “clarification” phone call by Robertson to Joe in 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, which could have instantly cleared up the errors in the provenance list. Had she only bothered to ask and do it as part of Due Diligence.

After all, Joe McLeod – unlike Carmen Robertson – had nothing he even wanted to or needed to hide from anybody. Everything he said, or documented, was easily and simply explainable, and verifiable from other documentation. In fact the exonerating evidence for Joe – all of it – is in the Sommer filed evidence he put in the court record himself.

GOTCHA Joe! – Robertson testified – admitting publicly at last – that she started her provenance names investigation in 2014. When Joe was still alive. So, why didn’t she call Joe, in 2014, 2015, or 2016 to get an explanation or clarification? Before he died. Wouldn’t that be the common sense thing, for a reputable academic or journalist to do? Before going loudly public in print?

I consider it totally unforgivable that, when Robertson found the anomalies with the four names, that she didn’t instantly get on the plane to Toronto, to speak to Joe and bring her “research” to his attention. It’s exactly what I, as an academic researcher, and investigative journalist would have done. (In fact Robertson had even been in Toronto before Joe died (May 2017), but didn’t bother to follow up with him even then…) Why not?

But she did, with unseemly eagerness, climb on a plane in December 2017, to go Toronto to slang Joe and his art in court. She claims she came at her own expense, to testify, that no one paid her to come. So why not have taken an earlier flight and hopefully catch Joe alive before he died? Or at least make a phone call? And get his take, before slanging the old Coot as some kind of deliberate creep or crook?

No need to, Robertson seems to say, “I got all the tar and feathers I wanted without all that nonsense.”

So that’s how they do it on Wascana Creek?

In fact her malfeasant actions are TOTALLY against, and in violation, of the Defence of Responsible Communication as demanded by the Supreme Court of Canada for all those who publish, in order to avoid being accused of Libel and Defamation. The Defence demands that any writer must have tried everything possible BEFOREHAND, to contact the people about whom they are publishing, NOT just wildly and deliberately targeting a person, as Carmen Robertson has infamously done with Joe McLeod.

Robertson has NO SUCH DEFENCE. No wonder she sounds so angry, all the time, that her unsubstantiated report has been published. And even though the deceased Joe McLeod is unlikely to sue her for Libel and Defamation.

And then there’s this:

IN FACT THE REAL DAVID VOSS – whom Carmen Robertson also chose NOT to seek out, to keep her pet theory alive – regarding Robert Voss, Schnieder (sic), and Dr. Jacobs as NEVER HAVING HANDLED “Spirit Energy,” and so exposing a forged painting, and lying by Joe McLeod – instead exposes the Professor as a deceptive and wilfully dishonest researcher and reporter.

In November 2017 David Voss confirmed to me on the phone – after first hanging up to consult HIS records – that indeed HE had owned Kevin Hearn’s “Spirit Energy of Mother Earth 1974.” His records show it as having passed ONLY through his hands, to Randy Potter, from whose auction Joe McLeod had bought it.

I may also say that of all the leading Canadian fine art auctions houses I bought art from, over the last twenty years – attending hundreds of auctions to buy over 7,500 paintings and antiques – NONE BUT NONE are as open, honest, and disclosing about exactly from whom – the provenance – he got the paintings. NONE OF THE OTHER AUCTIONEERS OR AUCTION HOUSES WILL EVER TELL YOU.

It’s about protecting privacy, stupid… deadbeat dads escaping alimony payments, runaway fathers avoiding child support, children looting Mom’s estate, siblings secretly selling family treasure, the Mafia laundering money, employees looting corporate art, museum staff fencing stored art, etc., make your own damn list. And the art auctions protect these sources with a passion, so they’ll come back with more…

POTTER – ALONE – DISCLOSED IT ALL, AND ALWAYS HAS, FROM THE BEGINNING, providing documentation that shows it all. That is why the evidence chain of title trail of “Spirit Energy of Mother Earth 1974,” is so totally unassailable, even for people with single digit IQs.

And why the Robertson “provenance” attack is so ludicrous and specious, and fraudulent.

And guess who was in the auction hall on the day, Feb. 14, 2004, when “Spirit Energy” passed from David Voss, to Randy Potter, to Joe McLeod? I know this from the provenance and sales records meticulously kept by Potter for Revenue Canada.

Ritchie Sinclair on Valentine’s Day

Why, none other than Ritchie Sinclair, one of Robertson’s collaborators, and to whom she pays homage in a footnote of her “Mythologizing Norval Morrisseau” book.

On St. Valentine’s Day, in his only trip, ever, to Potter’s auction, trying to buy back his own Faux-nishinaabe art that the Sheriff had seized for Sinclair’s non-payment of storage fees. Sinclair clearly saw “Spirit Energy of Mother Earth 1974,” on that occasion, hanging on the wall, and was clearly speaking about it, when he told auction manager Donna Shea, what wonderful Morrisseaus they all were, but that he could never afford to buy one.***

***Testimony in Otavnik v Sinclair (Mar. 18, 2010). For a decade, Randy Potter’s was the best place in Canada to see hundreds of genuine Morrisseau BDPs up close and personal, and handle and examine them to your heart’s content. Some 200 of Canada’s top dealers and collectors snapped them up, and of the 2,000 – almost all were Morrisseau BDPs – Randy ultimately sold, NOT A SINGLE ONE WAS EVER RETURNED AS A FAKE BY ANYONE DEMANDING A REFUND.

Not even Donald Robinson returned one or complained about the 31 BDPs, he bought for $54,000 from Sep. 1999-Mar. 2000. In fact his own son kept authenticating these Potter BDPs as genuine, for a hefty appraisal fee, of course, for years to come. In fact Paul Robinson was doing so (Oct. 30, 2001), very privately of course, long after his own father was publicly calling them ALL fakes (May 18, 2001). It was all about trying to corner the lucrative market in Morrisseau art. And doing it by Hook or by Crook.

The Potter showcase was a hugely enriching Morrisseau education, sadly missed by Carmen Robertson, and Ritchie Sinclair, among others.

Damning Proof – The David Voss disclosure explains why “Spirit Energy” was totally missing from the sales records of Robert Voss, Rolf Schnieder (sic), and Dr. Irving Jacobs. NOT BECAUSE IT CAME FROM A FORGERY RING, OR BECAUSE JOE MCLEOD WAS LYING THROUGH HIS TEETH – as Robertson tries to claim – but because it came from the legitimate Morrisseau collection of DAVID VOSS, a man, even Robertson acknowledges as a long time art dealer in genuine Morrisseaus – a passion and a collection he inherited from his father, variously known as Deiter, Dieter, or John Voss. 

(As a fellow immigrant myself, I know how our names are garbled by culturally stunted Canadians. My father was born Werner but died as John, because he grew tired of being called “Wiener” wherever he went. So he took my name, John, which was also a self-defence replacement for Hans. Neither of us will die with the names gifted to us at birth by loving parents. And Göldi – an ancient Swiss name whose arms can still be seen on the walls of medieval castles in the Rhine Valley, became Goldi.)

David Voss was not only a vital source whom she mysteriously failed to seek out and talk to by phone. IN FACT HE WAS THE MOST IMPORTANT SOURCE for exactly the painting at issue in the Hearn v McLeod trial. And his contact information was available from multiple sources.

Are the phone lines down in Wascana Creek?

To my mind, it totally destroys what Professor Robertson calls her primary proof that “Spirit Energy” is a fake because she claims the provenance chain of title for the painting is incorrect – she says deliberately faked… And that her audience should believe her wrong-headed and misinformed bumpf.

NOT AT ALL Dr. Robertson, as my investigation has confirmed. The evidence for “Spirit Energy’s” provenance was there all along, with David Voss and Randy Potter, both. And was right there, in Joe McLeod’s Defence, which was filed only after a lawsuit was filed in June 2012, a full two years after Joe McLeod wrote that hurried memo for Kevin Hearn.

But for some reason Robertson didn’t want to find it, when a single phone call or two would have told her that she was on a wild goose chase. Why was she so hell-bent on targeting genuine paintings as fakes, and Joe McLeod as a crook, for her handlers?

In fact, for once some form of provenance was accessible because of Randy Potter’s honesty. Elsewhere, the utterly stringent privacy laws prevent auctioneers, and galleries from disclosing the previous owners of paintings or antiques. So, on that basis alone, making it beyond impossible for anyone even to try to – ever – put together an accurate chain of title or trustworthy list of provenance on any art work or antique.

A Big Hug for Gabe

The Expert Hugs the Fraudster

To me that speaks – once again – of one of the many instances of collusion and collaboration of the so-called “arm’s length, unbiased, friend of the court” with the Plaintiff’s lawyer, that should have disqualified her being affirmed as an expert based on Court Rule 4.1, that defines the duty and protocols, to “be fair, objective and non-partisan” and binding on those claiming to make statements as “experts” in Ontario.

But the Defence lawyer hugely failed to bring out any of obvious objections to Robertson’s many violations of the Duty of an Expert as laid out in Rule 4.1, to Justice Morgan in the Voir Dire.

Carmen, How Could You? – And of course Justice Morgan also was not able to see Robertson laughing and joking intimately, and sitting with, and joshing about with all the Sommer witnesses. And I watched her giving the longest affectionate hug I’ve ever seen, ten feet in front of me, to Gabor Vadas, the multiply disgraced fraudster and document forger. I considered it completely unseemly – for a start.

It was the first time I had ever seen Gabe Vadas, but I know him better than he knows himself. On the stand he seemed to be forgetful over and over, when I could easily have helped him if someone had just asked me to fill in his memory lapses.

The Defence attorney – flown in at the last minute, and new to the Morrisseau file – went easy, during cross-examination, on a grateful Gabe, whom I would have roasted on a long and slow cooker, mercilessly, for his many documented fraudulent activities.

Gabe was, understandably, eternally grateful he didn’t have to face my probing questions. No wonder he deliberately went over to the Defence attorney afterwards, and warmly shook his hand. Believe me, Gabe would never have shaken Brian Shiller’s hand…

On the way to testify Gabe had to walk the entire width of the courtroom, directly towards me. Our eyes locked immediately. In fifty years I have never seen such a look of pure hatred staring at me, as he took the long walk directly towards me. My smiling gaze just intensified his glare. I did NOT blink. Gabe knows, I know where the bodies are buried.

– In Otavnik v Vadas in 2008, where Vadas had to pay off Otavnik $11,000 for Libeling and Slandering his forensically authenticated Morrisseau BDPs; and
– in Moniz v CTVglobemedia, where the Globe, believing Vadas’ and Milrad’s fraudulent claims, had to pay off Moniz $25,000 (in 2009) for Libeling and Slandering his forensically authenticated Morrisseaus, in 2007,
– in fabricating seven false Affidavits (alleging Norval says so) claiming forgeries belonging to leading KRG business competitors, in 2003-2005, when Norval had, long ago, left the planet. Judge Martial found these Affidavits totally “unreliable” because of all the ludicrous anomalies. A forensic expert said they looked like fabricated “scissors and paste” fakes.
AND FOLKS, THESE WERE NOTARIZED AFFIDAVITS. As those of you, who have had documents notarized, very well know, this is often just a quickly done, pro forma rubber-stamping procedure, without much attendant fuss or examination.
– in fabricating a last Will and Testimony, leaving all Norval’s stuff to him, only weeks before he died, totally disinheriting all his Indigenous children, and sporting a signature that was smoother and more steady than anything Norval had signed in over ten to fifteen years before. Proving that advancing Parkinson’s and Dementia can do wonders for your handwriting, and motor control of your limbs, even for someone who’s been wheelchair bound for twelve years, and in terminal care for six.

Called a “Fake” on the Vadas/Morrisseau Affidavit of Forgery issued to Randy Potter, it was later forensically authenticated as a genuine Morrisseau, so proving the entire notarized Affidavit is fraudulent.

In fact subsequent research has proven that in EACH of the seven notarized Affidavits of Forgery, there is AT LEAST ONE, SOMETIMES SEVERAL, forensically authenticated Morrisseaus – done by independent handwriting experts – included among the so-called “fakes.”

Which means that if a few randomly selected samples from each notarized Affidavit of Forgery turn out to be authentic, what does that say about the rest being “fakes?” And what about the integrity of the Affidavit? And the integrity of the notarization? And what does that say about Gabe Vadas? 

Is he really worth a hug from the expert?

Amazingly Robertson had apparently signed the document binding “experts;” apparently she had just not read it, and her lawyer apparently had not either and failed to forewarn her. Resulting in her embarrassingly open chumminess with the Sommer witnesses. Well it was her first time… and she was clearly besotted with the increase in her status among her many friends in the courtroom foyer.

A night and day departure from professional expert Dr. Singla whose deportment and behaviour I’ve seen three times in court and in courtroom foyers. (He has been an expert some 500 times.)

Singla, a PhD in Forensics, is, to the contrary, always resolutely rigorous in keeping his distance in the foyer, in breaks, etc. from any sign of partisanship with anyone. He does not laugh and joke with his client, or sit, or josh about with them or their witnesses. He does NOT discuss the case or witnesses, etc. He keeps his “expert” status unsullied from his “arm’s length status as an unbiased friend of the court,” refusing utterly, to show his glee, partisanship, and enthusiasm for the Plaintiff’s lawyer, and his witnesses and boosters.

Dr. Singla sits stonily apart. He’s an expert, and a professional, you – and the court – can trust.

“Is your real name really Richard Baker?”

There was one other time that Robertson covered up her Baker connection from the judge, in fobbing off a telling question, during cross-examination. She was asked, by the Defence lawyer, if she ever researched any other name on any other provenance list to check its authenticity or accuracy.

She aggressively replied she was indeed, doing exactly that, “researching” a name – which she refused to disclose – on another provenance list, from a public gallery, to check its validity. Of a painting she called “The Land.”

I was the only one in court who knew, instantly, what a total farce that was, and what name she was talking about. I immediately swiveled in my chair, in time to watch Richard Baker squirming uncomfortably in his seat. He clearly did not think it would be helpful if his name came up just then, to illustrate the supposed integrity of her in-depth research skills… Or the supposed transparency of her reporting under oath.

He needn’t have feared. Robertson thought likewise, that disclosing that her so-called academic research of a name, amounted to no more than asking Richard Baker, if he was real? Because – it’s beyond farce – Baker was the only person whose name was on that provenance list.

“The Land (Land Rights) 1976” was a painting, I believe, Baker acquired from Norval during the period he testified in court, he represented him, 1975-1982. Mr. and Mrs. Baker “donated” “The Land” to the McMichael Gallery in 1982. (I have no way of knowing what a whopping tax deduction they got for “donating” or “gifting” it.)

So much for her parallel “research” into other unknown names on a provenance list, she pretended to have done like Voss, Schnieders, and Jacobs. When in fact she had just talked to an old “buddy” for her “research.”

What kind of research of unknown provenance listed names is that, of a single name, or a single owner, who is a friend and lawyer who has been:  

– her nine year long colleague on the NMHS, who was
– the very guy she was doing “first hand” art consulting for (“documenting” – aka evaluating, appraising, authenticating, etc) as early as 2012 (see her report) and
– who was her quid pro quo, “fly on the wall” in court, for days before she testified, and
– with whom she joined to demand an unsubstantiated, slanging, multi-level GAG ORDER, against a journalist and his “wife-of,” in Dec. 2017?

Neither the squirming Baker or the non-disclosing Robertson, I believe, thought disclosure of any of that would at all be helpful to her status as a supposedly unbiased “arm’s length, friend of the court, expert…”

Deliberately Devious, Deceptive, and Dishonest – I consider it beneath contempt as a supposed example of Robertson’s transparency on the stand, and illustrates again, her standard of what constitutes credible research. In fact, I consider it a clear and deliberately deceptive, and dishonest sleight of hand for Robertson to do on the stand. Well, it worked. The Defence Attorney never caught on that he had been had…

In fact, Robertson had NOT, done what she claimed, investigated another kind of unknown provenance listed name like Voss, Schnieders, or Jacobs, but just an old kaffeeklatsch buddy.

Asking him, I guess she would claim, “Are you Richard Baker? And did you own “The Land”? And were you telling the truth when you gifted it to the McMichael?” Blah… Blah… Blah… And she damn well knew the answers before she asked aka started her “research.”

And this farcical episode just underlines again, how trying to track down any name on a provenance list, is idiotic, and virtually impossible to try to do. You will NEVER be able to trace the “private collection” owner of the painting under the Bakers.

Oh, now I get it, why Gabe gave Robertson such a big hug. It must equal the valuations she gave – or will give – his paintings… This painting will of course, never get a forensic authentication from any expert, because I bet it’s totally BLANK on the back. SO, no provenance from Norval… It will have to come from the say so of a friend. And Robertson does have a strong voice… And if her hug is any indication, Gabe will not be disappointed with the valuation.

Unless you know a bosom buddy, or a good hugger, and he’s willing to disclose.

And Baker is a guy who wants his name personally disclosed for the status it gives him to see his name in lights in gallery or exhibition catalogues, like the Morrisseau Retrospective in 2006, where other lawyers who like the buzz they get seeing their names in print include: Pustina, Zelinski, and Whent.

You don’t remember them? The trio of lawyers who got Donald Robinson to evaluate the 216 Morrisseau paintings they got from Gary Lamont – the trial heard all about him – for “Donation” purposes, at $1.1 million dollars in 1984-1986.

If you’re curious how Donald Robinson could be selected for his Morrisseau evaluations in 1984, you aren’t the only one. Remember, in those days he was a nobody, in the Morrisseau world: NOT the “Principal Morrisseau Dealer,” NOT the “guy who wrote the book on Morrisseau” BLAH… BLAH… BLAH, as he would brag to everyone from the 1990s, on. THIS WAS YEARS BEFORE HE EVEN MET MORRISSEAU and years before they began to collaborate, and conspire to fix prices in the market.

The lawyers had paid only $130,000 for the lot. So using a NINE TIMES MULTIPLIER is not a bad increase, thanks to having an “expert” available, like Robinson, more than willing to boost the value of a collaborating crony to outrageous values for you. That’s how it’s done with the “in group” using the “pump and dump” routine to con the tax man.

Robinson got paid big bucks to do the inflating, which at the same time established much higher values for his own gallery Morrisseaus. In fine art don’t follow the art, follow the money.

Canada Revenue balked, said Robinson’s million plus, was an outrageous over-valuation. And hired its own expert- wait for it – why old Joe McLeod – to do its valuation of the 216 paintings.

Joe said they were only worth $510,000. Justice Mogan, scorched Robinson for self-interest and devious behaviour, and cut his valuations in half, to some $600,000, close to McLeod’s levels. It earned Joe McLeod the Robinson family’s eternal enmity. (Especially when two more Justices affirmed the decision and valuation.)

From 1996 on there was a target on Joe McLeod’s back. Which is why you are reading this here. Robinson’s successor as “expert”, Carmen Robertson, dutifully targeted Old Joe McLeod and his art, and also “documented” Richard Baker’s Morrisseaus, no doubt with a more than generous eye…

(I am among most art collectors who list “Private Collection” etc. when their art is hung in public spaces, catalogues, or books. Or I credit the Canadian Anglo-Boer War Museum. Like most art collectors I prefer to cherish my art in private, not at some kind of cocktail circuit, bragging party, some seem to crave.)

And then it gets worse…

Truly Shocking Work, Unbecoming for an Academic – Robertson, in concert with Baker and others – ALL IN TOTALLY SECRECY, and one or two years ago – mounted a concerted attack using the police on the “Goldis” – the name she used in court – demanding that various police forces in Regina, and Toronto, etc., investigate the “criminal activity” of “the Goldis” related to the issue of fake paintings.

The obvious aim: take your pick – prosecute, persecute, bully, harass, scare, John Goldi and his “wife-of,” and try to cow the only author of the Blog, John Goldi, into silence, about the greatest fraud in Canadian art history.

Lawyer Sommer is on public record, that there are eight – yes eight – involved conspiring parties involved (he described them as academics and lawyers) – mostly, I believe, members of the NMHS. In a Peel, ON courtroom, in the fall of 2017, Sommer openly expressed his anger that no police force has reported back to any of them, or moved in any way against the Goldis, since this group of his had apparently launched their secret attack, well over a year before.

Not a Person of Interest – To me the reason is obvious, as it must be to you who read my Blog.

DISCLOSURE #1: At no time EVER, in the five years I have written my Blog, have either my “wife-of,” or I been called, sought out, or interviewed, in any way, EVER, about any of these vile Morrisseau “fakes” related attacks or allegations against us, by anyone representing any police officer of any kind.

Police investigating officers can clearly read. And have read my Blog, and like countless Canadians and other Morrisseau collectors around the world, drawn their own conclusions about what is going on. And why.

Kudos from the Cops #1 – I consider it the ultimate compliment to my academic work as a historian, an investigative journalist, and a museum curator, and the rigour with which I thoroughly document everything I say, and for infallibly, following the strictures of TRUTH, Fair Comment, and the Defence of Responsible Communication.

Which allows me the freedom to publish matters “in the public interest” under the Protection of the Public Participation Act of 2015, to be free from malicious SLAPP suits and Gag Orders from people involved in promoting a fraud and trying to shut up a reporting journalist. One who is informing the Public about what is going on, entirely with fully researched and documented evidence.

And that after these high-falutin,’ high-powered academics and university-trained supposed art and Morrisseau experts, had conspired together to thrown all the dirt and filth they could muster against me and my “wife-of,” NOT A SINGLE POLICE FORCE ACROSS CANADA regarded any of it as even fit to make a simple phone call to me about any of it.

Exactly like celebrity singer John McDermott had done in October 2013, they made it clear they wanted nothing further to do with Jonathan Sommer’s claims and his cabal of malfeasant fraud promoters.

My wife had discovered this Conspiracy of Hate, some months ago, when a Peel traffic cop, checking our ownership on his car computer, told her, “You are being investigated for nefarious activity regarding fake paintings. A lawyer has lodged a criminal complaint.”

Joan Goldi had asked the cop if Peel had a Fraud Unit, as she wanted to report multiple incidents of Identity Theft by Ritchie Sinclair – Jonathan Sommer’s longtime business partner – who was constantly and aggressively using the Goldi email name to send filthy and scatological emails all over the internet, making it appear that John Goldi was sending them.

Sinclair’s intent: to discredit my Morrisseau Blog as originating in a potty mouth.

(In 2010 a site meter tracked an anonymous email “Death Threat,” against Ugo Matulic, and others, back to Sinclair’s own home computer. I have also received a Death Wish from Sinclair always decorated with his signature “Hey Dumb Fuck” salutation. In addition to scores of filthy missives he sends to many others as well.)

My wife and I immediately went to the head of the Peel Police Fraud Squad to complain. He confirmed the criminal probe. But, in a most friendly and disarming manner, he assured us, with total sincerity, “I wouldn’t worry about it in the least, if I were you.” It seemed that a year of “research” was behind the comment.

How reassuring would that be, to a Jew living in Nazi Germany in the 1930s? Or to my “wife-of” and me, in Canada in 2017?

This is Repeating on Me – In fact lawyer Sommer using the police to attack fraud investigators and Hoax busters, is a carbon copy of what the Sommer “A Team” (Robinson and Sinclair) tried to do ten years ago, when they falsely told the RCMP and Toronto police that a diabolical syndicate of art fraudsters was operating (in Thunder Bay and elsewhere) making “thousands of fakes by umpteen forgers,” and selling them everywhere…

Robinson, and Sinclair etc., too, named names and gave addresses of “forgers” and “criminals” to the police: Joe Otavnik, Ugo Matulic, Michael Moniz, Randy Potter, Joe McLeod, Morrisseau family members, various private Ontario galleries, etc. Donald Robinson even identified rooms and locations where the “forgeries” were stored, and demanded the police investigate and prosecute the many “criminals” involved.   

In April 2010, Ritchie Sinclair, longtime Sommer and KRG Morrisseau “fakes” business partner, even mocked up a fraudulent document for Toronto Police naming and implicating eight people – including me – as criminal members of the criminal “syndicate.” The fraudsters succeeded in getting Toronto police to launch their fraudulent Regina v Otavnik case.

(Both the case and Sinclair, were totally discredited by Justice Lacavera in May 17, 2013, who  turned the tables, finding Otavnik “Not Guilty” of ALL charges, and instead discrediting Sinclair and his then-lawyer, Zak Muscovitch and their “fucking asshole” allegations.) LACAVERA

IN FACT, I had NEVER even met or talked to or communicated with ANY of the seven other members of Ritchie Sinclair’s so-called members of the “criminal syndicate,” until many months, in some cases, years later.

And Sinclair – shades of Robertson – also became vituperatively angry when a document he said was supposed to stay secret with the police, was produced in court against him, so publicizing, his embarrassing deception to the world.

(Including Sinclair’s lying claim to the Police that he was acting as a Member of the NMHS. It was a claim he would repeat a few months later when Sinclair – all by himself – manipulated a duped Art Gallery of Ontario staffer to take down Kevin Hearn’s “Spirit Energy of Mother Earth 1974” painting from an AGO exhibit, as a Sinclair-designated “fake.” He then convinced Hearn – two years later – to launch a malicious lawsuit, against Sinclair’s old nemesis, Joe McLeod, to get even.)

And yes, the Canadian art world is full of surreal stupidities like this.

The RCMP, under Cpl. Judith Falbo, interviewed everybody – especially those accused of fraud and dishonesty – across Canada. In an expensive investigation, from 2008-2011, which also involved the Thunder Bay Police, they found NO evidence of truth to any of these claims and no people, collectors, galleries, or auctioneers involved with what the Sommer A Team was claiming.

The written police reports, and conclusions – which I have seen from an Access to Information Request – stated that Donald Robinson had initiated the witch hunt against his business competitors, for the police to embark on.

The investigation was ended by all the participating police forces, with no charges of any kind, ever filed, against anybody, neither for creating fakes or selling fakes, or ever discovering and denouncing a single so-called “fake.” So ending a very expensive and pointless three year fraud investigation at the behest – you won’t believe this – of the fraudsters themselves… They were, cleverly, pointing the cops AWAY from them…

I believe Robinson, Sinclair, and their NMHS co-conspirators, should have been charged with Public Mischief, if not outright Fraud… And now, six years after ALL the police forces have spoken on the subject, lawyer Sommer is himself resurrecting and orchestrating Act 2 of this vile practice, this time targeting some of the same people, AGAIN, including John Goldi and his “wife-of.”

Robertson Appears To Seal Her Fate – Carmen Robertson said initially that she was too scared to appear in court. Kevin Hearn’s Affidavit, that accompanied Robertson’s, spoke openly of the dangerous and threatening John Goldi and his guns…

(Quoting from a Goldi Productions website where I wrote, that 60 years ago I became the Commanding Officer of my high school cadet corps, joined the Canadian Militia, attended multiple cadet camps, and won lots of shooting etc. awards.)

I don’t consider this farcical anymore; it is sick…

In fact, I – ever the journalist looking for more, rather than less information – more than anyone else in the court, was more than glad to see Robertson show up.

Knowing, that if her report was any guide, she would be hoisted on her own petard.

And she did NOT disappoint me. In fact, far from being the corner stone of the Plaintiff’s case, and giving the coup de grace to the Defence, I believe she is, by far, the weakest link in Sommer’s case, for a whole lot of reasons, which I will explain in future.

Though I hasten to add, that is NOT Sommer’s or his business partner Ritchie Sinclair’s view, as they are pulling out all stops to promote, just like Donald Trump is wont to, an “alternative set of facts,” in court, and in the media.

The Sommer Team Targets the Journalist & “Wife-of” – In fact immediately after Robertson finished testifying, suspiciously acting as if on cue, a Sommer witness, Lorraine Cull, whom I talked to months before by phone, approached me as I was packing up.

I Consider it Criminal Activity – Previously she had told me she had provided some 150 private invoices from her art supplies business clients to a lawyer for money. When I expressed how unethical – not to mention highly illegal – this was to hand over private customer business papers complete with their VISA credit card numbers, to a lawyer just to make a buck, she got angry.

Now in court, as if on cue, she walked directly up, and shoved a packet full of Ex-Lax at me, on which she had written “Because UR full of it!”

The Sommer Family – Out of Control – Days before, Mrs. Anna Sommer – whom I had previously always considered an independent professional – hugely disappointed me, when, out of the blue, she suddenly, loudly and aggressively, shouted at my wife, during a recess in court, to NOT talk to her witnesses, barking angrily that “They have been ordered NOT to speak to you.” It happened while many other people were chatting away in court, and my wife quietly tried to start a friendly chat with a person she did not know, and who turned out to be NOT a Sommer witness at all.

Unlike the EX-LAX presenter – and Sommer witness Loraine Cull – who deliberately sought me out and aggressively accosted me, in spite of Mrs. Sommer’s claim her witnesses had been ordered to “stay away from the Goldis.”

I can only assume, Mrs. Sommer was either lying, or told Cull to “Go ahead, harass him.”

I note her husband Mr. Sommer, aggressively yelled at me when I started to speak to Richard Baker.

It seems to be an out of control Sommer family trait, to aggressively rage at John Goldi and “wife-of,” in the public gallery of Ontario court rooms, whenever the judge or security guards aren’t  around. And the Sommer fury is unleashed whether the Goldis sit in total silence, or if they quietly try to speak to someone while many other people are chatting away.

And then to add insult to injury, Mr. Sommer drafts up court papers to accuse the Goldis of being aggressive and physically dangerous to their clients, supposedly threatening them with guns, etc.

It was a modus operandi that Mr. Sommer copied from his longtime business partner Ritchie Sinclair.

The Sommer/Sinclair Modus Operandi – I note that the Sommer family behaviour is a carbon copy adoption from his longtime business partner Ritchie Sinclair. whose dishonest and aggressive court manipulations were ruthlessly exposed and discredited with great disdain by the Hon. Justice Alphonse T Lacavera, in Regina v Otavnik, where he uncovered a world turned upside down. Justice Lacavera was presiding over a case where the Crown – at the behest of Sinclair – was trying Otavnik for Criminal Harassment and Assault. Justice Lacavera found that exactly the opposite was true. That the supposed Victim “Sinclair,” was, in fact, the Perpetrator.

Justice Lacavera went out of his way to say he did not buy “the Fucking Asshole” excuse offered by Sinclair and his lawyer, Zak Muscovitch. Muscovitch said he refused legal service of documents from Otavnik because he claimed, Joe called him a “fucking asshole.” Apparently a phrase lawyer Muscovitch had never heard before.

Lacavera found that Otavnik was NOT GUILTY of harassment or assault, and his conduct always within his legal rights and limits, but that Sinclair and his then-lawyer were the malfeasant culprits, either deliberately seeking out Otavnik for harassment or illegally photographing him in courtrooms. And lying about it all, under oath, on the stand.

Sinclair, appearing in White v Sinclair – in which he was found guilty and fined the maximum for his aggressive Libel and Slander, had demanded the Judge give him protection, against James White, who he started shouting, was dangerous and physically a threat to him. To separate them during a break, the judge smilingly asked the 71 year-old White to accompany him to his photocopy machine.

It is my experience as well. Sinclair either alone, or in concert with his roommate, or a Sommer employee, has assaulted or harassed me, my wife, and my witnesses by lunging at them, shouting at them throwing stuff at them, or illegally photographing them – all in courtroom foyers. And always as the employee of Jonathan Sommer’s Business Law Firm.

On one occasion, Sinclair and his roommate, Garth Cole, while on assignment from Jonathan Sommer, assaulted my witness and my wife as they exited a Brampton, ON. courtroom. As they came into the hall burdened down with boxes of files, Cole, shouting loudly, literally threw heavy Sommer Law Firm packets at my witness Joe Otavnik. Cole then hit my wife on the back with a heavy manila packet, shouting loudly, “Take that you fucking bitch,” while Sinclair took photos of the mayhem. I alerted court security who forced Sinclair to delete his illegal photos.

And you won’t believe this, Sinclair had first demanded court security, in a room where our case against him was being heard, claiming the Goldis are dangerous, just as he did against Otavnik, and on another occasion with James White.

John Goldi, Gentleman – I had only one interaction with Mrs. Sommer. By accident we met head on at the glass door to the courtroom, with her walking up as I swung it open. I – ever the gentleman – stepped back and cheerily said, “Go ahead.” She stopped. hesitated, then walked through as I held the door open for her. She glowered, and grunted some unintelligible sound as she passed by. That was my public deportment towards the woman who had nastily and aggressively shouted at my wife the day before.

I had a witness, if you don’t believe me. Ritchie Sinclair, who could always be found in close proximity to Mr. or Mr. Sommer, and on full display every day, always holding hands with a much younger woman who always accompanied him. Sinclair had, as usual come up behind Mrs. Sommer, holding hands with the woman, and was caught unawares. I held the door open longer and said, “Go ahead.” He stopped, looked away to avoid my eyes. The woman looked about vacantly – but that was her usual look. Both resolutely refused to come forward. I said “Not coming in today Mr. Sinclair. Suit yourself,” and walked in.

The Sinclair/Sommer Promo Website – Since 2008, Sinclair has operated a malicious and racist website that has become notorious for six major missions:

– ruthlessly promote the Morrisseau “fakes” fraud, started in 2001, by Don Robinson
– denigrate, discredit, & devalue, as “fakes,”  1,000 genuine Morrisseaus, which were being sold by Kinsman Robinson Galleries’ main business competitors in Indigenous art
– Libel decent and reputable art collectors, dealers, and First Nations artists
– attack the main business competitors of Kinsman Robinson Galleries
– ruthlessly promote Mr. Sommer’s Morrisseau’s “fakes” lawsuits
– attack judges, forensic experts, or journalists who expose these fraudulent activities

The result: unprecedented Cultural Genocide, with the value of Morrisseau paintings destroyed  in the tens of millions of dollars. And the severe deterioration of the entire First Nations cottage art industry.

One such target, James White won a huge Libel and Slander conviction against Sinclair and his website depredations that have hugely destroyed – done Great Irreparable Harm – to the art and artists of Canada’s Indigenous people.

So, with the Plaintiff’s witnesses part of the Hearn v McLeod (deceased) trial over, Sinclair immediately went home and quickly posted how Robertson had “with absolute certainty” concluded the painting was a forgery, after “days of incredible evidence brought by a string of credible witnesses.” And he immediately appended a court document only Sommer had access to – over a week later I still have not been able to get a copy.

An International Internet Plague – Identity Theft – And immediately after that, Sinclair sent me one of his anonymous but signature “Hey Dumb Fuck” emails – of which I have received many over the years – from the john.goldi@gmail.com email account he created using my name to send filthy emails around the internet.

(Numerous others have been getting the same Sinclair scatology, for years. Sinclair doesn’t seem to get it, that if, as happened several times, that when he is the only other person in the court besides the judge and the clerk, it is useless to send a quick “anonymous” scatological email that could only have come from the only four people in court that day. And I know three who wouldn’t have done it.)

Robertson Gives a Reading – Robertson’s testimony was unique. For one thing, of all the witnesses, she is the only one who did NOT speak from the heart. To me that is always a key ingredient in any testimony. She is the only one whose testimony was almost entirely, chapter and verse, read (from her 67 page report.)

I followed with my finger, page after page, hour after hour. Though she sometimes took a breather, or her merciless droning was interrupted by Sommer trying to make it appear to be a question and answer session, which it was supposed to be. Then she went on again, for another five or ten minutes. Very loud and incessant.

It reminded me very much of the time I used a mallet to pound my head. I’ve now had both… Given a choice; I’ll take the mallet.

How very different a performance from her predecessor in his role as Sommer’s “expert.” I had watched Donald Robinson present his “expert report” over many hours on multiple days, in 2011 and 2012. He never used a note; he never read a damn thing; he spoke from the head and the heart, non-stop, hour after hour.

It was a bravura performance of a man passionate and knowledgeable about what he wanted to “sell” to the court and to the public.

With only one over-arching problem, of which I was reminded in recalling the testimony of James White, in another court in another year – I heard it; I saw it; I read the transcripts:

“There is one person who deems himself an “expert” – Donald Robinson… but he has been caught in so many lies, that his opinion is not worth anything… My opinion is, that Mr. Sinclair is no expert, but that Mr Robinson is an expert, but is lying through his teeth. And between the two of them they have devalued at least a hundred million dollars worth of Morrisseaus.” (Transcripts, James White, in Regina v Otavnik, p24).

Indeed, multiple judges have noted Donald Robinson’s overwhelming self interest which seems to guide his every thought and action on behalf of his son Paul’s Kinsman Robinson Galleries.

NOTE: In Small Claims Court witnesses are not even allowed to use notes without the judge’s permission.

Carmen Robertson, in comparison, was a pale shadow of a performer compared to her mentor. She did not seem to know her lines. But she did prove that she was a very good reader, loud and forceful. But sadly, not convincing at what she was trying to sell.

Initially, Robertson had said she would NOT appear in court and testify.

I can certainly sympathize and see why; I personally would also NOT have come with such a report like the one she came to sell. If ever a document needed an editor, a reviewer, or a second opinion – HELL a second look by the author! –  her’s was it. It’s clear to me that her turn-around, and decision to appear after all, came after Robertson was promised help or coaching in some way, to get through an ordeal and a minefield of her own fabrication.

Presumably, enter Richard Baker.

Justice Edward M. Morgan wasn’t the only one who seemed to me to be perplexed, when Sommer refused to present his “expert” first, as is the usual practice, and which he clearly expected, and asked pointed questions about. But the Plaintiff’s lawyer Sommer insisted on leaving his “expert” Robertson to the last Day 5…

I, of course, knew exactly what was going on, what his “Fly on the Wall” strategy was, from the beginning. And so do you.

This is Still Repeating on Me!This was exactly Jonathan Sommer’s tactic in Hatfield v Child, where he had also, deliberately allowed Ritchie Sinclair, HIS ONLY (non-expert) WITNESS, to sit in court on Day one in Hatfield v Child (May 31, 2011) – I saw it; I heard it; I read the transcripts – of the trial. So his only witness could, later, synchronize his testimony with what Sommer and the Plaintiff Hatfield said to the judge.

Sommer had also demanded Judge Martial ban Joe Otavnik from the court, even though he was not a party in the proceedings, and even though he was a member of the Public. Otavnik was never even present.

Sommer was targeting Otavnik as a personal favour to Ritchie Sinclair, his longtime business partner and only witness in the Hatfield Trial.

And exactly, as he has tried to do to me and my “wife-of,” in 2017, in multiple courts: BAN, SLAPP SUIT, OR GAG AN OBSERVER WHO DARES TO KEEP THE PUBLIC INFORMED OF WHAT IS GOING ON in the worst art fraud in Canadian history.

The Biggest Court Surprise – Sommer, Baker and Robertson, had mistakenly thought ALL THEIR COVERT MACHINATIONS could ALL be kept secret. NO WONDER Mr. SOMMER WAS MORE THAN UPSET, AND MULTIPLE TIMES, COMPLAINED TO THE JUDGE, AND ROBERTSON WENT BALLISTIC IN COURT, DENOUNCING THAT I – AND “wife-of,” HAD PUBLISHED HER “EXPERT REPORT,” SOMETHING NEITHER SOMMER OR ROBERTSON EXPECTED OR WANTED. You read it and figure out why.

Clearly, if he was an informed lawyer, Jonathan Sommer should have known about the Ontario Protection of Public Participation Act (PPPA) of 2015 – also known as the anti-Gag Order legislation, widely hailed as welcome by BOTH the media and the legal community. Sommer should have informed his “expert” of its existence, to prevent her obvious coming embarrassment. She made it clear, with more than a bit of anger, that she was not aware that you couldn’t keep court documents like her “report” secret, for a case of “public interest” and “national importance.”

Robertson did NOT say why she, who comes from the world of “Publish or Perish,” wanted this huge “expert” tome of hers kept secret. At 67 pages, it’s the biggest illustrated work she’s ever written by herself. But not a trace or mention of it is found anywhere on any of her bios…

Why not? Is she not proud of her work? Why does she not want her colleagues, or her employer to become aware of her work?

After I failed to get a response from the University of Regina, about its possible involvement in the production and funding of this report, and the travel costs, etc., it would involve – Robertson had hugely bannered the university in the middle of her front page – the university did reply to Joe Otavnik when he asked the very same question. 

The university replied, it was NOT involved, that Robertson had done it as a private person.

Sommer Trashes His “A Team” – With my Blog exposing Robinson and Sinclair, for years as too disgraced and discredited to present credibly in any court, Sommer  suddenly announced they were fired from the Hearn v McLeod case, on Oct. 3, 2017. Even he, clearly agreed his “A Team” was too much damaged goods – disgraced by judge, after judge, after judge, as my Blog pointed out – to get him any further in the courts.

NOTE: I found it totally unforgivable that, in an “expert report” discussing Morrisseau BDP signatures (Black Drybrush Paint) and alleging a “fake,” any reputable academic would make ZERO mention of TWO landmark judgments of 2013 – the 39 page Martial Judgment in Hatfield v Child, and the Appeal Judgment of Justice Sanderson.

Which, for reasons best explained by her, is exactly what Ms. Robertson did, of course, believing, as now has become public, her “oversight” was supposed – it was planned with Mr. Sommer; she now says he assured her – it would all stay secret.

Why would a reputable academic make such glaring omissions of primary documents and landmark decisions, on the very issue she was supposedly writing her expert report on? And especially since Judge Martial said there was “overwhelming evidence” that Norval signed possibly thousands of BDPs, like “Wheel of Life 1979.” And his finding was totally and strongly affirmed by the Hon. Justice Mary Anne Sanderson on Dec. 17, 2013.

BDPs of the same type exactly, from the same artist, from the same era exactly, and from the same disclosed and documented sources exactly, as “Spirit Energy of Mother Earth 1974,” that Robertson was roundly, without any credible substantiation, choosing to trash.

So Mr. Sommer has changed the names – on the deck chairs of the Titanic – but NOT the claims of his specious lawsuit.

Sommer Presents His “B Team” – This time Richard Baker and Carmen Robertson are reviving an old Donald Robinson and Ritchie Sinclair trick that was discredited by judge, after judge. So, still the same lawyer, Jonathan Sommer – but now with a new team. Their ultimate aim: declare Baker’s among the tiny number of the only genuine Morrisseaus in the world…

And your… and my Morrisseau BDPs, are crap…

Baker’s Morrisseau paintings skyrocket in value, for “Donation” purposes, for resale, or passing on to his estate, and yours, says the B Team, et al., are worth “ZERO.” Baker was, of course trained by Donald Robinson and his Wanker 16, and knew exactly what to do.

NOTE: In the Hearn v McLeod case, the Defendants asked for access by their expert, to Kevin Hearn’s painting, so they could do a forensic examination. They were STRONGLY DENIED ACCESS TO THE PAINTING by Sommer and Hearn. In fact in the 12 years since Hearn bought the painting he and his backers have resolutely refused to have forensics done on the BDP back.

Why? The answer was there in spades when I ultimately arranged to have the forensics done, proving the painting was NIAOB, TOTALLY authentic.

Fly-on-the Wall – Court testimony made clear that, in early July 2009, lawyer and NMHS member, Richard Baker, plotted, at his office, hand-in-hand with Donald Robinson, KRG staff, and KRG enforcer Ritchie Sinclair, to make a common front to examine Joe Otavnik’s “Jesuit Preist” and declare it a forgery, for the Otavnik v Sinclair case. Which would conveniently enhance the value of Baker’s own Morrisseaus, by trashing everyone else’s. The resulting “expert report” trashing the painting as fake, by Robinson, was NOT accepted by Judge Godfrey (in Otavnik v Sinclair) as having proven anything. In fact “Jesuit Preist” was later forensically authenticated as a genuine Morrisseau. Which proves Baker was…

Confession: In five days of court proceedings. Dec. 4-8, 2017, attended by some thirty or forty people in all, I was present, non-stop in court longer than anyone else, except one court clerk. In that time Jonathan Sommer always had some ten to fifteen “boosters” or witnesses sitting in court.

In five long days I NEVER spoke to a single one. I thought that the best policy, even though a Maclean’s journalist, who was there, part-time, spoke freely to them all without a problem.

I Broke My Non-Engagement Rule Only Once: with Richard Baker, after he testified and Justice Morgan had gone. As Baker was joshing about with people, and as he neared my seat, I approached, and with a friendly smile I said:
“Mr. Baker, I was hoping you’d bring the Wanker 16 for display in court…”***

His face turned to stone, and he turned his back, as Jonathan Sommer – predictably – aggressively started to shout at me to STOP intimidating his witnesses.

(Though I admit Sommer was not in the full flight of the rage he unloaded on me, and my “wife-of,” as we quietly sat in a courtroom on Aug. 14, 2017 – before Justice Grant R Dow came in. Immediately when Mr. Sommer saw us, he aggressively charged towards us from the far end of the room, literally loudly shouting repeatedly, that we “Get out of the courtroom right now or I’ll have you thrown out.”) We ignored him, his bad manners, his loutish behaviour, and his conduct unbecoming a lawyer, and stared straight ahead. He kept up the tirade from only four feet in front of us, blocked only by the wooden barrier. We looked straight ahead, wondering where the hell is court security to prevent violence against members of the public when someone gets unhinged. Only moments later, after he entered court, Justice Grant R Dow refused Sommer’s plea to eject me from the public galleries.)

***The Wanker 16 are the Potter Auction paintings bought by Donald Robinson, which he testified in Hatfield v Child that he gave to the NMHS in 2005, to use as templates for deciding which Morrisseau paintings Kinsman Robinson Galleries wanted them to discredit, devalue, even destroy, as “fakes.”

The Norval Morrisseau Heritage Society (NMHS) was formed in 2005, as a branch plant operation of Paul Robinson’s Kinsman Robinson Galleries, by his father, Donald Robinson, to police and enforce the fraud. His initiation gift to the group – all of whom he appointed – was the Wanker 16. And legal cover was provided by Toronto lawyer Aaron Milrad to prevent any of them from suffering any legal blowback for any act of Cultural Genocide they chose to inflict on the art and artists of Canada’s Indigenous people.

Beyond Farce – Morrisseau, himself, of course, had lost it mentally and physically years before. In fact he had been sent to terminal care by Gabor Vadas in 2001, because Norval had been totally unmanageable anymore. But like Lazarus, they brought him back from the dead five years later, supposedly to write the Mission Statement for the group, personally select the experts he wanted from across Canada, and instruct them on their duties.

An Encomium from an Unlikely Source – In a derisive manner Baker had testified on the stand on Dec. 6, 2017 that he had been reading my Blog for five years. A damning admission. Personally, I would never read what I considered a crap article, a crap book, a crap website, or a crap Blog, after an initial dismissive viewing. Sorry, not even a second glance. Let alone follow it – and admit to doing so – for five years as Baker says he did.

Why would he do it? Simple; because, far from being crap, he and his colleagues knew that everything is highly documented and authoritative. And damning. He knew exactly what I was saying, asking, and why. And you do too.

Since 2005 they have utterly refused to expose their Wankers to the public. On Dec. 6, 2017, Richard Baker refused to answer a personal request demanding disclosure. The flames should tell you why he’s so angry about my demands for academic transparency. This group is terminally incapable of it. The NMHS prefers to side with other cultural vandals: ISIL, the Taliban, and the Nazi book burners. For 14 years they have done Great Irreparable Harm to Norval’s art.

In all those five years that I have mercilessly scorched the NMHS members for cultural genocide and academic malfeasance of the highest order, NOT ONCE have I received a single Cease and Desist demand, let alone a Libel or Defamation warning from any of them. Not only is the time limit for doing so, now multiple years too late, but they don’t dare face me in court with the mountain of incontrovertible evidence, from independent experts, with which I have been documenting their multiple malfeasant and fraudulent activities.

Beneath Contempt – Incestuous Conflict of Interest on the NMHS I believe it is fraudulent and beneath contempt that members of an organization (the NMHS) claiming to be a reputable arm’s length group of academics, supposedly assembling a credible catalogue raisonné of the works of Norval Morrisseau, are brazenly involved in vetting each others Morrisseaus, to increase their value for Canada Revenue Agency “Donation” and Tax Credit, or resale purposes, etc. – read Baker and Robertson for a start – and/or be involved in discrediting, denigrating, and devaluing genuine forensically authenticated works – read Ruth Phillips, Greg Hill (Red Lake Fiasco, SAW Gallery, etc.) and Carmen Robertson, hand-in-hand with KRG, for a start – belonging to non-NMHS members…

One of five genuine Morrisseau victims of the Phillips & Hill (NMHS) & KRG “book burning” cabal at Red Lake.

The Red Lake Incident (2008) shows dramatically how diabolical, vicious, and malicious, the members of the NMHS are, in reaching out to destroy other people’s genuine art – in that case, belonging to Ugo Matulic, long a target of Kinsman Robinson Galleries – to enhance the value of their own.
Red Lake Incident 

Cultural Genocide in Red Lake, Ontario

Red Lake curator Michele Alderton, was brow-beaten by big city NMHS & KRG blowhards into destroying all copies of her huge show catalogue, and remove five Matulic provided genuine Morrisseau paintings, she had already gladly accepted for inclusion. All were later forensically authenticated.

In fact Red Lake Curator Michele Alderton had ALREADY accepted, as authentic Morrisseaus the five Morrisseaus Matulic provided, and put them in her illustrated catalogue for the Morrisseau Retrospective, before Phillips, Hill, and John MacGregor Newman (for decades at Kinsman Robinson Galleries) collaborated to dump them as fakes. ALL were later totally authenticated by a forensic expert as genuine Morrisseaus.

The Red Lake target – Matulic – was then further targeted (2010) by the NMHS Society’s founding father, Donald Robinson, with a Million Dollar Lawsuit for Libel and Defamation. Matulic said KRG was in a conspiracy to boost its own KRG paintings while fraudulently attacking art belonging to business competitors. For three years the Kinsman Robinson Galleries publicly slanged him with it.

Then suddenly, weeks after the Martial Judgment came out “rejecting” Robinson and his report, KRG wisely chose to abandon this fraudulent lawsuit,  without conditions, after Day 1 of Discovery, against Ugo Matulic. MATULIC  –  FINAL RELEASE

A forensic scientist exposed Phillips’ and Hill’s incompetence as Morrisseau authenticators but talented as art terrorists.

Face to Face With Richard Baker – So, God, would never have forgiven me if I had not tried in person, what I had been asking publicly, of the NMHS on my Blog for five years: show me your so-called fakes, show the public the front and backs of the Wanker 16. Show us the evidence for what you claim… Show me you haven’t burned them… And prove to Canadians they are the “fakes” you claim…

Richard Baker collaborated with Donald Robinson to call this a fake. Robinson wrote a huge report trying to prove Jesuit Preist was a fake. Judge Godfrey didn’t buy it and urged Joe Otavnik to get a forensic finding for the signature. He did, and a top Canadian handwriting expert said it was an authentic Morrisseau signature, with DNA certainty. Makes Baker look a bit silly, don’t you think?

And a Founding Member of the NMHS, who had been on the ground floor of fronting for the fraud since 2005, UTTERLY FAILED THE ULTIMATE LITMUS TEST THAT COULD HAVE REDEEMED HIS REPUTATION AS A CREDIBLE VOICE FOR ANYTHING TO DO ABOUT MORRISSEAU ART.

His diminishing, bleating pleas of “innocent,” or “not true” will not help. None of it will now put a dent in the incontrovertible mountain of evidence that has piled up against him and his NMHS colleagues over the years.

One sentence, which I uttered in court,  will be the landmark moment when the last shred of NMHS credibility flopped dead on the floor. “Mr. Baker, I was hoping you’d bring the Wanker 16 for display in court…”

IF EVER THERE WAS A “SHOW AND TELL TIME” FOR THE NMHS, this trial was it. AND THEY AND BAKER IRRESPONSIBLY FAILED UTTERLY TO BRING FORTH A SINGLE – NOT EVEN ONE “FAKE” – TO SHOW THE JUDGE – AND THE PUBLIC – OF WHAT AN NMHS AND KRG, RITCHIE SINCLAIR, CARMEN ROBERTSON, AND MR. AND MRS. SOMMER FAKE LOOKED LIKE.

WHY NOT? But then you already know that…

And why Hearn and his handlers have never dared, in 13 years, to heed any and all entreaties to send “Spirit Energy” – a Morrisseau BDP – to a forensic expert. And exactly why the NMHS has also refused for 13 years to expose its “fakes” – the Wanker 16 BDPs – to the world, and to forensic experts.

Mr. Baker’s utter failure to be transparent, diminishes his reputation further in the role he has established for himself, in the history of Canadian art – especially regarding Indigenous art and that of Norval Morrisseau. What he and the NMHS stand for, and are linked to, is now cast in cement For the Ages, like ISIL and Palmyra, the Taliban and the Bamiyan Buddhas, and the Nazi book burners.   

Damned if You Do; And Damned if You Don’t – Baker and the NMHS refused to be transparent and disclosing, because he and they could not. He was caught between a rock and a hard place.

Either the Wanker 16 had already been burned/destroyed, and so could not be produced – PROVING ME RIGHT – or, they could NEVER disclose their BDP backs, because doing so would be proof that what the NMHS had been calling fakes since 2005 (and Robinson since 2001) and were discrediting and destroying, were genuine Morrisseaus, like Wanker #1, Wanker #17 and Wanker #18, all certified authentic by multiple forensic experts.

PROVING ME RIGHT AGAIN.

Which is why I believe the ultimate destiny for the Wanker 16 is, or was, the same – the incinerator.

I believe they had to be destroyed to prevent their BDP backs from EVER being tested, and so ruin the reputation of a lot of conniving “silks, satins, suits, and snoots” intent on fronting for a fraud. Three forensic reports are evidence enough for me. How about you?

Plus open the way for a class action lawsuit against Mr. Baker and the NMHS.

Blood, Fingerprints & DNA on the Murder Weapon – My sleuthing over the years shows how dead on I, and my research, has been. I had obtained amazing forensic authentication for Wanker #1, Wanker #17, and Wanker #18. It includes the first painting ever to receive 100% authentication from a forensic expert, far above the “highly probable,” routinely accepted by courts for sending a man to the gallows. And the only painting to win authentication from TWO forensic experts.

How many specks of blood, how many finger prints, how many spots of DNA, on a murder weapon are sufficient to send someone to the gallows? The ANSWER: IS ONE. So far I have documented three – THREE HUGE ONES… with DNA certainty.

And these are not the only ones; there are now over 150 forensically authenticated BDP signatures on Morrisseau paintings. Including the only three ever tested in a court by three different judges.

About which Jonathan Sommer and Carmen Robertson have collaborated since 2013 – her testimony at trial – to claim that not a single one they have seen is authentic. FORENSIC LIST

Baker, with his personal rebuff to my question, gave me – and you – the best possible proof, that what I had been saying about him and his colleagues, for five years, was 100% dead on, and confirmed in spades.

Cultural Genocide Made in Canada – The Baker “We’re down to 5,000” he told the court, tells me that the NMHS vandals have a lot more “burning” to do to get down to their preferred numbers of Morrisseau paintings, if they haven’t already done so.

Robertson has a more ambitious target of down to “over 1,000.” The dastardly group seem to be in a race for the Guinness Book of Records award for “top cultural vandals of the world,” determined to unseat ISIL’s dynamiting of Palmyra, the Taliban blasting of the Buddhas of Bamiyan, and the NAZI book-burners.

Lest We Forget – And the fewer they’re down to, the higher the valuation that Baker’s Robertson-authenticated Morrisseaus get… when he turns them in for tax credits by “donating” them to some public gallery run by one of Carmen Robertson’s colleagues…

So stop talking about foreign cultural vandals. These are ours… well yours…

Joe McLeod, once a respected College Dean, was by far, the most senior and trusted Morrisseau expert on the planet, having a personal relationship to the artist, his work, and his family, and the interests of Indigenous culture, that go back to 1959, when he was a teacher in northern Ontario. It’s a link which he fostered and maintained to the end. No one else I know – certainly no public gallery or government curator – did so much to promote Indigenous art and artists, as he did at his Maslak McLeod Gallery.

Judging the authenticity of Norval’s art by provenance is the worst possible fool’s errand that anyone knowledgeable about Canadian fine art, let alone his, would ever dare embark upon.

Especially from an illiterate artist, who lived on the street, never had a home where he could safeguard possessions, let alone even keep records, and was a nomad who was always on the run from one short-term place to another.

Norval was in fact contemptuous of “provenance” himself.

“White man’s paper’s no fucking good.” (Pollock, Dear M, p39)

Absolutely, with Norval’s art, suspect a hidden agenda, and a fraudulent claim, from anyone promising provenance back to “direct-from-the-artist.”

And Joe McLeod, who, unwisely, but out of the goodness of his heart, tried to put something impossible, but satisfactory, together, on paper, about “provenance,” just to help a beginning art collector (Kevin Hearn) have confidence in his art.

Thanks to nothing more than his well-meaning attempt to do a good deed, based on memory of years before, he soon became an unwitting target of a cabal of vicious, malicious, and ruthless art fraudsters. And of ruthless terrorist attacks in his old age, at his gallery, at his home, and in the courts…

In the old days museums were the only victims of incompetence – willful or otherwise – by art “experts.” Latterly only multi-millionaires, with cash to burn, like David Mirvish, Taylor Thomson, and Steve Martin, were the only victims. With Norval Morrisseau, truly the only “People’s Artist” Canada has ever produced, his art found its way into untold thousands of ordinary Canadian homes because he made it affordable. By maliciously calling thousands of his works forgeries, KRG, the NMHS, and their fraud-backing operatives, have wilfully destroyed the art heritage of Norval Morrisseau, and the private savings, investments, and cherished art, in the hands and homes of thousands of ordinary working class and middle class Canadians.

Why Tom Hoving Says Fuck Off With Your Provenance – A typical example of how Toronto’s Kinsman Robinson Galleries “manufactures provenance,” to alter, not only the history, or chain of title of paintings, but the actual essence of a painting to fool their clients and foil internet sleuths trying to track the real provenance, chain of title, and background of paintings on internet art indexes.

KRG SLAPP Suit Target & Blogger, Ugo Matulic of Calgary, Alberta, celebrates his total judicial triumph (May, 2013) and total vindication, outside Toronto’s Kinsman Robinson Galleries, whose principals sued him for One Million Dollars for “defamation” in 2010. Ugo is famous in Canadian history as the first person ever taken to court, for Libel and Slander, by the Morrisseau fraudsters, after they attacked and vilified him publicly by saying they were doing it, for three years. Simply because to them he was a dangerous blogger exposing their art fraud. After Day 1 of Discovery, in which the KRG lawyer, Chloe Snider, was confronted with Matulic’s mountain of evidence against KRG, they suddenly, and totally, abandoned, without conditions, their entire lawsuit against the blogger, in toto.

I believe that lawyer Snider believed she was being conned into fronting for a fraud with a SLAPP suit, and DID NOT want her career tarnished. Law Society of Upper Canada Rules bar lawyers from fronting for frauds.

“Fold or I’m Outta Here,” KRG lawyer, Chloe Snider.

I believe, without a bit of hesitancy, that KRG’s own lawyer, Chloe Snider, told the Robinsons that either they fold immediately or she was off the case. The abandonment happened right after Judge Martial issued his judgment further discrediting Donald Robinson.

Discovery Day 2, was never held. Matulic had refused to take part in it, and went back to Calgary, because Donald “Pop” Robinson refused to come, saying his was sick. They tried to replace him with Paul “Pup” Robinson who could then plead the 5th as they say in the US.

In fact I had seen Robinson pull this “sick” routine on Judge Godfrey in 2010. Godfrey (hearing Sinclair v Otavnik) told Sinclair, he was now ready to receive testimony from Robinson – who had been waiting in the hall all morning – after a ten minute break.

I went out and sat beside the elevator and watched as Sinclair, his roommate, Garth Cole, and Robinson, laughed and joked, some ten feet in front of me and went down the elevator.

The exact spot where the sick Robinson giggled away

The Robinson Sickness – Ten minutes later when Judge Godfrey told Sinclair, “Please bring in your witness,” Sinclair, without missing a beat replied, “Sorry, Your Honour, but he was sick and had to go home.”

Then only weeks later Judge Martial totally trashed Donald “Pop” Robinson, his testimony, his expertise as uncredentialed, untrustworthy, self-serving and “rejected” him as an “expert,” and his “expert report.”

Then I believe, Chloe brought the hammer down, and weeks later the Robinsons begged Matulic and his lawyer to be let off without penalty, for a vicious and malicious SLAPP suit they had promoted against a principled Blogger for three years on the internet and the KRG corporate website and the Sinclair/Sommer website.

Luckily, highly informed public voices like his (and other Morrisseau researchers and investigative journalists), who try to inform Canadians about matters “in the public interest,” have been protected, since 2015, by Ontario’s Protection of Public Participation Act, to shield them from creeps, crooks, and conmen trying to kill or gag their voices, with malicious SLAPP suits, to try to keep the public unaware of their nefarious, immoral, illegal, or criminal activities.

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My Mother the Forger…

Sordid Family Secrets Outed…

“AKA Hans Werner” – Unfortunately larceny runs in the family. I tried to cover up my real identity too, when I sneakily changed my name from Hans to John in 1950, when we came to Canada. Alas, you can’t hide your criminal past forever. 67 years after the last time I ever used that name, lawyer Jonathan Sommer’s sleuthing outed, in a court document, another sordid family secret from the Goldi past… my original foreigner name as a deliberately deceptive “AKA.” (Above Ruth Lüchow-Suter Göldi (1917-2014) and Hans Werner Göldi on the Bodensee, Switzerland, in April 1942. 12 kms across the lake, Allied bombers are incinerating Germany, and Mom’s relatives.)

My mother was an art forger, you know…

Attending the Hearn v McLeod trial reminded me of this.

It’s long been a dirty family secret, but Mom is dead now – she died at 97 in 2014 – so I feel I can reveal her sordid past for the public good.

I’m sure, if she were still living, Mr. Sommer would have been pleased to put her in his line-up of self-confessing art forgers.

When Mr. Sommer would ask her “Did you forge paintings, Mrs. Goldi? I remind you not telling the truth is a serious offence. I caution you, you are not a lawyer,” she would have said, “Yes, Mr. Sommer, I did. I’m sorry but I did.”

As well as being a good artist, she was an honest person, of sorts, aside from forging paintings, that is.

When Mr. Sommer would ask her,

“Now Mrs. Goldi, tell the court exactly when, and how you forged “Spirit Energy of Mother Earth 1974,” I’m sure Mom would have done her very best to try to be helpful.

After all Mr. Sommer had been nice to her, and paid for her plane fare, her hotel bills, and expenses… And a free trip across the country… So she would do what any decent person in her position would, try to please her benefactor.

Schloss Werdenberg, the medieval Goldi castle in the Rhine Valley, Switzerland. The Rhine is in the mist beyond; the mountains are Austria. (A Christmas present 1969, when my wife and I had just returned from serving two years as high school teacher and adult education teaching volunteers, on local salary, for CUSO, in remote northern Uganda.  From my Mom, Ruth Lüchow-Suter Goldi.)

The telltale back of a painting, which is almost always the key determinant in helping establish if what is on the other side is genuine. Why? Because every artist – like my Mom and Yours – want to leave something personally identifiable for the Ages.  Artists, like Mom and Norval, are proud craftspeople and don’t want to leave Blanks AKA Blank Backs behind to mark their passing. Not, at all, the case with Morrisseau, as ALL Morrisseau fraudsters absurdly claim: that Norval left only Blank backs… with, on rare occasions, a pen or pencil notation… Really? Both Mom and Simpson’s say the fraudsters are wrong…

Virtually the only pen and pencil writing you will ever see on the back of paintings are by the framer. The fraudsters have their story orchestrated, claiming Norval sometimes wrote in this crimped, introspective, retiring, minimalist scratching on the back of his art with pen or pencil. HARDLY LIKELY. Maybe a very few times. BUT Norval had a personality bigger than life, was hugely overbearing, sexually aggressive, opinionated, and wildly over-the-top in his habits, behaviour, and actions. And only signed like a shy schoolmarm the very odd time? OR NOT AT ALL… It’s an idiotic claim to make because the two things do NOT at all jibe. And sure enough, some 150 forensic reports of BDPs show Norval’s signature on the back was as big and blowsy as the guy who painted the front, who in his off hours, wrecked houses, motels, went on brawls, etc. No he didn’t go to sharpen a pencil… Norval lived life large, painted large on the front, and signed large, with a monstrous BDP, as big as his personality, on the back… Certainly no blank on the back for Norval, the biggest personality and most egotistically over-the-top artist Canada has ever produced.

Even Simpson’s tells you they know what every artist wants to leave For the Ages, and so it has provided a special place on the BACK of ALL IT’S ARTISTS’ PRIMED CANVAS PANELS, to make it easy for my Mom  and Yours, to do what ALL artists WANT TO DO. Remember only fraudsters and their operatives – not any artists you or I have ever known – want Blank backs and secrecy… AND FORGERIES… BDPs do not denote or hide forgers – they expose them.

“Well, I can’t say if I forged that one exactly, but I did lots of others Mr. Sommer. Isn’t that a nice one I did of the Goldi castle?”

“No, Mrs. Goldi, you’ve really got to try harder. Forging others you may have done, is of no use to me. I need to prove that you have direct involvement in forging “Spirit Energy.” I have to prove THAT painting is a fake, NOT all those others you may have forged. That’s really immaterial and of no use to me in what I have to prove here.”

“Now, try again Mrs. Goldi. Can’t you recollect, for me please, painting Spirit Energy?”

I was some pissed off to discover, years later, that Mom had, unforgivably, forged my painting from this postcard. I wonder, how many other Moms have done this to their kids…?

“Well, I can’t really say. But wait, I’ll ask Mary, my neighbour; she used to paint with me. Maybe she did it. Would that be helpful to you Mr. Sommer?”

“Grrrh…”

“But you know, when I come to think of it again, that “Spirit” one looks far too good. I mean it looks like it was painted by a real artist. And it was so long ago. I mean, it just doesn’t look like something small time art forgers like Mary and I could do… I’m sorry Mr. Sommer.”

“That will be all, Mrs. Goldi… And because you refused to be more helpful, I’m going to have to Gag your son.”

“Spirit Energy of Mother Earth 1974” – A typical 1970s BDP of which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in this way. (By the fall of 2017, over 150 forensic reports, by different independent handwriting experts, have affirmed what a wise judge he was.) On Sep. 25, 2017, a forensic report from a professional handwriting expert, proved “Spirit” was authentically signed and painted by Norval Morrisseau, NOT by my mother, Mrs. Goldi… Sorry Ma, no credit for you. Your Goldi castle’s good, but not this good…

A Personal Note

I have always hated “Spirit Energy of Mother Earth 1974,” having only seen it, for years – you know like Professor Robertson – from lowlife internet jpegs. And the colours looked, OK, frankly awful… It’s NOT a Morrisseau I would ever have wanted to buy.

Then on October 2, 2017, I saw it in a courtroom for the first time, up close and personal, and received – Wow – a pleasant and total surprise. It looked nothing like the dupes I had seen for years…

I returned to my seat and turned around to Kevin Hearn, the owner of the painting, sitting immediately behind me and said, “Holy cow, that painting is a great surprise, after only seeing it on internet dupes. It’s actually a very wonderful painting. Amazing! A Great Canadian Heritage Treasure.”

Kevin dryly replied, “I’ll sell it to you for $25,000.”

I replied, “Sorry Kevin, but you and your lawsuit claiming, for years, that it’s a “fake,” have destroyed its value for the Ages. Don Robinson says “fakes” are worth nothing.”

Kevin said nothing. I turned around. 

Two decorative Wascana Floaters, something Professor Robertson says in her report that Norval never painted; that a forger painted the seven in all, on “Spirit Energy of Mother Earth.”

I would caution any of you, thinking of buying a Russian mail order bride, only from seeing a picture in a catalogue or book – again a favourite methodology of Professor Robertson in authenticating original paintings. It could prove to be a major disappointment, once you got your hands on the real thing…

Or a wonderful surprise. Just as happened to me with “Spirit Energy.”

It’s a telling cautionary that NO ONE – with or without Lakota DNA – should make judgments about original paintings they have NOT SEEN IN HAND, UP CLOSE AND PERSONAL, just based on picture books or internet jpegs.

“Wascana Floaters” I wished I’s seen before I published…”

Wot the hell is this? Explain please Professor Robertson… Does that look like Norval to you, say about 1963, maybe in Kenora? And gol blimey, do you think those are Wascana Floaters…? And SIX of them… Wow! And four are decorative! But professor I thought you said…

And is of course why professional forensic scientists and handwriting analysis experts want to see the real thing in hand, not a dupe, before assessing an original of any kind. So that they avoid falling into the trap that Professor Robertson set for herself…

By pointing out those seven Wascana Floaters that she says are ironclad proof – based on her expertise – that the painting’s a fake.

Blissfully unaware that photos exist of Norval with paintings with Wascana Floaters. And that ALL her colleagues have published numerous paintings over the years, as genuine Morrisseaus, scores of which contain many, many Wascana Floaters…

And the Canadian Museum of History’s own coat of arms features both, a CONNECTED “divided circle,” that Robertson says are the only genuine ones, and a Wascana Floater – DISCONNECTED WITH LINES TO OTHER PICTURE ELEMENTS, that she says are sure signs of a fake.

So, who’s right? The Professor or the Canadian Museum of History?

If Professor Robertson had only remembered a few basic cautionaries she would not have called a “fake,” a painting found to be authentic by a  handwriting expert, who possesses scientific skills she admits – in her own report – she has NO, NONE, ZIP, NADA expertise.

The Daring Professor – But it didn’t stop the daring professor from saying all kinds of things regarding authenticity based on a sample group of 44 paintings, of which she had only “observed” 8 – that’s eight folks – in the flesh.

And those eight she had only observed years before she wrote this report, doing it all from patches of memory of three, four, five years before…

In fact Professor Robertson – according to her own documentation – DID NOT EXAMINE A SINGLE ORIGINAL PAINTING IN HAND, FOR THE PURPOSES OF HER REPORT, OR IN THE TIME FRAME IN WHICH SHE WROTE THIS REPORT.

Not one.

Choosing to rely, instead, on her memory, which served her so badly…

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Key PDFs to Download – Hearn v McLeod Estate, Dec. 2017

PDFs to Die For – “The pen is mightier than the sword.” 
For ALL the Morrisseau-related PDFs
Go to our PDF BIN in the Header Menu

 PDF5 Defence – Hearn v McLeod – Shiller – Feb 2013
– “A voice from the grave” by a lawyer with “heart”
– Shiller defending an honourable guy and his genuine Morrisseau art

PDF14 Defence of Responsible Communication – M Geist

PDF15 Protection of Public Participation – Anti-Gag – Section 137

PDF16 KRG Million Dollar SLAPP SUIT Release Absolving Ugo Matulic

Brian Shiller, the Defendant’s Counsel, and champion of “Wheel of Life 1979” as a genuine work – not a “fake” – by Norval Morrisseau won his case hands down in every detail, delivering a total knock-out to the Plaintiff’s lawyer  Jonathan Sommer, and his witnesses, Margaret Hatfield, Donald Robinson, and his longtime business associate, and fraud enforcer Ritchie Sinclair.

A Lawyer with “Heart…”

For those of you who are tittering at this point, let me introduce you to Brian Shiller, winner of all the Morrisseau “fakes” related lawsuits, and a ruthlessly effective vanquisher of their proponents.

Shiller roundly discredited in every way possible, the claims, and people put forward as “experts,” or “witnesses” (Donald Robinson and Ritchie Sinclair) by Jonathan Sommer, before multiple judges in multiple courts, including in: Hatfield v Child (the trial), Hatfield v Child (the Appeal), McDermott v McLeod (abandoned by McDermott), and White v Sinclair. Multiple Slam Dunks, all by Shiller… and ALL against the art fraudsters and their enabling lawyer.

On Dec. 4, 2017 the Hearn v McLeod trial started without McLeod, who died in May, and without Shiller.

But Jonathan Sommer is back and going to give it another try – the job pays very well – in only the second such try to claim a Morrisseau “fake” ever attempted by any lawyer in Canadian history. The first, also Sommer’s, was Hatfield v Child which spectacularly failed on every front possible, in two courts before two judges.

Till Joe died, Shiller represented Joe McLeod. And had written his Defence.

After years of ruthless attacks*** by conspiring art fraudsters behind Kevin Hearn, Joe McLeod, in his late 80s, and with his declining years totally destroyed by Sommer’s specious lawsuits (Hatfield, McDermott, Hearn) using the same totally discredited witnesses (Sinclair and Donald Robinson) whom he had used for years, sat down with Brian Shiller, who wrote down his Defence against the malicious fraudsters.

(***Including physical threats by Ritchie Sinclair, from June to December 2010. Police warned him to stop in September. When he ignored them and persisted, Toronto Police charged him with multiple counts of Criminal Harassment on Dec. 10, 2010.)

“Like Joe, talking from the grave…”

While sitting down with the 87 year-old, and ailing, Joe McLeod, I believe Brian Shiller truly wrote from the heart. Some years later, after Joe had died, in responding to a positive comment on the written defence, Shiller shyly confessed, in a rare moment of self-effacing introspection rare to find in lawyers, “I kind of consider it like Joe, talking from the grave.”

And besides writing a devastating Defence, Shiller wrote, what I consider to be a heartfelt plea against an art fraud that maliciously, and without substantiation, victimized a universally respected and very decent old man, for a lowlife pecuniary gain.

Besides doing Great Irreparable Harm to the Indigenous art and artists of Canada, decimating a small cottage industry that Judge Martial estimated to in the $50 million range. Others estimate the damage to be closer to $100 million.

The Defence, is in effect, the Last Will and Testament of the man who had, for decades, a decidedly soft spot in his heart for Indigenous art and artists, and was, for decades respected as the most senior and knowledgeable Morrisseau expert.

PDF1 Secret Report – Carmen Robertson – “Spirit Energy of Mother Earth 1974”

In a court document file box, in March 2017, I discovered a secret, unpublished copy of Carmen Robertson’s so-called “expert” report, in which she slanged – without substantiation – multiple (six) specific paintings she had never even seen, as “fakes.” (Robertson is a teacher of Visual Arts at the University of Regina.)

She slanged four of the Otavnik/Seetner family’s authenticated Morrisseaus (a highly vetted family Canada Revenue Agency tax credit donation, in 2004, to the Thunder Bay Art Gallery), as fakes, and so alleged Joe Otavnik’s family was knowingly involved in some kind of art and tax fraud.

After researching the notorious Robertson’s report in detail, I uncovered and exposed countless acts of academic malfeasance, illustrative of Robertson’s work as a so-called “researcher,” in her secret “expert” report.

I concluded that this unsubstantiated and fraudulent secret report was doing little more than fronting for a fraud, and doing GREAT IRREPARABLE HARM to the art and artists of Canada’s Indigenous people.

And there in the middle of the front page of the secret Robertson “expert” report, was hugely emblazoned the imprimatur of the University of Regina, its Department of Visual Arts, and its address, and postal code…

Robertson clearly was deliberately making aggressive use of the University of Regina’s backing, either with or without the university’s approval.

This usage of the university imprimatur was NOT a bio reference for Robertson as a university employee, which is customarily written in the back of books in the bio section. This was clearly a deliberate and huge promotional banner, designed to invoke, aggressively up front, the power of the university, and use its imprimatur front and centre of page one to try to give the contents of her secret report the apparent legitimacy and prominent backing of the university.

Defence of Responsible Communication – Before publishing my research data, I wanted to avail myself of the Defence of Responsible Communication, issued by the Hon. Chief Justice Beverley McLachlin, and her colleagues on the Supreme Court of Canada, in 2009, in Grant v Torstar.

Of tangential importance, Chief Justice McLachlin had written the Defence, as an endorsed representative of the Supreme Court of Canada, writing the majority report on behalf of her colleagues, NOT as a private citizen, off on a lark, by herself…, giving her opinion.

To intentionally give her “expert report” more weight than if she just signed it as “Beverley.” That, I consider an approved usage of institutional backing.

Similarly, it was clear that Robertson was intentionally, likewise also, prominently bannering her report, on page one, as if it too was a report, in which she was speaking – not as a private individual – but as a representative of the university, and with the endorsement of the university.

I intended to verify if this was true. Or whether it was an unapproved and intentionally false usage.

I also intended to conform to all the protocols the Supreme Court justices wrote that were incumbent on anyone intending to write on matters of “public interest.” So writers could do so freely without fear of SLAPP suits from unhappy respondents.

PDF14 Defence of Responsible Communication – M Geist

Legal expert, Michael Geist, has written, regarding the various protocols of the Defence, defined and detailed in Grant v Torstar, that:

“Citizen journalists should take particular note of the factor… that is, whether they have sought the plaintiff’s side of the story. In Grant the Court cautions that “in most cases, it is inherently unfair to publish defamatory allegations of fact without giving the target an opportunity to respond.”
(Michael Geist).

I note that Carmen Robertson, over and over again, refused to avail herself of this Defence BEFORE setting out to slang people and their art, and especially in attacking the “provenance” of their art as forged or fraudulent.

Specifically Robertson was malfeasant in NOT contacting Joe McLeod and Joe Otavnik to get their response, and clarification on the provenance of their paintings, etc., BEFORE publishing. She also did NOT contact the consigner of this art, David Voss, or the auctioneer, Randy Potter of Kahn Auctions.

And then it gets worse.

Why did Robertson NOT insist that the painting’s BDP signature be examined by a professional handwriting expert, as any reasonable and duly diligent academic, prosecutor, or police investigator would demand? You know, check the blood evidence, the fingerprints, and the DNA on the murder weapon BEFORE sending someone to the gallows.

Was Robertson not seeking or interested in discovering the truth?

Clearly she had her mind made up ahead of time – she wanted these paintings to be fake – and she was NOT interested in the response of the people who were far more knowledgeable about the paintings than she was, or even to check if her opinion could be substantiated in any way, by any of them.

It’s not the sign of a good or credible academic researcher anywhere.

Predictably, it is why she ended up making herself look totally ludicrous with her preposterous claims about provenance related to “Spirit Energy of Mother Earth.” In fact Ritchie Sinclair’s own email in Sommer’s evidence box (the lawyer she prepared the report for) shows that Robertson was completely falsely – I believe purposively – mixing up Robert and David Voss, just to slang McLeod. The email shows Sinclair was boldly on McLeod’s side against Robertson’s slanging, citing definitively that McLeod was referencing “David” not the “Robert” Voss, as Robertson alleged, as the provenance source for the Hearn painting.

A couple of Due Diligent phone calls to McLeod, Otavnik, or Voss, could have saved Robertson tons of embarrassment and loss of face as a credible researcher, investigative journalist, and academic publisher.

I determined NOT to be similarly malfeasant.

Dr. Timmons did NOT reply to my letters asking for clarification before publishing.

So, on Aug. 30, 2017, I wrote a registered letter expressing my concerns to President Vianne Timmons of the University of Regina.

I asked if the university was aware of this Robertson publication, and whether the university backed it, or paid for it? That, as a Duly Diligent investigative journalist, I wanted a clarifying comment from the university on its involvement – its name was bannered front and centre – before I published.

Dr. Timmons did not respond.

I sent a second follow-up email and registered letter on Sep. 12, 2017.

Dr. Timmons again did not respond.

Clearly it appeared to me that neither the President, nor the University, cared about this report on a huge issue of public importance and national interest, that was, thanks to one of its professors, doing Great Irreparable Harm to the art and artists of Canada’s Indigenous people, all under the imprimatur of the University of Regina.

Backstabber – I received another shock on Oct. 2, 2017, when a copy of my letter, asking for information and clarification – as per my professional duty as stipulated by the Supreme Court of Canada’s “Defence of Responsible Communication” – appeared in court as a hostile weapon against my being granted intervener status in the Hearn v McLeod trial.

Who, from the University of Regina, sent this letter to the Plaintiff’s lawyer Jonathan Sommer, intending to do its secret, underhanded, and dirty deed against me, is unknown to me. It did, however, once more, indicate the direct involvement of lawyer Sommer in commissioning the Robertson report.

The letter – to which I had failed to get a university response – was now openly being used to back a fraud, on behalf of a specious lawsuit, and to attack the journalist, and public communicator, who had been front and centre in exposing the art fraud and the Morrisseau “fakes” HOAX, with spectacular success, since January 2013.

A Telling Blogging Achievement – Since I started my highly documented, single issue Blog, in January 2013, and in the five years since, the Jonathan Sommer/Sinclair combine had NOT found any new Morrisseau “fakes” cases to bring to court. NOT EVEN A SINGLE ONE…

Which is highly telling of my effectiveness as a public communicator, because both Sinclair and Sommer and their NMHS and KRG fraud collaborators claim that there are literally “thousands of fakes by umpteen forgers,” out there. Then where the hell is the beef?

Brian Shiller is the lawyer who has won ALL his Morrisseau related court actions against both Sommer and Sinclair.

National Post journalist Tristin Hopper asked Brian Shiller, who represented all the clients Sommer had targeted, to respond to Jonathan J Sommer’s claims of “fakes.” Shiller tellingly replied as quoted in full from the article:

“He noted that Mr. Sommer ‘has been making the allegation of a fraud ring for a long time now’ and that ‘we have asked him for any evidence to support the claim but no evidence has been forthcoming.” (National Post, Tristin Hopper, Feb. 3, 2014)

There have been thousands of claims filed against pedophilic priests in Canada by countless lawyers.

But Sommer remains the only lawyer – out of 90,000 in Canada – to have ever filed a Morrisseau “fakes” claim. With predictable disastrous and discreditable consequences for his claims and the people he uses as “experts,” in Hatfield v Child, where both the trial Judge and the appeal Justice “rejected” them all.

Now, with the Hearn v McLeod trial about to begin, I had available a forensic report authenticating, with DNA certainty, the same painting that Sommer’s “expert” was slanging – without credible substantiation or evidence – as “fake.”

My invoking the Responsible Communication Defence in seeking information – as Justice McLachlin and Michael Geist both had demanded – had now backfired. It – and my demand for accountability – was now being used to badass me… By people who were intent on keeping everything as secret as possible from the public.

And who were apparently totally unaware of the Ontario Protection of Public Participation Act of 2015 (Also known as the anti-SLAPP suit act.) It was designed to prevent proceedings that attempt to limit Freedom of Expression on Matters of Public Interest, aka “gag proceedings.”

On Oct. 3, I published, on my Blog, the full unedited copy of the secret Robertson report and provided the public with a downloadable pdf copy, along with my insights and further critique of the work.

After reading it, many readers expressed their outrage at the contents of this secret report.

PDF2 Plaintiff’s Claim – Otavnik v Robertson – Nov 2017

One of the first readers of my Robertson report blog posting was Joe Otavnik.

As a longtime Morrisseau collector, and art dealer, Joe Otavnik was also outraged by what he read, especially as regards Robertson’s very pointed and public comments regarding his family’s 2004 donation to the Thunder Bay Art Gallery. He was outraged that the university was so publicly bannered, on the front page, as being involved in backing a secret report he came to regard as libelous and defamatory.

In early October, Mr. Otavnik, told me he also wrote Dr. Timmons a letter of intent to sue the university. Apparently the university lawyer replied that the university was NOT involved, that Robertson wrote this report on her own, as a private citizen.

On Nov. 3, 2017, Otavnik filed suit against Robertson for Libel and Defamation.

The Secret Robertson Report – The highly secretive Robertson Report, of 67 pages, was the second biggest book Ms. Robertson had ever written by herself. It is also the biggest illustrative book she has ever written.

Which makes it suspiciously astonishing, when I discovered she had taken great care to deliberately hide ALL mention of it, anywhere on all her other professional publications, footnotes, sources, and bios, on ALL of her publicly published or internet platforms.

Why would a reputable, or proud academic, do this, with a professional work into which she has spent so much time, money, and effort to fabricate?

This was especially odd when, in her own “sources” for the expert report, she noted a bio listing every sneeze, burp, or cough she had ever made as a writer – seven pages worth, in small script – listing every two to three page article she had ever penned.

Yet she pointedly ignores, and makes no mention anywhere – in fact deliberately makes every possible effort to hide its existence – of a huge 67 page academic tome, lavishly illustrated with dozens of colour photos, which she had written expressly for, and secretly supplied, to help Jonathan Sommer with what I consider a specious lawsuit attacking Joe McLeod and a genuine Morrisseau painting.

And against every standard of ethical research, and requisite protocol demanded by Responsible Communication, Robertson did not even talk to Joe McLeod, before aggressively slanging him and his painting – secretly of course, so he would hopefully not find out till it was too late…

The aim of Robertson’s secret report was obviously twofold:

First, to discredit and defame Joe McLeod, formerly the Dean of English at Seneca College, and latterly the owner of the Maslak McLeod Gallery, in Toronto. McLeod had spent his early years teaching in small communities in Northern Ontario. Based on his experience with Indigenous art and artists, starting in 1959, he became known as Canada’s senior Morrisseau expert, and maintained till his death, contact with Norval’s Indigenous children.

When McLeod was artistic director of the Seneca College galleries and theatre, he had helped boost Norval’s career by arranging for him to become an artist-in-residence at the college. Joe built a well-deserved reputation, as second to none, in promoting, through his gallery, Indigenous art and artists, both First Nations and Inuit.

Second – Robertson was trying to prove the painting “Spirit Energy of Mother Earth 1974,” which Joe had acquired and sold as a genuine Morrisseau to Kevin Hearn, was a “fake.”

The possible purpose – try to dethrone Joe McLeod as the world’s top Morrisseau expert, a title she had started to claim for herself. Nice…

The Report Exposed – It quickly becomes clear, by my close reading of the report, that the intent is clearly NOT, as a real expert is supposed to do, carry out unbiased research to establish the Truth, but to pull out all the stops to “prove” the painting is a “fake” and Joe is a crook. Not nice…

Robertson was commissioned to write the report to help out the specious Hearn v McLeod lawsuit. Doing so secretly, I believe, she was hoping to escape being professionally tainted by her helping out by claiming the painting involved was a “fake.”

When Ms. Robertson very well knew, or ought to have known*** that ALL five paintings she slanged as “fakes,” to be helpful and obliging, were genuine. Unless the internet has not yet reached Wascana Creek.

***From the long published dossier of supporting experts affirming ALL four Otavnik/Seetner paintings. From the widely published results of the Hatfield v Child Trial Judgment by Judge Martial (Mar. 25, 2013) and the Appeal Judgment by Justice Sanderson (Dec. 17, 2013) regarding Sommer’s only other (and totally disastrous) court outing claiming a Morrisseau painting was “fake.”

I believe she was trying too hard to be amenable to the wishes and win the approval of her colleagues who were clearly fronting for a documented fraud.

Robertson, as well as slanging, the four Otavnik/Seetner paintings as fakes***, and the family as some kind of art and tax fraudsters, primarily slanged “Spirit Energy of Mother Earth,” another painting she had not seen, as a fake, and the dealer who sold it, Joe McLeod as some kind of deliberate fraudster and crook. A man, as I said, she never even bothered to talk to.

***Without the public or acknowledged approval of TBAG Director Sharon Godwin, entirely on her own, Robertson published that she had discredited the formerly “authentic” paintings, down to “attributed,” the most devastating reclassification an original work can undergo in the fine art world. Meaning someone now merely “claims” it is by the artist, when everyone knows it is not… but could merely, and more likely, be a look-alike by someone unknown. In auction parlance, “attributed” means “fake.” Robertson knew it and did it deliberately to slang both genuine paintings and decent people who donated them.

The Canada Revenue Agency DOES NOT grant tax status to paintings that are merely “attributed” by someone to someone… Doing so is tax fraud.

My investigation of the Robertson report had exposed over 66 incidents of academic malfeasance. It is no mystery to me, why she took such deliberate steps to hide all public knowledge of what she did behind closed doors, clearly in aid of a specious lawsuit and a documented fraud.

That’s what the Robertson report is based on: paintings she’s never seen, people she has not talked to; documents she has not read; judicial judgments she’s sneered off and totally ignored; experts she has not consulted; and lots of dupes and pictures in books she has thumbed her way through, back home in Wascana Creek.

And a report she has secretly tried in every way, to make sure that it leaves no damaging ripple effects, anywhere in her professional academic bios.

It’s quite clear that Mr. Sommer who secretly commissioned her to fabricate her “expert” report, had failed to tell Robertson – who lives in far-off, and remote Wascana Creek, SK – of two important Ontario Court regulations, she was clearly totally ignorant of, and she believed would never apply to her and her report:

the Ontario Protection of Public Participation Act of 2015 (Section 137 of the Courts of Justice Act), which allows the public access to ALL court documents in any case deemed to be of “public interest,” which the Hearn v McLeod lawsuit certainly is, and encourages publication of information that keeps the public informed about important public issues.

the Ontario Rules of Civil Procedure – Rule 4.1 Duty of an Expert, that demands anyone claiming to be an “expert” must conform to it.

4.1.01(1)It is the duty of every expert engaged by or on behalf of a party to provide evidence in relation to a proceeding under these rules,

(a) to provide opinion evidence that is fair, objective and non-partisan;

(b) to provide opinion evidence that is related only to matters that are within the expert’s area of expertiseand

Duty Prevails

(2)The duty in subrule (1) prevails over any obligation owed by the expert to the party by whom or on whose behalf he or she is engaged. O.Reg. 438/08, s.8.

It is beyond me, how any professional, intending to be an “expert” in a court proceeding would not research the Court Rules governing the Duties of an Expert, so she could comport with its strictures… But then Robertson, again and again, just disdainfully dismisses and willfully ignores anyone and anything she disagrees with, including multiple judges, justices, forensic experts, and independent authorities, auctioneers, gallery operators, and fine art collectors.

I know of no other academic who so aggressively sports her partisan passions on the sleeve of her supposed “arm’s length” expertise.

PDF3 Forensic Report – Davies – “Spirit Energy of Mother Earth 1974″

Note: I had been gathering or taking high resolution photos of the backs of FOUR key Morrisseau BDP paintings over the years, to take to a forensic expert. This was one. When, after several years, I found a public benefactor to pay for it, I provided my high res photos. All FOUR paintings were found to be authentic Morrisseaus.

A completed forensic report on “Spirit Energy” of Sep. 25, 2017, which I produced for the court on Oct. 2, 2017, proved the painting was authentic.

WHY IS THIS TRIAL GOING ON?

It is my belief, that since the subject painting “Spirit Energy of Mother Earth” has now been proven to be a genuine work by Norval Morrisseau, by an independent handwriting professional, the forensic report killed the lawsuit entirely, in every particular – it cannot succeed on any front – because:

IT EXTINGUISHED ANY POSSIBLE “CLOUD OF TITLE” (i.e. doubt) regarding the authorship of the art, (as Justice Sanderson told Jonathan Sommer discussing the same topic regarding “Wheel of Life” in Hatfield v Child) and that therefore:

– the lawsuit has No Cause of Action left on any level:

UNSUBSTANTIATED ALLEGATIONS BY HEARN IT WAS “FAKE” are no longer supportable for a forensically authenticated work

NO FRAUD WAS COMMITTED by the seller, in selling a client a proven genuine Morrisseau painting

LACK OF DETAILED, OR ACCURATE PROVENANCE IS IMMATERIAL regarding a proven genuine work by the artist, and plays no supportive or denigrating role, whatever, about its authenticity

NOTE: NOT DISCLOSING – aka REFUSING – PROVENANCE is the universal custom in the Canadian fine art industry for a whole host of reasons. For one thing, owners do NOT want their name disclosed, to prevent burglars from breaking in. The most common term, used thousands of times in countless thousands of fine art catalogue descriptions, every year, to describe Provenance, is “Private Collection.” The “privates” are NEVER disclosed.

I have bought thousands of art and memorabilia items – including many valuable paintings – from most of Canada’s top fine art auctioneers. In not a single case would the auction house disclose who owned it before I got it. Even though I got very insistent.

If they did ‘fess up, the auction house or gallery would immediately lose that client, and every other who heard about these privacy disclosures made to buyers.

– THE EXISTENCE OR NOT, OF OTHER PURPORTED “FAKES” IS IMMATERIAL regarding this proven genuine work by the artist

– FURTHERMORE: The Hiroshima & Nagasaki Bombshell – With lawyer Jonathan Sommer, suddenly (on Oct. 3, 2017), in a stunning “bombshell” announcement, saying he was dropping from the lawsuit, the Sommer “Dream Team Duo” – Donald Robinson the “expert,” his “expert” report, and Ritchie Sinclair, the chief enabler for the lawsuit, and the chief witness – the foundational evidence, and top witnesses for the case, totally disappear from support for the Plaintiff’s Claim.

By strategically dumping the Dream Team Duo, who for nine years have been the backbone of Sommer’s two Morrisseau “fakes” cases (Hatfield v Child & Hearn v McLeod) – and the only two in Canadian history – they escape entirely, being held accountable to demonstrate their “evidence” for their fraudulent charges and their libelous and defamatory claims.

So effectively preventing cross-examination accountability that would embarrass anyone involved in setting up this fraud…

The Sommer/Sinclair Combine – Both (two) Sommer/Sinclair combine lawsuits were engineered by Ritchie Sinclair, who, in each case, convinced a person who had bought a Morrisseau painting from a gallery that had turned Sinclair down as a gallery artist, that it was a “fake,” and that they should sue the gallery. And that they should hire Jonathan Sommer, from remote rural Sutton, Quebec, as their lawyer.

Thus, thanks only to Sinclair’s engineering, Sommer became the only lawyer in Canada – out of 90,000 – to ever take a Morrisseau “fakes” case to court, the Hatfield v Child case in 2011, and “Wheel of Life 1979.” (Which Sommer disastrously lost, both at trial and in the Appeal, in 2013.)

Now he’s going to give it one more try, with Hearn v McLeod in 2017, and “Spirit Energy of Mother Earth 1974.”

Then in his Nagasaki follow-up, Sommer killed off the man, Ritchie Sinclair, who had started it all, and swept his longtime collaborator and convicted art terrorist, out of sight, leaving some minor players to fill in as witnesses.

Suddenly, the only two people with direct knowledge of the painting and its alleged “AGO” (Art Gallery of Ontario) dismounting, but who don’t want to say it, are replaced by a patch work of minor players who know nothing, but are eager to tell it…

A balloon without air… offers to take you for a ride on Dec. 4, 2017… when the Hearn v McLeod Estate trial is set to begin.

PDF4 Judgment – Hatfield v Child – Trial Judge Martial – Mar 2013

The Hatfield v Child trial was the longest fine art trial in Canadian history. In his judgment Deputy Judge Paul J Martial totally dismissed and rejected in every possible way the claims of Jonathan Sommer, his “expert,” Donald Robinson, his “expert report,” and his chief witness Ritchie Sinclair, on Mar. 25, 2013.

Martial’s judgment totally killed any pretence that Sommer and his Dream Team – at best – had a clue about what they were talking about, and – at worst – were total fraudsters because they had spectacularly failed to produce for the court, an iota of evidence for what they were saying. And that astonishing failure, was on A “FAKE” PAINTING OF THEIR OWN CHOICE… And which, turned out to be ruled 100% genuine both front and back by both the trial judge, and the Appeal Justice, as well as the forensic expert.

Judge Martial chided the Plaintiff’s lawyer, Jonathan Sommer, for failing to produce the kind and quality of witnesses he expected to see in a court case. (It was the fourth time – out of four attempts – that an “expert report” produced by Donald Robinson for a lawsuit was rejected.)

And yet, unforgivably to my mind, Jonathan Sommer appealed Judge Martial’s judgment, for his client, the gullible and deluded Margaret Hatfield.

PDF5 Judgment – Hatfield v Child – Appeal Justice Sanderson – Dec 2013

Combined with her personal scorching – I saw her; I heard her – of the Plaintiff’s Claim, the Plaintiff, and Mr. Sommer’s arguments, Justice Mary Anne Sanderson, issued a withering judgment, that totally supported Judge Martial’s claim and found that: the painting the Sommer Dream Team called fake was 100% genuine, front and back, the Plaintiff misguided, the witnesses not believable, that none had produced credible evidence of any kind, and the lawyer as having utterly failed to produce any proof or substantiation for the claim.

Justice Sanderson targeted for special scorn (certainly, I believe, unusual for a Justice), Sommer’s “expert” Donald Robinson, who said Norval never signed a single BDP. When Judge Martial said there was “overwhelming evidence” that Norval signed possibly thousands of BDPs.

In fact documents prove Robinson had bought 31 BDPs for $54,000 from Potter auctions, and sold many as genuine Morrisseaus including Wanker #1. In fact, auctioneer Randy Potter had sold some 2,000 Morrisseaus over the years. And not a single one was ever returned as a “fake.” And no one ever demanded money back. And that includes Donald Robinson who never returned a single one of his 31 BDPs demanding a refund.

PDF6 Forensic Report – Dr. Singla – “SOMA 1976”

A key forensic corroborative resource for the Hatfield v Child lawsuit, regarding the authenticity of “Wheel of Life 1979,” was my own SOMA 1976.

The Deiter Voss Affidavit had provided two original BDP signatures that were authenticated as being signed by Morrisseau. SOMA 1976, provided a third authentic BDP signature, because Donald Robinson, the self-styled “world’s top Morrisseau expert,” had been the under bidder on this painting on Jan. 26, 2000.

In fact SOMA 1976, became the first Morrisseau painting to be given an authenticity rating of 100% by a forensic handwriting expert Dr. Atul K Singla PhD (Forensics). It is also, I believe, the only Morrisseau painting to have been authenticated, years apart, by two different forensic experts.

The Martial Trial, and the Sanderson Appeal had hugely, judicially established that there was “overwhelming evidence” that Norval signed possibly thousands of BDP signatures on the backs of his paintings. Both judges hugely scorched the Morrisseau “fakes” case, and quality of witnesses (uncredentialed, unqualified, untrustworthy and rejected) that Jonathan Sommer had brought to court.

By the fall of 2017 some 150 plus forensic reports had been completed, ALL finding that BDPs were authentically signed by Morrisseau. Without a single failing.

In preparation for the Hearn v McLeod trial I had sought out four specific paintings for forensic analysis, the results of which I hoped to introduce into the proceedings at some point.

The Intervener Fails; the Intervention is Highly Successful – On Oct. 2, 2017 I managed to make the court aware that I had the forensic proof that the painting called a “fake” in the Hearn trial was genuine. Justice Morgan pointed the way to get this done so it would be acceptable to the procedure. My intervention was highly successful, even though I failed to win intervener status. My forensic authentication document would be formally introduced into court by another party.

PDF7 Endorsement – Justice Morgan – Oct 2017

Two other people were ruthlessly determined to ignore BDP forensics of any kind, to get in their way of slanging people and their art.

Carmen Robertson, who has a long record of ignoring determinative judicial judgments, that interfere with her opinion, refused to have “Spirit Energy of Mother Earth,” a painting she had not even seen, forensically tested, before starting to slang it, and its signature as fake.

At the same time, Sommer, her commissioning lawyer, said he would NOT be using BDP forensics as part of the Hearn v McLeod case, this time around.

As preposterous as it sounds, this lawyer was saying (in Windspeaker.com), that, this time around, he was going to ignore the forensic evidence on the back of the Hearn painting, which featured a huge Morrisseau BDP signature highly suitable for scientific testing.

This was tantamount to a lawyer or prosecutor saying they were just going to ignore and NOT use the blood, the DNA, and the fingerprints on the murder weapon, this time around, in trying a defendant for murder…

And to prevent the forensics from being introduced in his court case Jonathan Sommer was ruthless in trying to get his way to prevent others from doing so.

He moved ruthlessly to try to:

– on Aug. 14, 2017 angrily yelling at John Goldi, multiple times, to “get out of the courtroom or I’ll have you thrown out” before Justice Grant R Dow entered court, where I had quietly sat down with my wife

– demand that Justice Dow throw me out of court – he refused

– block John Goldi from getting intervener status on Oct. 2, 2017

– prevent John Goldi from entering his four forensic reports to the court, especially the one authenticating the subject painting that Sommer called “fake,” as an authentic work

– prevent John Goldi from getting access to court records

– shut down John Goldi’s blog

– prevent John Goldi from attending court to stop his reporting

– demand that John Goldi be “Gagged,” fined, and incarcerated

– attack John Goldi personally, and through Sommer’s collaborators, by targeting his wife Joan Goldi who is not, and never has been, or is in any way noted or responsible in any way for TheNorvalMorrisseauHoaxExposedBlog.com

Vile Gender Bigotry – I note, in the ultimate absurdity, Carmen Robertson as the ultimate gender bigot in writing repeatedly, as she does, about Joan and John Goldi, or “the Goldis” when she has never met or contacted either my wife or myself. And though Joan Goldi is one of Canada’s most honoured award-winning film and television producers in history***, she has NEVER been noted anywhere as in any way involved in my private Blog. From where is Robertson regurgitating this mean-mouthed “wife-of” drivel?

*** I know of no other Canadian television producer who has won 130 international film and television awards. I know of no other Canadian who has won four Gold Medals for a documentary program, at an international festival. I know of no other Canadian who has won the PLATINUM super prize for Investigative Journalism at the world’s largest film and TV festival. I know of no other Canadian film or television producer who has won DOUBLE GOLDS, even once… And Joan Goldi did it three times with different programs, at three different American international film and television festivals, with one of her Silver Medalists being beaten out by one of her own Gold Medalists. 

Joan Goldi clearly has enough on her plate without taking part in my own private Blog.

PDF8 Judgment – White v Sinclair – Judge Kilian

Longtime Sommer business partner and unceremoniously dethroned Dream Team member, the notorious art terrorist, Ritchie Sinclair, who had been discredited by judge after judge, was finally fined the maximum – $28,750 – in Small Claims Court for his libelous and defamatory web postings against James White and his genuine Morrisseau BDP art.
Wrote Judge Kilian

“… he (Sinclair) presented no evidence of any experts to substantiate his assertion.The fact that he had worked with Norval Morrisseau does not automatically make him an expert and his testimony clearly showed he is not…

“His (Sinclair’s) comments were made recklessly with total disregard for the truth or their consequences… I am satisfied that the drastic drop in the Plaintiff’s business was in large part due to the Defendant’s website… Because of his (Sinclair’s) reckless false allegations disseminated on a world-wide media…”
– Judgment, Deputy Judge CW Kilian, Toronto, Aug. 5, 2015

PDF9 Judgment – Dealers v Sinclair – Justice Lederer – Dec 2008

Justice Lederer, in 2008, was already warning the world about the clearly libelous and defamatory information that Sinclair had on his website, noting that Sinclair was making allegations about paintings he had never even seen. And was making wild conjectures about the backs of paintings for which no pictures were even published. And, said Justice Lederer, he doubted that Sinclair would ever be able to substantiate any of his claims because of the sheer number of paintings involved, none of which he had even seen, or would ever be able to.

In fact, years later, an incredulous Judge Martial also expressed his derision about Sinclair’s self-proclaimed ability to decide a painting is a fake without even seeing it.

Copycat on Wascana Creek – In fact the heart of Carmen Robertson’s secret report, and her academic research modus operandi is clearly copied from the school dropout and convicted Libeler and Defamer Sinclair. Her ludicrously small determinative database of ONLY 44 paintings includes ONLY EIGHT PAINTINGS SHE SAYS SHE HAS “OBSERVED.” The rest she has only SEEN AS DUPES in picture books or as low res jpegs. And then on that basis going on to libel and slander genuine paintings and good people.

It’s exactly what Sinclair did that got him in hot water with multiple judges and resulted in him becoming a convicted art terrorist.

I Dream of Morrisseau – It’s actually worse than that with Robertson. The evidence is ABSOLUTELY CLEAR that Robertson DID NOT EVEN SEE OR EXAMINE THOSE EIGHT “OBSERVED” PAINTINGS for the purposes of her secret slanging report. She, lists them herself, as having actually “OBSERVED” them YEARS BEFORE SHE WAS EVEN GIVEN THE JOB OF WRITING THIS REPORT BY JONATHAN SOMMER, to help him with his specious Hearn v McLeod lawsuit.

To belabour a point, Robertson – by her own documentation – makes clear that she DID NOT “examine in hand” a single painting for the purposes of this report. NOT ONE. That is academic research malfeasance of the highest order.

Convicted art terrorist Ritchie Sinclair at least was working from low res jpegs; Robertson is boldly and brashly just going on memory, TO SLANG GOOD PEOPLE AND THEIR GENUINE ART. And then wants us to take her seriously as an academic… or a Morrisseau scholar. It ain’t gonna happen.

I wouldn’t let her near any of my Morrisseaus, and knew few who would…

The Stunning Reality – This is the ONLY lawsuit in the world alleging a Morrisseau “fake.” And only the second in world history, the previous one also filed by the same Sommer/Sinclair combine.

Where’s the Smoke; Where’s the Fire – There are – as we speak – 56, that’s 56 folks, lawsuits against pedophile priests IN NEW BRUNSWICK ALONE.

Finally, even though, faced with what he clearly considered a Libeler and Defamatory publisher, Justice Lederer said FREE SPEECH was, for him, the imperative governing credo, and must stand, until the issue could be properly aired and settled in court. In spite of Sinclair publishing vile racist, libelous and defamatory stuff – for which he had NO PROOF – Justice Lederer refused to grant an injunction ordering Sinclair to take down his website and banning Sinclair from publishing.

And in fact it would take seven years until another Judge, CW Kilian, was able to look at the evidence in the spin-off from the lawsuit Justice Lederer commented on, White v Sinclair. And angrily fined Sinclair the maximum, for Libel and Defamation.

PDF10 Judgment – Reg v Otavnik – Lacavera – May 2013

Only weeks after Judge Martial scorched Jonathan Sommer’s Dream Team in Hatfield v Child (Mar. 25, 2013) another Justice took a crack at Ritchie Sinclair, Sommer’s longtime business partner and legal advisor (May 17, 2013)

In early 2010, Sinclair had lied to Toronto Police about Joe Otavnik as being DANGEROUS, and MAKING HIM FEAR FOR HIS LIFE. And swore out a criminal complaint.

The Fraudsters in Overdrive – In fact, on Apr. 9, 2010, Sinclair had mocked up a false document for police which listed some eight people as involved in a criminal conspiracy to carry out art fraud. Sinclair listed my name, along with Joe McLeod, Ugo Matulic, Joe Otavnik, Jim White, Wolf Morrisseau, and Michael Moniz as the heart of the criminal syndicate. THAT’S SEVEN PEOPLE, NOT A SINGLE ONE OF WHOM I HAD EVEN EVER MET, AND ALSO NEVER EVEN TALKED TO ON THE PHONE, OR EMAILED. It would be months, and in some cases, years before I ever met a single one of them. 

Blaming the Victim – Justice Lacavera – I heard him; I saw him – said in his judgment that Sinclair’s claims to police and his testimony on the stand were unbelievable, and repeatedly belied by his own actions, time and again. That far from Otavnik being the so-called stalker, it was Sinclair who was the stalker and the aggressor in all their encounters, and who, despite court rules, kept aggressively photographing Otavnik in courtrooms.

In fact a key document in that court proceeding was a Site Meter printout that traced a Death Threat against Ugo Matulic to Sinclair’s own home computer. Matulic reported it to the Calgary Police.

This was in 2010 when Sinclair’s physical harassment of people – including of me in a courtroom foyer – ultimately led Toronto Police to arrest him and charge him with multiple counts of Criminally Harassing the 82 year old Joe McLeod, Dec. 18, 2010.

Nothing would stop Sinclair from aggressively stalking, harassing, and physically intimidating and attacking people. In another courtroom foyer, on Mar. 7, 2014, Sinclair, this time with his roommate Garth Cole physically assaulted my witness Joe Otavnik by throwing heavy legal binders at him, on behalf of the Sommer Law Firm, while Otavnik was pulling a cart. Then Cole threw more heavy binders at my wife, as she came out of a courtroom carrying boxes. He hit her on the back shouting, “Take that you fucking bitch.”

All the while Sinclair was taking photos of the mayhem, as people looked on in amazement. I had court security force Sinclair to delete his illegal photos.

Both were working as delivery men for Jonathan Sommer’s Law Firm on that occasion.

PDF11 Forensic Report – Davies – Wanker #1 – “Warriors in Circle of Life”

Note: Another forensic report based on high resolution photos I provided.

A forensic report on “Warriors” of Sep. 25, 2017, which I brought to court on Oct. 2, 2017, proved the painting was authentic.

Wanker #1 front and back exactly as I saw them both as I examined the painting and the signature closely in Robbie’s home.

Robbie, a reader of my blog, using information and documents he found there, called me to inform me that he owned the first Morrisseau BDP painting Donald Robinson of Kinsman Robinson Galleries, had bought at Potter’s Kahn auction in 1999, “Warriors in Circle of Life 1974.” So I called it KRG “Wanker #1.” A few months later Paul Robinson, marked it up 700% and sold it to Robbie’s wife.

Wanker – Wanker comes from my compression of names of two publishers of fraudulent Morrisseau “fakes” reports – Professor Wang – one of three professors hired by the Robinsons to mock up a fakes report for them, and KR from Kinsman Robinson Galleries, therefore WangKR or Wanker.

KRG bought 31 Wankers (the Wanker 31) at Potter’s auction in 1999-2000. When the flood of cheap Morrisseaus from northern Ontario depressed the high prices he charged at his Toronto gallery Robinson knew desperate measures were called for as his business competitors outsold him. His own customers bought elsewhere.

So Robinson publicized all such BDP paintings as “fakes.” The Robinsons sold the Wanker 15 to unwitting dupes; they gave the Wanker 16 to the NMHS to use as templates to indoctrinate them with what kind of paintings KRG operatives wanted them to recognize and call “fakes,” and send to the ovens for disposal.

Mr. Robinson told Judge Martial, lamely, and with his usual dash of insincerity – I heard him; I saw him; I read it in the transcripts – he had tried to make restitution to the unhappy KRG clients who had paid big time for “fakes,” but that his records were sketchy. So was his grip on the truth. Robbie’s wife never got a call to offer restitution.

Robbie invited me over to his house to talk, and take pictures, and tried to sell Wanker #1 to me – among others he had already approached. He knew it would totally demolish Robinson and KRG as dishonest, for starters. (I told him I don’t do cheque book journalism.)

He was right. In one fell swoop Wanker #1 totally discredited Robinson as a serial perjurer before Judge Martial, and Kinsman Robinson Galleries as a hugely malfeasant and deceptive art gallery which victimizes its clients, by knowingly selling them fakes and refusing to make restitution.

It hugely proved Robinson lied to Judge Martial, about his knowledge and records of what happened to the Wankers, as sketchy, and that he sold them for “a small profit” – in fact he had marked up Warriors by 709% for resale.

And 15 years after buying the painting Robbie’s wife discovered KRG had all her vital statistics and contact information in their computer all along…

When I told Robbie that I would update the Wanker story, he was unhappy, even though he had already sent images and the information to other parties including another blogger…

BLOCKED FOR LIFE – The author of the vilest letter I have ever received.

Then, astonishingly and literally out of the blue, I received a very nasty, denigrating and discrediting threatening letter from Kevin Hearn lawyer Jonathan Sommer warning me of the direst consequences if I published the story of what Robbie had told me about Wanker #1, the Robinsons, and Kinsman Robinson Galleries.

It was the most aggressively vile and threatening letter I have ever received in 50 years of professional life. (It is one of the reasons I have, for years, BLOCKED the emails of Sommer and his business partner Ritchie Sinclair, from our email service. They share the notoriety, that in the entire email universe of countless hundreds of emails I receive every day from all over the world, they are the ONLY TWO accorded this distinction.)

Sommer’s sudden appearance related to Wanker #1, was astonishing, since Sommer had nothing to do with this story, and had not even been a topic of conversation with Robbie. In fact, Robbie did NOT care a hoot about the HOAX or the Hearn lawsuit.

Robbie was single-mindedly, and ONLY interested in exploiting a situation he had lucked into – thanks to my blog; he told me so – that could turn his painting into a giant cash cow for himself and his wife.

All our talk was about the Robinsons lying in front of Judge Martial, and KRG’s glaring art gallery malfeasance and deception. And discussing Robbie’s keen interest to what he repeatedly referred to as “leveraging them,” to get the maximum out of the Robinsons. I called it blackmail.

And Robbie clearly had the goods to do it.

After an hour of discussion, Robbie began to see that I was an impediment in that process. I refused to buy his painting, and intended to publish.

It turned out that Robbie recruited Sommer and saw him as an aggressive intervener to prevent me from publishing, so he could ramp up the pressure on the Robinsons to pay him top dollar to make “Wanker #1” disappear from the face of the earth…

Sommer was clearly pulling out all stops to prevent his chief “expert” and “expert report” writer, in the Hearn v McLeod, from being exposed as a serial perjurer, a liar, and a discredited art gallery operator. If I published what I had learned, he knew his top “expert” would never survive a cross-examination.

I ignored Sommer’s invective and threats and published all about Wanker #1, the Robinsons and Kinsman Robinson Galleries.

Donald Robinson, whom Ritchie Sinclair – his longtime fraud enforcer – calls, “My Mentor,” have been hugely and totally discredited, without a single failing, by some 12 court decisions and lawsuit settlements, as exposed on my Blog. On Oct. 3, 2017 Jonathan Sommer finally came to the same conclusion: they are too much damaged goods, and dumped BOTH members of his nine-year long Dream Team promoting the Morrisseau “fakes” fraud. And went looking for new people to take their place.

Nothing happened to me.

Thanks to my academic and journalistic rigour in publishing only the Truth, always being sure of my facts, my research, and the documents I have, with which I can back up everything I say. And because I follow stringently the terms of the Supreme Court of Canada’s “Defence of Responsible Communication” and the “Defence of Fair Comment” both defined in 2009.

The Hiroshima Moment But I believe what I exposed about Robinson in the past two years, on my blog, including the latest Forensic Report authenticating a painting Robinson called “fake,” created the Hiroshima moment on Oct. 3, 2017 when Jonathan Sommer told Justice Morgan that Robinson, his nine year long “expert” on the Sommer Dream Team, would NOT be appearing with his expert report in the Hearn v McLeod trial.

An appearance the world had been looking forward to for six long years…

Go To LINK – Robinson Discredited
Go Ask Robbie to Show You His #1 Wanker

PDF16 KRG Million Dollar SLAPP SUIT Release Absolving Ugo Matulic

Shucks. Now no cross-examination… to come up with answers for questions raised by my blog… from the world’s most discredited “art expert.”

Canada’s own Donald Robinson launched the biggest act of cultural genocide against the Indigenous art and artists of Canada in history.

PDF12 Forensic Report – Davies – “Water Spirits 1976”
PDF13 Forensic Report – Davies – “Upper & Lower Worlds 1976”

Note: Two more forensic reports based on high resolution photos I provided.

A forensic report on “Water Spirits” and “Upper & Lower Worlds” of Sep. 25, 2017, which I brought to court on Oct. 2, 2017, proved the paintings were both authentic.

“Water Spirits” was a key Morrisseau BDP, which Bryant Ross of Coghlan Art, in Aldergrove, BC, tried to sell for years (late 1990s-2010) as a “direct-from-the-artist” Morrisseau for $12,500.

His friend Ritchie Sinclair blogged that it was a wonderful Morrisseau in 2008. (Ross had been a business collaborator with KRG, since c 1989, but especially after 2001, when Donald Robinson launched the Morrisseau “fakes” fraud in the National Post.)

For his contribution to support the Morrisseau “fakes” HOAX, in 2010 Ross publicly destroyed “Water Spirits,” by painting a red cross over it before the television cameras in Vancouver. In 2014 Ross and Sinclair put “Water Spirits” into the Ottawa SAW Gallery’s “F IS FOR FAKE” exhibition, where I saw it, and surreptitiously photographed it. Three years later I found a public benefactor to pay for a forensic examination. It proved genuine.

“Upper & Lower Worlds” was another Ross painting he had failed to sell, so, taking a leaf out of the Robinson’s play book, he just called it fake. Ross put it up in the SAW Gallery F IS FOR FAKE exhibit, all paid for by public funds and grant money. To attack decent, honest, reputable commercial art dealers on behalf of a lowlife art fraud.

I also photographed it, both front and back. It came back as genuine also.

The notorious and malicious “F IS FOR FAKE” exhibition just exposes a whole host of fraudsters in suits who had a hand in mounting this vile anti-Indigenous art and artists exhibition: Greg Hill, chief advisor from the National Gallery of Canada, Jason St-Laurent, curator, with a hate-on for commercial art galleries; Bryant Ross, Coghlan art huckster; and again, convicted art terrorist Ritchie Sinclair.

Dismount “Wheel of Life” & Public Apology – When I alerted Artworld to the calumny by the fraudsters, it forced the machinating curator, Jason St-Laurent and the SAW Gallery, to dismount “Wheel of Life” from the exhibit, and put a public apology in the Ottawa Citizen, on Sep. 3, 2014.

A Damning Slam-Dunk Against the Establishment Fraudsters – With these two new, additional forensic reports (of Sep. 2017) it proves that ALL THREE PAINTINGS that Jason St-Laurent, Greg Hill, and Ritchie Sinclair and their sneaky and anonymous “entertainment lawyer” advisor, maliciously called “fake,” were IN FACT ALL genuine Morrisseau BDP paintings.

A collection of sneaky people, at Ottawa’s SAW Gallery, maliciously and deliberately attacking three genunine Morrisseau paintings, reputable business people, and Canada’s Indigenous fine art heritage, all funded entirely by the Canadian tax-paying public. Where’s the public outrage? I say fire the lot and close down the damn gallery… Stamp out the institutional racism and let them try and make an honest living on their own dollar…

Vicious Cultural Genocide – And they damn well knew it, but had only one interest – self-interest and promoting a fraud… no matter how much cultural destruction they were leaving in their wake…

If this is not the grossest slap in the face of the National Gallery of Canada, and its continuing malfeasance in allowing its employees to front and promote a fraud that has done Great Irreparable Harm to the Indigenous art and artists of Canada’s Indigenous people I don’t know what is…

Where are the parliamentarians in enforcing decency and ethics on employees in federal government institutions to stop their racist victimizing of Canada’s Indigenous peoples?

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Canada’s Dirty Little Secret – Exposed by Forensics, Sep. 2017

MORE “CANADA AT 150” Things to Celebrate…

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A Malicious Vendetta v McLeod & Otavnik Art – 2008-2017

Last Update Nov. 17 – On November 3, 2017 longtime, respected Canadian art dealer, Joe Otavnik filed suit against Professor Carmen Robertson, of the University of Regina’s Department of Visual Arts, for Libel and Defamation – Plaintiff’s Claim – below

Racism & Cultural Genocide Go Hand in Hand in Ottawa – It’s nothing if not sickening in the extreme, that the Ottawa cultural establishment continues to be so viciously racist, in 2017, that they can collaborate and use public funds, to display and denigrate three genuine paintings of Norval Morrisseau as “fakes,” just because they continue to harbour the same old traditional sneering “white” attitude towards Canada’s Indigenous art and artists… which kept them out of the National Gallery of Canada for 126 years… That’s the continuing reality for Canada’s Indigenous people, and the real “Canada at 150…”

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Professor Robertson’s Telltale Table of Dupe Research

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