IN MEMORIAM – “Why We Fight…”

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Giant Killers of the Hearn v McLeod Lawsuit – Part 1

Top Ten Killer Bits of Evidence that KILL the Lawsuit

Warning Remember this! If you think Joe McLeod had anything to prove in this lawsuit, YOU ARE WRONG. ALL THE PROOF – all the EVIDENCE – had to come from the Plaintiff’s lawyer Jonathan Sommer, and only from Jonathan Sommer, who had to prove and give evidence that “Spirit Energy” was a “fake” and Joe a crook… 

When the Judge leans over his pulpit and says, “Where’s the Beef?” he is looking sternly at Sommer, and ONLY at Sommer. And he’d better produce it Big Time, or it KILLS his lawsuit. Below is my take on how well he fared.

NOTE: Many MORE relevant pdfs are found in:

– the HEADER MENU – PDF BIN   and in:

–     10 KILLER Docs – That Kill the Hearn v McLeod Lawsuit

NOTE: EACH – repeat “EACH” of the following evidence bits, at issue in the Hearn v McLeod trial, are, I believe, ALL by themselves, clear cause for killing this lawsuit. Each – OK, there are more than 10 – alone, is a “Lawsuit Killer.”

Each, entirely on its own, strikes a fatal blow at the Statement of Claim as filed by lawyer Jonathan J Sommer on behalf of Kevin Hearn, and expounded and elaborated on by him, in court, Dec. 4-8, 2017 and Feb 6-8, 2018.

Each one, by itself, totally destroys Sommer’s “core position” that Gerald McMaster, the Art Gallery of Ontario’s Frederik S Eaton Curator of Canadian Art, dismounted “Spirit Energy of Mother Earth 1974,” on June 22, 2010, from an AGO display and denounced it as a “forgery.”

TABLE OF CONTENTS FOR LAWSUIT KILLERS

The Key Forensics on Paper and by Video Hook-up
Killer #1 – The Forensic Report of Kenneth Davies
Killer #2 – The Bombast, Bluff, Bluster, & Blow of Carmen Robertson

The Damning Key Documents:
Killer #3 – Damning Ritchie Sinclair Email of June 22, 2010
Killer #4 – Damning, Lying Kevin Hearn Email to Joe McLeod, Jun 28, 2010
Killer #5 – Damning Ritchie Sinclair Email of Aug 19, 2010
Killer #6 – Damning Gerald McMaster Emails of Sep 2, 2010

The Inexcusably “Missing” Documents:
Killer #7 – Totally Lacking Forensic Reports of Sommer & Hearn

Killer #8 – Not even a single “fake” was produced by Sommer himself
Killer #9 – Not even a single “fake” was produced by a Sommer witness
Killer #10 – “The Baker Bust” – Richard Baker fails to show the judge a Wanker
Killer #11 – “The NMHS Bust” – The Wanker 16 are proven forensically authentic

BLOCKBUSTER EXPOSÉ “Wanker #1” AKA “Warriors in Circle of Life 1974.”
All by itself the Wanker #1 forensics, totally destroys the reputation and credibility of ALL the NMHS related witnesses – Baker, Robertson, Hill, Vadas, Robinson, FOR THE AGES!

Killer #12 – Not even a single example, copy, or substantiating document of any kind, of a supposed “fake,” was produced by any Sommer witness.

The Inexcusably “Missing” Witnesses:
Killer #13 – Damning Absence of Sinclair & Robinson: Hiroshima & Nagasaki Bombshell 
Killer #14 – Damning Absence of AGO’s Gerald McMaster & Teitelbaum
Killer #15 – Damning Absence of Randy Potter & David Voss
Killer #16 – Damning Absence of Any Morrisseau Family Members

The Damning Key Plaintiff’s Turncoat “Defence” Witnesses:
Killer #17 – Damning Testimony of Dallas T & Amanda D
Killer #18 – Damning Absence of Benji Morrisseau as a Witness

Killer #19 – The Utterly Useless & Irrelevant Plaintiff’s Witnesses:
(Fox, Vincett, Baker, Amanda D, Dallas T, Loraine Cull, Gabor Vadas, Carmen Robertson)

Killer #20  – Inexcusable Damning Refusal of the Court to Accept any new Defence Evidence

Killer #21 – Deliberate and Inexcusable Withholding of “Spirit Energy” from the Defence by lawyer Jonathan Sommer

Killer #22 – Failure to give the Interveners a fair amount of time to prepare a proper Defence

The Key Forensics on Paper and by Video Hook-up
Killer #1 – The Forensic Report of Kenneth Davies

The Blood, DNA, and Fingerprints on the “murder weapon” have sent countless people to the gallows, on the basis of a “high degree of certainty.”

In paintings we rely on forensics by handwriting professionals. In the Hearn v McLeod lawsuit, forensic handwriting examination of the subject painting, by handwriting scientist Kenneth Davies, has found the same “high degree of certainty” of authenticity, regarding “Spirit Energy.” He found its BDP (Black Drybrush Paint) signature to be completely congruent with some previous 80 such authentications of his own, to add to the total of some 150 now proven Morrisseau BDPs, including those by other professional handwriting experts.

Killer #2 – The Bombast, Bluff, Bluster, & Blow of Carmen Robertson

All the bombast, and unsubstantiated bluff, bluster, and blow of a prairie professor, cannot ever supplant, set aside, or take the place, of the document evidence of the scientific examination by professional, full-time experts of the Blood, the DNA, and the Fingerprints that are on the murder weapon. Or the professional forensic evidence put by Norval on the back of his paintings with his BDP signatures. Or the total of some 150 forensic authentications by three full-time top handwriting forensic scientists. Or the rulings by Judge Martial saying there is “overwhelming evidence” that Norval did probably thousands of BDP signatures on the back of his paintings.

Or the judgment of Justice Mary Anne Sanderson, supporting his conclusions in their entirety as well as her sternly repeatedly telling lawyer Jonathan Sommer in her strongest manner – I heard her; I saw her – that if a court rules a painting is authentic, then there is “NO CLOUD OF TITLE.” And that is the end, not only of the story, but the lawsuit…

It also means Justice Sanderson put the “Headlock of History,” with that pronouncement, on the authenticity of a Morrisseau BDP on the back of “Wheel of Life 1979.”

She has ruled with judicial certainty, in line with what other scientists have found with forensic certainty. in some 150 other examinations. Now do you see why Judge Martial referred to “overwhelming evidence,” about not only ONE BDP, but possibly thousands?

And since Sommer doesn’t ever seem to want to “get it,” and listen to people other than his Dream Team of fraudsters, it makes his claim that all BDPs are fake, absolutely absurd, totally fraudulent, deceitful, dishonest, and I would have thought NOT SUABLE OVER, ANY MORE, after Martial and Sanderson killed that idea.

But then Sommer attacked Judge Martial, his judgment, and the judicial process, in a giant pout in the Ottawa Citizen, when he lost his first case making exactly the same claims, with the same people in 2013. Now he seeks to attack the judgment and pronouncement of the Hon. Madam Justice Mary Anne Sanderson, with the Hearn v McLeod lawsuit in an Ontario court.

It is totally inexplicable to my why neither the courts nor the Law Society of Ontario, appear to be interested in disciplining, reining in, or controlling renegade lawyers launching specious lawsuits that destroy people’s health, livelihood, pocketbooks, savings, pensions, businesses, and lives, etc. And doing it without credible evidence of any kind.

The Damning Key Documents:

Killer #3 – The Damning Ritchie Sinclair Email of June 22, 2010

Email – Sinclair Dismounts & Discredits “Spirit Energy” Jun 22, 2010

Partners in a Hate Crime – Ritchie Sinclair, Art Terrorist, Forger, Serial Perjurer, and the then AGO art rental shop girl, Jennifer Bhogal.

It never gets better than this: the freely-given, personally written, murder confession, in this case by convicted art terrorist Ritchie Sinclair, openly and brashly bragging to Kevin Hearn, that he, Sinclair, by himself, and no one else, had “Spirit Energy” taken down at the AGO, and discredited as a “fake,” merely by ordering Jennifer Bhogal, the AGO rental girl, to remove it.

End of story; end of lawsuit…

Sinclair’s email, (which was Item #120 in Hearn’s Affidavit of Documents) was entered during the trial as a numbered document. Justice Morgan read it.

This was part of a Hate Crime Sinclair and his cabal had long carried out against Joe McLeod and others who exposed their participation in the greatest art fraud in Canadian history and a racist attempt to do Great Irreparable Harm to the Art and Artists of Canada’s Indigenous people.

Only a few weeks before, as part of the same terrorist offensive against Joe McLeod, Sinclair had filed this fraudulent document with Toronto police.

Forged Police Report of Criminal Syndicate – by Sinclair – Apr 2010

Sinclair email  a few weeks later, makes not only a total liar out of his longtime Morrisseau “fakes” business partner, Jonathan Sommer, but totally and absolutely KILLS the lawyer’s core position, that AGO curator, Gerald McMaster, dismounted and discredited “Spirit Energy.”

Killer #4 – The Damning, Lying Kevin Hearn email to Joe McLeod Jun 28, 2010

Email – Hearn to McLeod – “These people” – Jun 28, 2010

Kevin Hearn, on the stand, repeatedly referred to himself as a nice guy. The documentary record says something else. At the time he wrote McLeod, Hearn had in front of him, the damning Sinclair email of June 22, bragging that Sinclair alone, had orchestrated the dismount and discrediting of Hearn’s painting “Spirit Energy.”

Inexplicably, Hearn waited a week, before notifying McLeod, while he, and the fraudster cabal behind him, apparently fabricated a fraudulent alternative truth, to con old Joe McLeod. (Hearn Affidavit of Documents #123)

Hearn deliberately misled McLeod by falsely telling him something which Hearn knew was fraudulent, that AGO people had dismounted and discredited “Spirit Energy.” I consider it shameful, and unforgivable, to tell a bald-faced lie that totally confused and destabilized Joe’s ability to respond to protect his art and his reputation.

(In one email Hearn wrote, “And I thought the music industry was brutal.” Hearn brought some of that brutality into Canada’s fine art community, to victimize an innocent and reputable old icon in the Canadian fine art community. Thanks for that, Kevin…)

Hearn’s email is the first publication of the fraudulent core position that would be fabricated to support Sommer’s specious lawsuit – an AGO takedown and discrediting of “Spirit Energy” – that the duo would launch two years later. But then they would NOT blame the actual guy they both knew had done it, Ritchie Sinclair, but the AGO’s Gerald McMaster.

And he for his part, in personal emails he sent to Hearn, McMaster made clear to him, that he didn’t know what the hell he was talking about! That he wasn’t taking ownership for any of it.

Sinclair, was of course, Sommer’s longtime Morrisseau ‘fakes” business partner, involved in shifting responsibility over to the AGO’s Gerald McMaster, to someone more reputable…

Now that is chutzpah! But the mounting falsehoods kill the lawsuit.

Killer #5 – The Damning Ritchie Sinclair Email of Aug 19, 2010

– Email – Sinclair to Hearn – the fraudster in high gear – Aug 19. 2010

This second damning Ritchie Sinclair email (Hearn Affidavit of Documents #128) would later, totally disgrace and discredit Carmen Robertson’s secret “expert” report for claiming she actually pretended to research “Robert” Voss, as if he were a real person, instead of just being the mental slip of an 82 year-old man in a hasty memo jotted after his “quick search” of his shoe boxes… And using it to claim he was a crook and fraudster. By the way, Robertson NEVER, EVER contacted McLeod to try as part of due diligence and proper academic research protocols to clear up any confusion.

The “Dropout” Properly Corrects the Professor – Sinclair, the school dropout, clearly corrects the prairie professor, stating clearly that the chimera Robertson pretends to chase, “Robert” Voss, does NOT exist in the provenance chain, of “Spirit Energy.” And that he, Sinclair, himself, had heard McLeod testify under oath on the stand that it was “David” Voss he got the painting from, not from some “Robert” Voss.

This telling document was already two years old when Robertson started her so-called research into the provenance of “Spirit Energy.” Furthermore the provenance was also clearly laid out in the McLeod/Shiller Statement of Defence (2013), which corrected and superseded, any and all, 2010 documents.

So making that two key documents – the Sinclair email and the Statement of Defence 2013 – in the possession of her Dream Team comrades, that Robertson either on her own, or under instruction, deliberately ignored.

Don’t we all wish the prairie professor would get at least some of her facts straight…?

That amounts to “actual malice,” a legal term meaning, not caring if the information you publish is true or false.

These two – Sinclair and Robertson – can’t seem to get it together. In this email Sinclair also goes on to claim, that “David Voss” is fictitious too, totally undermining Robertson’s own claim that “David Voss is known to have been associated with Morrisseau’s art and had a business relationship with Rolf Schnieder (sic),” (undated and unsigned secret Robertson report, p 14). Which is of course, what Joe McLeod intended to state in his hasty memo of July, 2010. (Robertson even says Schnieders is a man she talked to.)

Killer #6 – The Damning Gerald McMaster Emails of Sep 2, 2010

Email – McMaster to Hearn – “C’mon send the right pic” – Sep 2, 2010

Ritchie Sinclair had already claimed full bragging ownership of the dismount and discrediting of “Spirit Energy,” in an email to Kevin Hearn, on June 22, 2010. (Hearn Affidavit of Documents #134) Three months later it should be NO surprise to Hearn when Gerald McMaster is totally mystified when Hearn emails McMaster for advice, regarding his painting. McMaster asks him to send him a picture of the painting in question.

When Hearn does, McMaster, a top fine art professional and the AGO Frederik S Eaton Curator of Canadian art tells the ivory tickler, to get his incorrect painting information straightened out. McMaster clearly and unequivocally tells Hearn that he does NOT recognize his “Spirit Energy” painting, or recall ever having seen or having had anything to do with it.

“I didn’t think this was the work that was shown to me, was there another work?” – McMaster to Hearn

Two testimonials – Sinclair (June 22) and McMaster (Sep 2) are unequivocally, in total sync with the Truth. Sinclair brags he did it ALL; McMaster is equally adamant; he has not the slightest recall, clue, or past involvement with the selfsame painting. That Hearn is mistaken, and should really get his act together. And to please send the right picture…

Sinclair’s and McMaster’s emails, written independently, at different times, and places, are utterly damning documents. No one can possibly produce any reason why either of them would possibly lie. Neither of them would even know that, down the road, they would make a total liar out of someone who DID have every reason to twist the truth. That being Jonathan Sommer, now in utter desperation not to lose another Morrisseau “fakes” case.

As it is, EACH document, ENTIRELY BY ITSELF, is absolutely enough to KILL the Hearn lawsuit and Sommer’s core position, that AGO’s McMaster dismounted and discredited “Spirit Energy.”

Sinclair and McMaster have, in effect, supplied corroborative proof, that discredits and dismisses, with utter certitude, Sommer’s lawsuit and core position. It is the equivalent of an execution of an individual, done with a nuclear bomb.

The Inexcusably “Missing” Documents:

Killer #7 – The Totally Lacking Forensic Reports of Jonathan Sommer & Kevin Hearn

Jonathan Sommer has never produced even a single forensic report on a Morrisseau BDP, by a single professional handwriting expert, ever before in ALL of recorded History, proving it to be a “fake.” NOT even ONE.

Can you figure out where he’s going with this and why?

In EITHER of the only two Morrisseau “fakes” lawsuits he has ever taken to court. Which are, just in case you forgot, the ONLY TWO Morrisseau “fakes” cases ever taken to court by anyone in ALL of recorded history. And by the only lawyer – out of 90,000 in Canada – ever to do so. In all recorded history. Can you figure out what the hell he’s up to?

While his Dream Team bluff, bluster, and blow, in public and in courts, that there are supposedly thousands of “fakes” “out there” by umpteen forgers. NOT a single judge anywhere, has ever agreed with them.

That in fact the overwhelming evidence is NOT that there may be a fake somewhere, but that some 150 tested BDPs have been found authentic by full-time professional forensic scientists.

Killing, with DNA certainty, 150 times over – when one alone, would be DNA enough to send the murderer to the gallows – the absurd claim of Donald Robinson, Carmen Robertson, and Jonathan Sommer that never once, have any of them seen a genuine BDP.

Killer #8 – Not even a single verified example of a “fake” ever produced by Sommer or his witnesses – NOT ONE.

Jonathan Sommer spectacularly failed to produce even a single benchmark fake of his own choosing for the courts. Both Judge Martial (Trial), and Justice Sanderson (Appeal) in the landmark Hatfield v Child case, told him, in unequivocally strong terms, and based on the testimony of a wide variety of credible witnesses, that the painting of Sommer’s choice, which he called a “fake,” was totally authentic front and back. An authentic Morrisseau BDP.

And a BDP that was NOT in any way undermined by any “cloud of title.”

Sommer spectacularly failed, again, in Hearn v McLeod, to produce an evidentiary fake for this lawsuit.

If the lawyer of a lawsuit cannot himself produce an example of a fake, as proof for a court, how can he demand a giant leap of faith by a judge by just asking him to: “Trust me on this Your Honour. There’s actually thousands of fakes out there. I just forgot to bring one in this morning.”

Yes, the Canadian courts are full of surreal idiocies like this.

Killer #9 – Not even a single example of a “fake” was produced by a single one of the many, many Sommer witnesses – NOT ONE.

Jonathan Sommer produced so many witnesses – far more than the norm – that the topic became subject of a momentary cheery exchange between the Defence lawyer and Justice Morgan who grinned. (I saw him; I heard him).

That alone is telling; when none of one’s witnesses are really on topic, or any use, and you know it, what else is new: you throw more of them to give the strong appearance of something or other. Do you get it? A weak – or more correctly – a fraudulent lawsuit.

In fact, not a single one of these witnesses – NOT EVEN ONE – was able to produce for the court, a SINGLE EXAMPLE OF A FAKE MORRISSEAU. A totally spectacular failure for a lawyer and a lawsuit which says there are “thousands of fakes by umpteen forgers” out there. And their job was to prove “Spirit Energy” was a “fake.” In fact they utterly failed to show the court that they even knew what a fake even looked like… None could even describe a single one, or give the name, title or copyright date for a single paintings.

Killer #10 – “The Baker Bust” – Richard Baker’s utterly spectacular failure to bring in even a single one of the Wanker 16 to show the judge.

That decisive and deliberate act of non-disclosure, alone, TOTALLY KILLS THE LAWSUIT, and solidifies Baker’s reputation as a principal agent of Cultural Genocide in Canadian Art History and in the history of its Indigenous People.

The “Wanker 16” (for Dr. Wang+KRG), have been the signature “fakes” for the Sommer Dream Team and their co-conspirators for many years. And since 2005, – for 13 years – have been, for Baker and the NMHS (Norval Morrisseau Heritage Society), their foundational standard for a Morrisseau “fake” since Donald Robinson gave them 16 Morrisseau BDPs to use as their templates to identify his standard for what he wants considered as “forgeries.”

The Baker Bust – The most disgraceful no-show, of all, therefore was NMHS lawyer Richard Baker, who showed his true colours and those of his collaborating colleagues on the NMHS – once again. As I have published over and over.

BAKER DOES NOT HAVE A SINGLE WANKER TO SHOW THAT A JUDGE WOULD BELIEVE. So he covers it up – and has been for 13 years. Just too ashamed to show it… And we all know why.

Richard Baker who calls himself the guardian of the notorious NMHS Wanker 16, neither could, would, or dared, to bring in a single example of the 16 Wankers that he and his NMHS cronies were hiding, to show the judge. For years I have demanded they publicly release photos of the front and backs. They have refused.

Secrecy, non-disclosure, sneakiness, deception, and dishonesty, continue to be, after 13 years, at the root and branch of the fraudulent claims of Baker and his NMHS cronies, including Carmen Robertson.

Lest We Forget! – They fulfill, in Canada the same role in Cultural Genocide, as the Nazi book-burners of the 1930s, the bulldozing ISIS terrorists of Palmyra, and the Buddha of Bamyan exploding Taliban. And the NMHS’ racist depredations against the art of Norval Morrisseau, and the art and artists of Canada’s Indigenous people, will be so recognized in World History.

The Shame, the Shame, the Awful Shame… Fear & Self-loathing…

Richard Baker proudly hangs out his shingle on the internet, his BIO emblazoned with ALL the groups, past and present, with which he is proud to associate his name.

SEE WHAT’S MISSING, AND HE IS NOT PROUD OF?

What the hell is Baker hiding and why?

Did you find the NMHS anywhere? Wonder why not?

For 13 years since Robinson founded the NMHS – yes Donald Robinson, NOT Norval Morrisseau, who had mentally left the planet by 2005 – and entrusted to its safe-keeping Morrisseau BDP paintings Robinson had bought and didn’t sell, the group has refused to release even a single photo for public scrutiny and forensic examination. It is a damning example of how secrecy and refusal to be transparent, is the best proof pointing to people involved in an art fraud conspiracy.

Stuff I Didn’t Want My Mom to Find Out – Remember Baker, has acted for the Norval Morrisseau Heritage Society as its lawyer, since Donald Robinson created it as an extension of his Kinsman Robinson Galleries (KRG) to help him enforce the art fraud in 2005. Baker was a founding member and has, since then, been an NMHS collaborator in its nefarious activities with Ruth Phillips and Greg Hill, attacking genuine Morrisseau BDPs as a favour for Toronto’s Kinsman Robinson Galleries’s fraud offensive against the art and artists of Canada’s Indigenous people. Now do you know why this is not in Baker’s bio?

Baker aggressively wrote the NMHS’ response, totally backing up – if you can believe this? – the Robinsons as trusted Morrisseau experts, when asked for a legal response on the topic, in Jan. 2008, when Michael Moniz sued the Toronto Globe for Libel and Slander over “Father & Son.” Elite Toronto Globe lawyer Peter Jacobsen, got the Baker letter, and hired Robinson to write an expert report.

Months later, when the Robinson report arrived – calling “Father & Son” fake – Jacobsen compared the report by the Baker and NMHS “expert,” with Moniz’s expert report from Brian Lindblom, a professional forensic expert. Jacobsen IMMEDIATELY – I believe within hours of getting it – dumped both the Robinson report and the supporting Baker letter IN THE TRASH, and told the Globe to pay $25,000 to Moniz for having libeled and slandered him over a genuine Morrisseau BDP.

The Globe was, of course, desperate to avoid a trial that would expose its worst act of journalistic malfeasance in history.

Now do you see why Baker won’t mention this in his bio?

Shame on you as a self-declared Morrisseau expert

Which reminds me. Baker’s NMHS colleague, Carmen Robertson wrote about this sorry episode in Baker’s bio, in her “Mythologizing…” book, and lied about it as boldly, baldly, and brashly, and as it’s possible to do. (I actually believe that she did NOT write this part of her book, but just had her photo-copying assistants do it.)

There is no other explanation, other than that she hates to read, and do research herself. Because the truth of the Moniz Globe lawsuit has been fully exposed in this blog and elsewhere for years in all its excruciating detail. Nobody literate who does research on this topic could possibly have missed it, and written the drivel that supposedly explains it in her book.

Only a blind bat, or a blind professor could possibly have missed it.

This is one of the many parts of the book that are a disgrace to serious academic research and scholarship of any kind. Read it in a library; don’t throw good money after a bad book. I made the mistake of buying TWO copies, hoping it would improve in the retelling. Instead, I discovered it was twice as bad…

Oh, NO! Not Baker Again! – In early July 2009, Baker eagerly worked with the fraudsters again, this time using his own office as fraud central to host a cabal of plotters against Morrisseau art (Ritchie Sinclair, Don Robinson and John MacGregor Newman also of KRG) where they all plotted to discredit Joe Otavnik’s “Jesuit Preist,” as a “fake.” It then became the subject of another fraudulent Robinson Report. That report was also not accepted – call it rejected – by Judge Godfrey. “Jesuit Preist,” which Baker and the fraudster tried to discredit, was later forensically authenticated by Kenneth Davies. Now do you see why Baker won’t mention this in his bio?

For 13 years Baker has called himself the custodian of the Wanker 16. Of the NMHS group he has the biggest responsibility for hiding them – for the fraudsters – from the public scrutiny of journalists like myself, forensic experts, and judges. Can you guess why anyone who is reputable and honest would do such a thing? You know, hide stuff on behalf of a documented fraud? And ruthlessly, and aggressively, do it for 13 years?

And not even produce a single one for Justice Morgan on Dec. 7, 2017, as substantive proof for his sworn testimony, and the credibility of the lawsuit’s claim…

Is it not reasonable to expect that Baker, assuming he is honest, would have used his appearance as a witness to bring in at least one, of these notorious Wanker 16 paintings that he, the Robinsons, and his NMHS colleagues have for 13 denounced in the media as total and absolute Morrisseau fakes, for Justice Morgan to examine, in hand, front and back. Both Baker and Carmen Robertson UTTERLY REFUSED TO DO SO.

NEITHER NMHS MEMBER, AND LONGTIME ROBINSON BUSINESS ASSOCIATES, EVEN BROUGHT IN PICTURES OF ANY FRONT AND BACKS TO BACK UP THEIR BOMBAST, BLUSTER, BLUFF, AND BLOW ON THE STAND.

I consider it beneath contempt in a lawsuit that – WITHOUT EVIDENCE – discredits a painting, falsely victimizes a decent man, which Joe McLeod certainly was, and does Great Irreparable harm to the art and artists of Canada’s Indigenous people.

In court, I personally told Baker I noted his failure to bring in a Wanker for the judge, so reminding him I was aware of his deceit… His face turned to stone, and he turned away… He knows my evidence has exposed the NMHS/Robinson/Robertson deception. Baker does NOT want the world to know what he is doing, and takes all steps to hide his complicity in being a party to art terrorism and art fraudsters.

Here folks are the invoices for the Wanker 31, the 31 Morrisseau BDPs, that Robinson bought at Potter’s Auction for $54,000. And NEVER brought a single one back as a fake. Half he sold; the unsold ones he gave to the NMHS for training how to recognize a “fake.” I call these the Wanker 16.

Why hide stuff that I believe is clear evidence of a crime? Are lawyers allowed to do this in Ontario? Is this why Baker won’t mention this in his bio?

IN FACT I have stated for years that I believe Baker and his NMHS colleagues have burned or destroyed, the Wanker 16, to hide their gross act of Cultural Genocide and prevent it from ever being exposed and proven. They have refused to expose the Wanker 16, because I am convinced – without a shadow of a reservation – that all that Baker, Robertson, Phillips, and Hill can produce is ASHES…

And they will do their damndest from that ever leaking out to the media. I am determined to see that Posterity will remember it.

The Apostles of the worst act of cultural genocide in Canadian history.

On Dec. 1, 2017, Baker made a party with others fronting for a fraud to try to GAG the Journalist – John Goldi – demanding: immediate incarceration for him and his “wife-of,” for a lengthy period of time, heavy financial penalties, ban him from attending the trial of Hearn v McLeod, ban him from writing and publishing, and calling for the dismount of his blog, etc.

The lawyer was, of course – who else? -Jonathan Sommer, from Sutton, Quebec.

Why would anyone reputable do something so telling? Baker claims to be a lawyer; then why does he not seem to know that, in 2015, exactly because of people like him, Ontario passed a Protection of Public Participation Act  – actually called the anti-Gag Order in the Act – to permit educated and informed public voices to publish on matters that are in the public interest and of national importance?

Ritchie Sinclair – A documented and convicted art terrorist, totally discredited by judge after judge, after judge… But the school dropout is a master puppeteer of high falutin’ silks, satins, and suits, easily manipulating university-educated dupes like Baker, Robertson, Phillips, and Hill, to do his bidding… making them of course, art and cyber terrorists in his mold…

Silk, Satins, & Suits Who Make Me Gag – There’s more – Baker is part of a sneaky and reprehensible group of eight lawyers and professors who secretly arranged to gang up on me (John Goldi), by trying to get various police forces across Canada to terrorize me and my “wife-of” Joan Goldi, by demanding we be arrested for criminal activity.

Here We Go Again – They clearly got this idea from Ritchie Sinclair who did exactly this in April 2010, against people including John Goldi, who were exposing the art fraud by him and his friends.

How many times have you heard lawyers say, they would rather talk to the motorcycle than the cop?

Let me say, I have profound respect for cops after this. In all the years I alone have written this blog, NOT  a single cop, NOT ONE, or ANY investigator, of any kind, has ever emailed, written, phoned or visited us regarding ANYTHING to do with my blogging, or any related matter.

In fact Jonathan Sommer blew up in court that the cops, in over a year, had done nothing to the Goldis… It proves to me that at least cops can read – even if Sommer and his cabal of art terrorists cannot – and is just one more affirmation that what I write and what I publish is bullet-proof in documentation and credibility. The cops all over the place have done so and deep-sixed the complaints…

What does all that say about Baker and his art terrorist friends?

Wouldn’t it have been so much more forthright and easier to just have publicly exposed his Wankers before Justice Morgan?

That is the kind of witness Jonathan Sommer produced for his Plaintiff in Hearn v McLeod.

Killer #11 – “The NMHS – Baker, Hill, Robertson, Phillips, Robinson Bust” – The Wanker 16 are proven forensically authentic and Richard Baker and his NMHS confirmed as conspirators in Cultural Genocide

One of the most despicable failures of the academic group of NMHS fraud co-conspirators is their utter failure and refusal to publicly expose the raw data they claim is proof of Morrisseau BDPs being fakes – the Wanker 16 – for public, judicial, academic, or forensic examination. Either the original materials, high res copies, or reports on them by independent scientists.

What the hell kind of academics hide their research data from public scrutiny and the peer review of their colleagues and investigators? The answer: Carleton University’s Dr. Ruth Phillips, U of Regina’s Dr. Carmen Robertson, Dr. Elizabeth McLuhan, the NGC’s Greg Hill, lawyer Richard Baker, and their handler, Donald Robinson…

For the 13 years they have had possession of the Wanker 16, they have utterly and aggressively refused to have any forensic reports done on a single one of them and publicized them. Why not?

Well, folks, here’s why…

BLOCKBUSTER EXPOSÉ – On Sep. 25, 2017, in a truly landmark achievement in Canadian art history, I managed to get a professional forensic report, proving a painting I had personally seen, handled front and back, and photographed, was a genuine Morrisseau BDP. That painting was “Wanker #1” AKA “Warriors in Circle of Life 1974.”

Wanker #1 front and back exactly as I saw them both as I examined the painting and the signatures. A forensic report of Sep. 2017 made a total mockery BOTH, of the NMHS claim that the Wanker 16 were all fakes, and Carmen Robertson’s report that BDPs were fakes since she had found no genuine ones at all, let alone one from 1974. Just one more, in an endless list of boners piled up by the self-proclaimed Morrisseau expert, from Wascana Creek.

It was a Wanker that the Robinsons had bought and sold to a client. They afterwards called them all fakes and turned the remainder over to the NMHS where they became the Wanker 16. They all conspired to call them all fakes, but refused to show them to the public.

After years of failing to get my hands on a Wanker, a Blog reader said he had Wanker #1 and to come over and see it. The forensic report I received years later, was to prove that it was – exactly as I had suspected, and published for years – a genuine Morrisseau. And that the NMHS art terrorists were out and out liars, and knew it: Baker, Phillips, Robertson, Hill, Robinson, etc.

It’s worse than that: it makes a total double liar out of the Plaintiff’s expert witness Carmen Robertson, when she claims to never have seen genuine Morrisseau BDPs, let alone one from 1974, the year “Spirit Energy” – and Wanker #1 – were painted. And besides, she claims, Norval didn’t paint BDPs, anyway.

On multiple levels Robertson is exposed as producing a report that is poorly researched, and makes many ludicrous allegations about what is and is not an authentic Morrisseau. The evidence is overwhelmingly it is NOT accidental, but deliberately done.

The Wanker #1 forensic report, alone, destroys her unsubstantiated nonsensical bumpf about BDPs in 1974, or anytime else.

By the way, Norval never signed a BDP on the back of his few institutional sales or for sales to confirmed buyers. Why waste the time and paint? The BDPs were advertising, to use his name to flag his sales for the general public or for unknown marketing venues.

I submitted the Wanker #1 forensic report to the trial, along with three others, TWO of which totally destroy the reputation and credibility and truthfulness of another Sommer witness by Affidavit, Bryant Ross.

By the way, two of my own paintings almost became Wankers, and were only saved from the NMHS ash heap of history because I overbid Donald Robinson on Jan. 26, 2000. Both have since been forensically authenticated, one to a 100% degree of certainty.

All by itself Wanker #1 totally destroys the reputation and credibility of ALL the NMHS related witnesses – Baker, Robertson, Phillips, Hill, Vadas, Robinson.

And totally kills the lawsuit.

Killer #12 – Not even a single example of a “fake,” or a substantiating document, of any kind, was ever produced by any Sommer witnesses – NOT ONE.

Where’s the Beef #1 – It was an  echo, and a stern reminder of what Judge Martial and Justice Sanderson concurred on in 2013, that there never is any evidence for what Sommer and his (that time, two) witnesses say… Clearly the Sommer strategy, this time around, in Hearn v McLeod, was based on a belief that if you pile on more and more of the same kind of witnesses, you will get a better result.

Unfortunately Mr. Sommer, apparently, never took math: 20 times 0 is still Zero.

Sommer’s witnesses were entirely “opinion” and hearsay, bumpf witnesses, full of bombast, bluster, bluff, and blow, with not a single evidentiary substantiation to produce for the court. They produced not even the name and title of a single painting, or a photo or copy, or even a description of a work.

Without evidence, “opinion” remains BS. And so it all was…

After being forced to listen to days of this irrelevant bumpf. I was sure glad Hearn was paying Sommer, for drawing it all out for days of interminable irrelevance, and not me.

This also applies to documentary evidence. Not a single Sommer witness brought in a cheque, or invoice tied to a fake painting or sale. NOT ONE.

Where’s the Beef #2 – In one of the most ludicrous bits of testimony – by someone who was clearly ignorant of the Canadian auction business – it was alleged that Randy Potter supposedly paid some $120,000 for fakes.

Which is utter nonsense. Potter, like every other auctioneer in the world, never bought items he was selling. Auctioneers are middle men who funnel items on consignment, and take a commission. ALL the Morrisseaus Potter sold – some 2,000 – were consigned/owned by David Voss, and funneled through Potter, in exchange for a cut of the auction selling prices.

In fact, NO country auctioneer would ever see the need, or have the inclination to buy art, since his consigners give it to him for free. Besides, no auctioneer ever has disposable income of that amount to buy art, especially from an artist whose art was selling for peanuts.

Not surprisingly, no Sommer witness produced a substantiating document to back up the ludicrous charge, of course. That was never the intent anyway; it was just another of many sneers intended to besmirch the reputation of a totally reputable auctioneer, Randy Potter.

A fact, that clearly escaped the combined intelligence of the Sommer Dream Team and their cabal of fraudsters and misguided witnesses, is that NOBODY, NO ART GALLERY, OR AUCTION, in Canada or elsewhere, risks its own money to any extent, on an art buying gamble. THEY ALL, especially on highly expensive items, ALL accept it only as a CONSIGNMENT, WITH NONE OF THEIR OWN MONEY EVER BECOMING INVOLVED OR AT RISK.

But clearly these witnesses, who have NO experience of the Canadian commercial fine art market, made this ludicrous crap up, or were told to regurgitate it, by someone. Someone who also had no experience.

Someone else – I wonder who that could be? – gave this witness, not only the stupid line about the $120,000 to use, but provided them with the name Randy Potter to use, to smear.

No drugged up drunken, down and out, hang about, in some rural backwater part of Thunder Bay, knows the name of a country auctioneer in Port Hope, ON. The mind boggles at the idiocy of this concoction. Do you detect the name of a person who had a foot in both towns – make that Ritchie Sinclair – who gave that Sommer witness the idea to regurgitate?

Sinclair has a long history of concocting inserts into police reports, and Sommer Business Law “amended” claims and publishing them.

And the Defence lawyer, clearly had no clue either and just let it pass, as if it were possible or true, when it was patently ALL totally ludicrous and absurd in the absolute.

Time and time again the witnesses and lawyers demonstrated that they had neither expertise,  experience, or even basic knowledge, about the commercial buying, and selling of Canadian fine art. Or any understanding about the procedures or protocols that govern fine art auctions where the exchange of hundreds of millions in Canadian art takes place every year.

Lacking even simple basic knowledge that should and could have been available to the court, was a serious failing, and was repeatedly evident, leading to often ludicrous discussions that took place.

And then there’s this: Randy Potter sold some 2,000 Morrisseau BDPs over the years. ALL sourced to one and only David Voss. (auction boss Donna Shea testified in court in 2010 in Otavnik v Sinclair.) And NOT a single one was ever returned as a fake by any of the 200 top Canadian art dealers who bought them. And many have been forensically authenticated.

It boggles the mind that a country auction, always teetering on the edge of bankruptcy – Potter’s ultimately closed – would somehow find a Sugar Daddy with $120,000 to invest, in other paintings in the same neck of the woods where they were already getting all they wanted for FREE, on consignment from David Voss… So no wonder no invoice for such a landmark pseudo-sale was ever produced.

To someone like myself who has attended some 2,000 auctions over the years, it was a preposterous outburst of nonsense without a scintilla of credibility – and of which there were countless – that will always remain a fundamental landmark of the Plaintiff’s Claim in this trial.

The Preposterous and Racist Lorraine Cull – The 151 Cull invoices, from many Indigenous artists, that this shop owner from Thunder Bay, ON, gave Sommer to put forward as proof of “fakes” production, are a racist disgrace.

And nothing more. They prove only that Cull is a racist. That Cull will sell her private business records of clients, complete with their Visa Card numbers, to a lawyer for money, if, of course, he makes the deal sweet enough! And Hearn apparently is flush…(Cull told me a lawyer (it turned out to be Sommer) had paid her to dig into her records and fork the secret stuff over.)

Cull did it because they were only “Indians” who were involved, and would never catch on, or be able to bite back. Now do you know why Cull’s home town, Thunder Bay, is called the most racist anti-Indigenous town in Canada, by the mainstream media? And why Statistics Canada says 30% of all anti-Indigenous HATE CRIMES, happen in Thunder Bay, ON?

Guess how many originate in Lorraine Cull’s Painted Turtle paint supply shop?

Let’s be utterly clear: if Cull had done that – panhandling private documents to someone for bucks so they could publicly expose them – say, with Anna Sommer’s invoices at her beauty salon, or Jonathan Sommer’s invoices for what he pays Kathryn Wright for services (Justice Dow, asked Sommer, why do you pay her $400 per hour, when you do the same work and only bill $300? “Interesting!” said Justice Dow),  or his billings to Kevin Hearn, they would have INSTANTLY, sued Cull’s ass off… AND got the cops, and Ritchie Sinclair, to go after her…

And so, you and I would have too…

The Inexcusably “Missing” Witnesses:

Killer #13 – The Damning Absence of Sinclair & Robinson: the Hiroshima & Nagasaki Bombshell 

The single event that should have killed this lawsuit instantly – when the lawyer dumps, without notice, the top two conspirators behind this lawsuit from 2010 till 2018, who set up the whole damn thing and wrote a massive two volume expert report calling “Spirit Energy” fake.

Nothing could better illustrate lawyer Sommer’s total lack of faith, total lack of evidence, in his lawsuit and his own experts. HE  – NOT the Defence – killed them off. It’s telling, and damning…

THE FINAL DISGRACE – Donald Robinson, whom Ritchie Sinclair calls, “My Mentor,” and Sinclair, have been hugely and totally discredited, without a single failing, in numerous court decisions and lawsuit settlements. And on Oct. 2, 2017, after having been the Sommer Dream Team for nine long years for his two Morrisseau “fakes” cases, and his top two experts for Hearn v McLeod, for eight years (since, 2010), were suddenly and unceremoniously DUMPED BY THEIR LONGTIME COLLABORATOR AND BUSINESS ASSOCIATE, lawyer Jonathan Sommer.   To the astonishment of the public galleries, the disgrace and banishment was easily, the Hiroshima and Nagasaki moment of the six year lawsuit. The Final Indignity for this defamed and discredited duo – being dumped by their own lawyer – WHEN THEY HAD SET UP THE ENTIRE LAWSUIT FOR HIM, and steered his way a contract that funnelled some $100,000 plus to him and his associates. What goes on in Canadian courts does not get any more surreally preposterous than this. 

For nine years Don Robinson and Ritchie Sinclair have been the Sommer Dream Team behind the only two Morrisseau “fakes” cases ever to go to trial in Canada. The first one, Hatfield v Child proved a total disastrous and discreditable defeat in all respects for the Dream Team and their lawyer Jonathan Sommer, at the hands of Judge Martial and Justice Sanderson.

For six years Robinson, Sinclair, and Sommer have been prepping for “fakes” case #2, Hearn v McLeod. The trial was to open on Oct. 2, 2017. Only to be met with a Hiroshima and Nagasaki Bombshell.

Sommer totally dumped his entire Dream Team, Robinson and Sinclair, the two perps who had set up the entire lawsuit, when Sinclair entirely by himself dismounted and discredited “Spirit Energy” as a fake, then groomed the owner, Kevin Hearn, for two years and delivered him into the lap of – what else is new; here we go again – Sinclair’s longtime Morrisseau “fakes” business partner, lawyer Jonathan Sommer, based in far-off, rural Sutton, Quebec.

REWIND REALITY – And in case you missed the significance – Sommer is the only lawyer in Canada, out of 90,000 ever to flog a Morrisseau “fakes” case. And none of the 25,000 lawyers in the Toronto Golden Horseshoe area, have done it or thought this pig would fly. And Toronto, I would dare say, has the biggest concentration of Morrisseaus of any town anywhere. And supposedly the highest number of angry owners willing to grab a lawyer to sue for one of the thousands of fakes Sommer claims are “out there.” How many have done it? The answer is NONE… NIX… NADA… ZILCH… The only two in the universe – the two gullible dupes, groomed by Ritchie Sinclair… and dropped into Sommer’s lap. I would presume he got a cut, don’t you?

So what the hell is the use of trying a case when the perps who had orchestrated it are not there to explain or defend themselves and provide evidence for their actions.

A good move, Mr. Sommer. He knows his longtime Dream Team has lied, under oath – I call it perjury – so many times they’re as indefensible as anyone has ever been in a lawsuit. Better get rid of them, and fast…

OOOPS… – But tossing out these babies, and the bath water, and leaving this lawsuit without its foundational creators, has no credibility whatsoever, left. It’s dead as a door nail. Hey, when the dastardly duo leave the Titanic on the last lifeboat, abandoning ship with all their documentation, and their testimony, moving the remaining people around on the deckchairs won’t make a bit of difference. Or don’t they teach that in law school?

Killer #14 – The Damning Absence of AGO’s Gerald McMaster & Teitelbaum

Without a doubt the giant killer of the trial. These two top AGO staffers who Sommer claims are the proof for his core position, that the AGO curator dismounted and discredited “Spirit Energy” as a fake, utterly refused to show up as witnesses to that effect in his trial. Leaving Sommer to twist in the wind.

Their total absence on the stand, is utterly shocking and damning in the absolute. It leaves the lawyer exposed as a total liar when he has neither evidence or witnesses for his core position. And ALL the documentary evidence that does exist, is to the contrary…

Killer #15 – The Damning Absence of Randy Potter & David Voss

The Hearn v McLeod lawsuit was filed in June 2012; the Statement of Defence was delivered in 2013. The Defence clearly states that the subject painting came from Randy Potter’s auction and the consigner was David Voss.

These were the foundational experts on the buying and selling of “Spirit Energy of Mother Earth 1974.” Anyone with a problem or question on ANY OF IT, was free to call, contact, or interview, the auctioneer Randy Potter, and/or the consigner, of all 2,000 of his Morrisseaus, David Voss.

The two top, and utterly key, people with direct evidence of the provenance, of “Spirit Energy,” as stated in the Shiller/McLeod Defence, were NEVER contacted or interviewed by Sommer, or his Dream Team, or his “expert” Carmen Robertson.

It is unforgivable…

It is as utterly damning an act of malice, actual malice, and research malfeasance as it’s possible to find in this lawsuit.

Instead, someone – Guess who? – directed Carmen Robertson to use an old, outdated, hasty memo, quickly jotted down by Joe McLeod, in July 2010, even though it had been legally superseded by the information clearly stated in the Statement of Defence, two and a half years later.

Why would anyone do something so transparently fraudulent, something clearly done to try to mislead the judge?

The intent was clearly to maliciously target and falsely discredit, a very decent and reputable guy, Joe McLeod.

It shows that at the core of the Sommer Dream Team there is not a single shred of integrity or even a minimal interest in the search for Truth.

In fact, only FOUR DAYS before Sommer filed the Hearn v McLeod lawsuit, Joe McLeod had been testifying at the landmark Hatfield v Child lawsuit. Sommer was the cross-examiner – I heard him; I saw him; I read the transcripts.

Under oath Joe McLeod testified before Judge Martial about his long experience dealing with Morrisseau art going back to 1959, when he was a teacher in remote towns in northern Ontario. He also testified about the continuous physical attacks and intimidation, threatening him and his family, since October 2008, by Ritchie Sinclair who lived only a few blocks from his gallery.

And then Sommer heard McLeod under oath, testifying about the art terrorism activities of the man who by 2018, would have logged nine long and loyal years as Sommer’s Morrisseau “fakes” business partner, Ritchie Sinclair.

McLeod quoted Sinclair as ranting,

“We’re going to get you, man. We’re going to kill the Morrisseau market, man! You’re dead meat man! My son was there and he continued to rant and rave. And we asked him to leave. We reported it to the police. He then took to shouting at me on the street.”

REWIND: It is a documented fact that Ritchie Sinclair, himself, had been in the Randy Potter auction hall and watched “Spirit Energy” being sold on Feb. 14, 2004, to Joe McLeod. Sinclair even told the auction manager, Donna Shea, they were all “wonderful Morrisseaus” she was auctioning.

It is a sterling reminder that, Potter Auctions sold some 2,000 Morrisseaus – mostly BDPs – all of which came from David Voss – It’s in the Defence dude! – over a ten year period. They were sold to some 200 of Canada’s top Morrisseau collectors and dealers, and NOT a single one was ever returned demanding a refund, alleging they’d been sold a fake.

Not even by the Sommer anchor man on his Dream Team for nine years, the notorious art fraudster Don Robinson, who bought 31 BDPs there, for $54,000 and never brought a single one back either. In fact he sold lots, for high prices, to his Kinsman Robinson Galleries clients.

Now do you know why Potter and Voss are poison to Sommer’s lawsuit, and core position?

And now do you know why Potter and Voss are poison to Carmen Robertson’s expert report and intent to target and discredit Joe McLeod. And why she TOTALLY AVOIDED calling either of them, regarding some anomalies she discovered about a “provenance” hasty note of Joe McLeod’s.

Had Robertson called regarding “Spirit Energy,” and the reason she did NOT do so, is this: Randy would have immediately told her things, she did NOT want to hear, and given her documentation she did NOT want. Namely a Potter auction legal CRA receipt showing that he sold “Spirit Energy” a painting he got consigned from David Voss, and sold it to Joe McLeod on Feb. 14, 20104.

Invoice – Randy Potter to Joe McLeod “Spirit Energy” – Feb 14, 2004
– The document Carmen Robertson & Jonathan Sommer agreed to ignore… so they could slang him with an old erroneous one instead.

Joe McLeod 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, that goes back to 1959, and which he maintained to the end. Carmen Robertson started her “research” in 2001, she claims, 42 years after Joe. And oh, did I say? without EVER interviewing either Joe in the 17 years after that, or Norval in the 7 years before he died.

In fact when I was following the same research trail, for the same painting, Potter spent three days digging through his receipts and then provided it to me. It’s a document that totally kills, not only Robertson’s provenance fantasy in her fraudulent report, but kills her credibility as an honest and duly diligent researcher. She is in huge violation of Chief Justice McLachlin’s protocols necessary for a public communicator to plead a Defence under the Supreme Court of Canada’s rules regarding “Responsible Communication.”

And it is a matter of record that Joe, for one of the rare times in his Morrisseau dealing career, while attending Potter auctions, bought “Spirit Energy” with his own money. A rare thing for gallery owners to do. And Joe did it only 14 times.

Remember, folks, I am talking about the painting Robinson, Robertson, and Sommer call a “fake.”

And why? Because the man considered the world’s top, senior, and most reputable Morrisseau expert thought the painting was of such a high quality he wanted it for himself.

Even Don Robinson admitted under oath before Judge Martial that he considered him THE expert. And the Tax Court of Canada and Justice Murray Alexander Mogan, among others considered him a voice to listen to about Morrisseau authenticity and valuations. And exactly the opposite of what they thought of Robinson.

All by themselves, the utter lack of research phone calls, totally kills the lawsuit.

And the coup de grace, for the lawsuit is that neither of these utterly key voices were subpoenaed by Sommer to appear so he could expose them as the crooks and creeps he and his Dream Team were always calling them in public and in private.

Killer #16 – The Damning Absence as Witnesses of Any Morrisseau Family Members

Anyone wanting an honest and credible witness, on what Norval painted and when, would have, without question, brought in Norval’s family members – brothers, children, nephews – to say what Norval painted like and when. They watched him paint thousands of paintings, over time, in his prime period. Several have long been, artists in their own right.

It’s beyond farce, but another sordid facet of the racism involved at the heart of this lawsuit, is that none of these historic and closest witnesses to Norval’s painting history were brought in. But a handful of tangential, minimal, white guys with less or little testimonial expertise or experience on the issue were.

It makes me gag… But then, I’m not a lawyer.

This racist exclusion of Norval’s Indigenous family members, ALONE, totally kills this lawsuit.

The Sommer Dream Team has always been, PROFOUNDLY racist, with Sinclair’s website, the most racist, anti-Indigenous website in history, mirroring Don Robinson’s and Sinclair’s openly visceral attacks (I saw them; I heard them; I read the transcripts) on ALL the Morrisseau family members as being “all liars.” As well as other leading Indigenous community members, including respected regional chief, and top artist, Dr. Goyce Kakegamic, Norval’s brother-in-law.

It’s understandable, that when you’re tarting up a fraudulent lawsuit, claiming Norval never painted a single BDP, you clearly don’t want the best informed historic witnesses showing up to say the core position on your lawsuit is fraudulent, and not true.

Sommer knew ALL of the Morrisseaus would uniformly, and unhesitatingly, say that Norval painted thousands of BDPs. (Wolf testified to that in Hatfield in 2012. Judge Martial called him one of the best and most trustworthy witnesses, who helped to totally destroy Sommer’s claim in that lawsuit.)

The Morrisseau family’s stories about Norval and his BDPs, was just about the very last thing that Sommer, Robertson, Sinclair, Robinson, and Hearn, wanted the judge to hear.

The Damning Key Plaintiff’s AKA “Turncoat Defence” Witnesses

Killer #17 – The Damning Testimony of Dallas T & Amanda D

Brought in to testify for the Plaintiff, that they both saw Morrisseau “forgeries” being made, Amanda D and Dallas T, stayed long enough to become the best Defence witnesses.

They independently, swore, under oath, that what they saw was COPYING of original Morrisseaus, first the fronts, and then the BACKS, with Norval’s BDP signature.

Brought in to prove “Spirit Energy” as a supposed “fake,” they BOTH said they had never seen “Spirit Energy” or any similar painting before. Then they went on unwittingly, to totally, undermine Sommer’s core position and lawsuit, by affirming they both had seen original Morrisseau BDPs being used for COPYING FROM.

More damningly, they claimed to have watched Morrisseau BDP signatures being COPIED from the backs of Morrisseau originals, both directly from actual Morrisseau BDP paintings, but also freehand – from memory.

Unfortunately – like ALL the Sommer witnesses they provided no pictorial evidence of any kind for any of it. They both stated clearly they had never seen “Spirit Energy” or anything similar, copied in their shop.

Which totally destroyed another Sommer key position, that “Spirit Energy” was a product of their Thunder Bay forgery operation. They told Sommer and the court, that NO, they had NO recollection of that.

No matter; it was their own testimony in words that destroyed the lawsuit and Sommer’s core position.

Goodbye lawsuit, alleging Morrisseau NEVER painted a single BDP signature (as alleged by Sommer Dream Team members (Sinclair, Robinson, Robertson).

Killer #18 – The Damning Absence of Benji Morrisseau as a Witness

It also exposes exactly why Sommer also totally refused to bring in supposedly his potentially best witness, who could support his claim about a forgery ring, the master “forger” himself, Benji Morrisseau. You know, the guy Amanda and Dallas said was religiously COPYING Morrisseau BDPs, front and back. Sommer says he must have done it thousands of times. Yeah, you got it… copying Morrisseau BDPs.

But Sommer, not so astonishingly, refused to bring in Benji before the judge.

Amanda and Dallas – thanks for doing that! – fingered Benji as the “forger,” whom they went on to describe would be better, more accurately called, the COPYIST.

Because Benji was NOT a forger. No evidence to that; copying is not a crime, in art college, or anywhere else in the world. The evidence was ALL that he was a contract painter, simply making painting copies like my Mom and yours do.

But Amanda and Dallas, by bringing up Benji stuck a huge knife into the Sommer lawsuit and finished it off totally. Because they said Benji COPIED original Morrisseaus, BOTH the painting on the front, and the BDP on the BACK – Yes they said BDP on the Back.

And that Benji would sometimes NOT COPY the BDP on the back. No sireee, Benji they said, often did it from memory… Memory! Because, as Norval’s nephew, he was for years, in the 1980s, his artist apprentice, painting with his uncle. That’s where Benji’s memory of BDPs came from. (Source: James R Stevens, “Picasso of the North…”)

NOT from some forgery fantasy in Jonathan Sommer’s mind.

But by bringing in Amanda and Dallas, lawyer Sommer hugely helped kill his own lawsuit.

Remember Dr. Singla’s strong testimony in Hatfield. “NO forger will paint something if the artist wouldn’t do it.” Because, it would immediately show something not standard, indicate a forgery, and send you to jail.

Benji knew a blank-back was non-standard for Norval; that a genuine Morrisseau needed a BDP back. And so he copied BDP backs, who knows how many times…? BUT having done it only ONCE, alone kills the Sommer lawsuit and core position. Because it establishes the Morrisseau standard – a BDP back – from a family member who had worked intimately with the artist for many years.

Killer #19 – The Utterly Useless & Irrelevant Plaintiff’s Witnesses:
(Fox, Vincett, Baker, Amanda D, Dallas T, Loraine Cull, Gabor Vadas, Carmen Robertson)

Not a single one had a memory of ever having seen “Spirit Energy” or anything similar ever being displayed, painted, copied, etc. by Morrisseau, ever before. They testified they had only seen Norval paint: “zero” (Robertson, Amanda, Dallas, Cull), one time (Baker), two (Fox), some (Vincett).

The only credible one, was Vadas, who had arranged lots to be painted for Norval during the artist’s “wheelchair invalid period of painting.”*** But he refused to talk about any of those… Next witness please.

*** This was one of the reasons that Joe McLeod refused to buy or sell “Morisseaus” dated later than 1985, just before Vadas and Robinson took charge of the Morrisseau Studio, during what I call Norval’s notorious “wheelchair invalid period of painting.”

Killer #20  – The Inexcusable & Damning Refusal of the Court to Accept any new Defence Evidence

It is beyond farce that the court absolutely refused to accept any Defence documents, as new evidence. Especially after Justice Morgan told John Goldi, on Oct. 3, 2017, in refusing him intervener status, that he should give his forensic authentications (four key trial forensic documents) to the Defence to submit should he grant them intervener status.

When Joan Goldi acted as a courier for notarized forensic documents that had been mailed to her from Calgary, to file with the court, under the name of the intervener and their lawyer, she was turned away.

Court officials told her no new documents could be filed, since the trial had begun on Oct. 2, 2017. She was instructed to file them directly at the judge’s office, which she did immediately. She was, later, distressed to discover that apparently, they remained unfiled with the court.

Similarly James White, who was a successful intervener, had ALL the documents he wanted to file with the court to support his testimony – confirming the provenance of “Spirit Energy” etc. – rejected by his own lawyer. White’s lawyer told him he would NOT take them as the court would NOT allow them to be filed, saying the court barred interveners from filing new evidence with the court.

Setting up a “Defence” in name only, but utterly incapacitating it, by the court’s refusal to accept the filing of new evidence, is totally unfair – out the gate – and as good a reason as any, for killing the lawsuit.

Killer #21 – The Deliberate and Inexcusable Withholding of “Spirit Energy” from the Defence by lawyer Jonathan Sommer

Why refuse to give “Spirit Energy” to the Defence to examine until the DAY BEFORE they had to make a report in court about it? And then blaming the Defence to Justice Morgan for filing a “late” report. When you had given it to Robertson for five months, and Robinson for six months so they could slang it…

For over four months Jonathan Sommer refused the Defence expert, Paul Bremner, access to examine “Spirit Energy.” He only gave him moments, to examine it, finally on Feb. 5, 2018, the day before the trial was to resume and Bremner was to testify.

Bremner, left with literally only hours to research, prepare, write and get a copy of the report to Sommer, was dismissed by the court for being late in handing in his report. Sommer complained, that Bremner, handing it in so late was unfair to him (Sommer) in not giving him adequate time to prepare a cross-examination of it.

Compare: Jonathan Sommer had given Sommer Dream Team Member, Donald Robinson. his expert on Hatfield v Child, six months alone with “Wheel of Life 1979” so he could take all the time he needed  to “prove” it was a fake. He knew Robinson would come through for him with a “fake” report and he did.

In fact Robinson had rehashed the same report multiple times, only to have judge after judge reject him as hopelessly crippled by self-interest, and as uncredentialed, and unbelievable, along with his bogus reports. It proved to be 5 and O for Robinson, which must be a new low for judicial discredits in Canadian art history. No wonder Sommer ultimately dumped him.

Sommer had given Sommer Dream Team Member, Robinson, his expert on Hearn v McLeod, six months with “Spirit Energy of Mother Earth 1974,” so he could take all the time he needed to “prove” it was a “fake.” He knew Robinson would come through for him with a “fake” report and he did.

Sommer had given Sommer Dream Team Member, Carmen Robertson, his new “expert” on Hearn v McLeod, five months alone with “Spirit Energy of Mother Earth 1974,” so she could take all the time she needed to “prove” it was a “fake.” He knew Robertson would come through for him with a “fake” report and she did.

After months of being badgered to give the Defence access to “Spirit Energy,” Sommer gave Defence expert Paul Bremner only brief access to “Spirit Energy,” and only on Feb. 5, 2018, the day before Bremner was to make his presentation to the court.

Beyond Chutzpah – Sommer, then brashly and crassly, complained to the court that Bremner’s tardiness with his response in filing his resulting report, badly hamstrung Sommer’s own right as a lawyer to present a fair response. That on that basis it should be rejected as unfair…

Justice Morgan – who I believe was NOT aware of this seedy lawyer tactic, and who was, inexplicably, NOT apprised of it – I waited for it in vain; it did not happen – by the Defence counsel – played a completely passive role, in the killing off of his own expert. And Bremner and his report were dumped.

So the Defence expert, the Defence expert report, the Defence’s “new evidence,” were all dumped from playing a role in this trial.

I believe these are all terminally damaging, not only to the appearance of fairness, but materially, against having a fair, equitable, and just judicial process, and are sufficient, and reason enough, ALL by themselves to kill the lawsuit.

Killer #22 – The Failure to give the Interveners a fair amount of time to prepare a proper Defence

For a lot of reasons, in October 2017, Sommer wanted a speedy trial. He had been preparing and/or publicizing in the mainstream stream media, that he was pursuing Hearn v McLeod, informally since June 2010, and formally since 2012.

The Undefended Trial is Born – But by Dec. 2015, Sommer was informed by McLeod’s counsel, Brian Shiller, during a pre-trial conference, that McLeod would NOT be proceeding with the Trial, would NOT be defending, and had NO money or assets left. That he could NOT even afford to pay for forensically authenticating “Spirit Energy.”

By 2015, Sommer knew he was proceeding in an UNDEFENDED lawsuit, against an estate that had NO money.

Sommer therefore knew that – Wow – he would have no opposition. But he also knew the huge amounts of penalties and costs he was demanding in the Hearn Claim, would/could NEVER be collected. That Hearn’s demands for financial compensations of any kind, let alone the huge amounts he demanded, were ALL, totally, SOOL.

That Hearn had, for six years, dumped $100-200,000 (Brian Shiller estimate) down a deep dark hole. Money he would – none of it – ever see again. Or get any benefit for.

Did Sommer make clear to Hearn that Joe had NO assets, that an art gallery like his – all art galleries, in fact – are just four bare walls, with spiders in the closets, and mildew in the basement? That almost all the art inside was owned by consigners, who would have removed all of it.

And that, all that would remain, after Joe left, was perhaps some brochures and a catalogue or two. Oh, and of course, the spiders and the mildew…

Did Sommer tell Hearn, he’d never see a penny, even if he won at trial…? (And that, a highly unlikely event, considering the evidence, better make that the stunning lack of evidence, the Plaintiff needed to produce to prove “Spirit Energy” was fake.)

By Aug. 2017, Sommer and his Dream Team, were the only ones, practically in the world, who knew that Joe was now dead, since May, and that they were now suing in an UNDEFENDED trial, against a dead man. It was looking even better for them all the time. Unless Joe came back from the dead…

No one else knew Joe had passed on. I did not, nor anyone else I knew.

Secretly, Sommer saw himself romp on a victory lap, in an UNDEFENDED TRIAL. (Did Sommer, at any time over the last few years, tell Hearn that, “Win or Lose,” there were NO… NONE… NIX… ZILCH… assets – no recoverables for Hearn – at the end of the tunnel?)

Then word of Joe’s death leaked out at the end of August 2017. And word went out that instead of ending it, that it would go on UNDEFENDED…

Independently several parties – I was one – determined to intervene, to make sure that the trial was defended, a genuine painting was defended, and that a decent man who had been viciously and maliciously attacked by the Sommer Dream Team for years, was defended.

And that a cabal of fraudsters behind Sommer would not succeed.

On Oct. 2, 2017 it all was put on the table, before Justice Morgan, as the interveners demanded access to the trial before Justice Morgan and an angry Sommer, seeing his victory lap aborted, stood up to oppose them, their submissions, and their documents.

Several interveners demanded access and time to prepare.

Sommer loudly and aggressively opposed it all. He knew that every delay was another nail in the coffin of his lawsuit.

His strategy was clear: he wanted his trial immediately, and preferred to fight it with no opponent, or failing that, a seat-of-the-pants intervener who had no time to prepare.

Enuff is Enuff! They’ve had years to prepare!!! – Sommer loudly and repeatedly barked that he had waited years, for his day in court – which was true – and then bellowed, repeatedly, that “these people” had years to prepare – which was, of course, a total lie. Sommer demanded no more time should be given them to prepare, or be wasted on building up their Defence. They’d had years and years. If they’re not prepared, it’s their own fault.

What years are you talking about, Mr. Sommer? The truth, which seems to escape Mr. Sommer, more often than not, was that until Aug. 2017, the whole world assumed that McLeod and Shiller were defending the lawsuit. NIAOB.

So, it was evident, even to people with single digit IQs, that there was no need for anyone else to prepare or get involved in the trial.

It was in the capable hands of one of the most accomplished lawyers in Toronto, Brian Shiller.

That changed only at the end of August and early September, 2017, when it first became public knowledge, for the first time, that Joe had died and that the trial was now abandoned and UNDEFENDED, and that Sommer would win by default.

The Intervention Begins to Sprout – On September 1, 2018, people began to rally to put a stop to it, but NONE had standing in the court, or knowledge if they ever could even get standing to be heard. Judicious people wait for court approval.

Only four weeks later, on Oct. 3, 2017, they would get a court hearing, and then a totally unsatisfactory assurance. They were told to wait and see…

Some interveners got the right to make a claim for status; I was one who did not.

But no one else did either. They only got the right to make a claim to the court. And only after hearing it, would the judge decide if they would get status or be dumped also.

So, for the next two months, in October and November, the trial was officially still UNDEFENDED. There was NO DEFENCE, and no one had been granted intervener status.

How many of you, on spec, would on that basis, hire a lawyer at $500 plus, an hour to work day after day after week to put a case together. For TWO MONTHS, when the judge could then tell you, on Dec. 4, sorry but you are SOOL, I am not granting you intervener status…?

Well, nobody, in their right senses that I know. The hopeful interveners were all, obviously, and smartly so, just winging it on the cheap, as you do when betting on your chances in Vegas…

The Death Row Phone Call – On Dec. 4, 2017 the interveners made their pitch for status, not knowing if they would be granted status, to continue, or if the money they had already spent on filing court papers by lawyers, was wasted, and they were denied…

(The Defence already was ordered to pay Sommer’s billings for his costs in bringing in his (useless) witnesses who had been brought in. I do NOT think that was fair.)

Justice Morgan then listened for the interveners to make their pitches, and Sommer’s opposition to everything they said. In the afternoon, finally, Justice Morgan, officially announced, it was a go. Some interveners would be given leave to go on to contest the trial.

Under those conditions – despite Sommer’s strong opposition – I would have expected that the Defence, that was now less than an hour old, and brand new to the case, would be given some six more months to do some research, and solidify its point of view… In fact the Defence lawyer was utterly clueless about art or Morrisseau or anything to do with the case, as he told the court repeatedly.

He certainly needed an education on this lawsuit. Six months might make a start.

It’s what I would have expected. What about you? I do not know who, in the Ontario judicial system, makes the decision on these matters of scheduling and fairness.

Was I the only one who was surprised, when Justice Morgan announced that the trial would start the next day, Dec. 5, 2017 and continue till Dec. 8, in effect, leaving a self-confessed, totally ignorant lawyer, and an ignorant Defence, to flounder around the best they could against the Sommer onslaught.

So, here’s how the preparation, and the parties shaped up on Day 1 of the Trial:

Sommer’s Dream Team had been preparing since June 22, 2010 – seven years.

The newly-approved interveners and their lawyer had time to prepare overnight, from the afternoon of Dec. 4, to 10 a:m the next day, Dec. 5, 2017 – about 16 hours…

Does this appear to be setting the stage for a fair and just hearing into a highly serious case involving the greatest art fraud in Canadian history and the biggest hate crime against the Art and Artists of Canada’s Indigenous people in modern history.

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How Godwin, Robertson & Sinclair KILLED Hearn v McLeod

See – TBAG in Header Menu

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All About Morrisseau “Fakes” Business Partners

UPDATE – Feb 15

A Historic Day of Remembrance – Feb. 14, 2004 – Feb.14, 2018

Joe McLeod 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, that goes back to 1959, and which he maintained to his death in May 2017.

Today on Valentine’s Day, Feb. 14, 2004, Ritchie Sinclair – while he was a starving Faux-nishinaabe artist, and four years before he decided to go to work for Kinsman Robinson Galleries, in Oct. 2008, and become a full-time art terrorist – sat in the auction hall at Potter’s Auction in Port Hope, along with several other people of note.

One was Joe McLeod, considered by everyone the senior and most reputable Morrisseau expert on the planet (expertise dating back to 1959.) He mostly came to watch. As a gallery owner he sold art on consignment because – like other gallery owners – he could not afford to buy outright the paintings he sold in his Maslak McLeod Gallery in upscale Toronto.

Another was James White – who would, years later, successfully sue Ritchie Sinclair for Libel and Slander of his Morrisseau paintings and win $28,750 from Judge CW Kilian in 2015.

Another was Joe Otavnik, who would, four years later, go on to successfully sue Gabe Vadas – Norval’s business manager – for slander of title of his Morrisseau paintings. Otavnik would win a total capitulation and settlement of the full amount he wanted, from Vadas and Morrisseau for their malicious and fraudulent discrediting of his Morrisseau BDP paintings as “fakes” in 2008.

An art collector successfully suing an artist’s business manager, who claimed his art was “fake” and winning total capitulation, must be a first in world history.

Gotta Love Those Forensic Reports: Forensic reports Otavnik commissioned by Brian Lindblom made art terrorist and fraudster Gabe Vadas fold like a dirty shirt. He knew his lies could never hold up against a forensic report before a judge.

(Vadas would try them out again, on Dec. 7, 2017, in Hearn v McLeod. His stuttering and faulty memory on the stand were embarrassing. But Carmen Robertson still gave him the longest and most affectionate hug I’ve EVER seen anyone give or get, some 15 feet in front of me.)

Gotta Hate Those Forensic Reports: Fighting against a forensic report was an experience Jonathan Sommer would desperately try to avoid in Hearn v McLeod, by simply refusing to have the forensics done on a painting he called “fake” for six long years. I mean, seriously, do you know anyone in search of the Truth, who obstreperously refuses to have the Blood, the DNA, and the Fingerprints on the Murder Weapon tested? Well Sommer did his damndest… But so did I.

His hopes were dashed for good when I had the forensics done for Sommer, and I showed up in court on Day 1, flourishing a forensic report that authenticated as a genuine Morrisseau, “Spirit Energy,” a painting he and his Dream Team disingenuously claimed to be a fake. 

Now on Valentine’s Day, 2004, the dramatis personae were ALL there to watch art being sold. McLeod, White, and Otavnik, were there to buy up genuine Morrisseau BDPs from the collection of David Voss of Thunder Bay, as were scores of other top Morrisseau dealers.

But Sinclair was making his one and only appearance ever, at a Potter auction house that would sell some 2,000 Morrisseau BDPs over a period of ten years. NOT A SINGLE ONE OF WHICH WOULD EVER BE BROUGHT BACK AS A “FAKE” DEMANDING A REFUND.

And that includes Donald Robinson, Ritchie’s future employer – who had bought 31 Morrisseau BDPs for $54,000 and ALSO NEVER BROUGHT A SINGLE ONE BACK CLAIMING IT WAS A “FAKE.”

But Sinclair was there for an entirely different reason. He was there to try to buy back some of his own art that had been seized by the Sheriff, for his non-payment of storage locker fees. His acrylic on panels would end up selling for $20, $30, or $60, to people looking to block up holes in their wall board in their furnace rooms. Below Randy bought one as a souvenir of a failed “Faux-nishinaabe” artist who, out of anger would become Canada’s most notorious racist, anti-Indigenous art terrorist.

“Faux-nishinaabe” AKA “Crap Art”- Randy Potter, the auctioneer who, over a decade, sold some 2,000 Morrisseau BDPs, to some 200 of Canada’s top Morrisseau collectors and art dealers, including Donald Robinson who bought 31 for $54,000. AND WITHOUT A SINGLE ONE EVER BEING RETURNED FOR A REFUND BY ANYONE. NOT EVEN BY DONALD ROBINSON WHO LATER CALLED THEM ALL FAKES, YET NEVER ASKED FOR HIS $54,000 BACK… NOW HOW BELIEVABLE IS THAT? Here Randy holds a Ritchie Sinclair original panel, one of 28 stored in a basement, which came into his possession when Sinclair couldn’t sell them for love or money, and the storage locker company sold them to collect locker fees Sinclair didn’t pay. They were put up for auction at Potter’s auction. Randy bought one as a souvenir of how a white artist, no matter how diligently he cross-dresses, changes his name, and signs his art with fake syllabics, just cannot paint authentic “Anishinnabe” or Woodland art of a quality that anyone wants to buy. Many call it crap art; I call it “Faux-nishinaabe” art by wannabe “Indians.” It’s not in any way authentic; exactly like Ritchie Sinclair…

One famous Morrisseau painting of note was being sold that day in the auction hall, was also consigned by David Voss to Potter Auctions.

McLeod saw it being sold; White saw it being sold; Otavnik watched it being sold; and Ritchie Sinclair saw it being sold, to a man all three knew well.

The lucky buyer was Joe McLeod. He had finally spotted that special – once in a blue moon – gotta have painting he chose to spend his own money on. It was that great a Morrisseau BDP in his eyes!

The painting was “Spirit Energy of Mother Earth 1974.”

Sold at Randy Potter’s, Valentine’s Day, 2004 – A typical 1970s Morrisseau BDP, which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in this way. Justice Sanderson agreed with him. Together they totally and roundly scorched the claims of Sinclair, Robinson, and Sommer, that these were “fakes.”

Hearn should have gotten some counseling to improve his diet, and his physical and financial health. This Blog was available… In fact reading it, had probably saved John McDermott some $100,000 plus… Bottom: Hearn’s sign off phrase on his emails in 2010.

Donna Shea the auction manager, testified she spoke that day to Ritchie Sinclair who praised the “wonderful Morrisseaus” but wistfully sighed he would never be able to afford to buy one.

A year later McLeod could finally bring himself to sell that special painting that he and his daughter both thought was so special.

And made the worst mistake of his life. He sold it to a total neophyte who had never bought a single art object in his life, one Kevin Hearn, a local Toronto, Wawa, and Kapsuskasing ivory tickler.

Five years later Hearn fell into the clutches of the fraudster cabal run by Ritchie Sinclair, who convinced Kevin that “Spirit Energy” was a fake, and that he should sue McLeod.

And. oh yeah, I almost forgot: hire his longtime Morrisseau “fakes” business partner, Jonathan Sommer, a cjc from remote, rural Sutton, Quebec, to be his lawyer.

Kevin was ignorant enough to listen.

It would end up costing him some $100,000 to $200,000 in legal costs, mostly flowing out to Sinclair and Sommer… Go figure…

And what gain for Hearn? He’ll never see his money again.

And worse yet, gain notoriety, for the Ages, as an anti-Indigenous art terrorist, with his malicious and fraudulent lawsuit doing Great Irreparable Harm to the Art and Artists of Canada’s Indigenous people. And to thousands of Indigenous art collectors across Canada. Thanks to his notorious lawsuit making their paintings unsalable at any price.

Shame, shame, shame on you Kevin Hearn. For not tuning up your reading comprehension skills and studying this Blog. And for allowing yourself to be sucker-punched by Ritchie Sinclair…

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10+ KILLER DOCS – That Kill the Hearn v McLeod Lawsuit

The Damning Tale the Emails Tell

In May 2005 Kevin Hearn bought a Morrisseau BDP, “Spirit Energy of Mother Earth 1974” from Joe McLeod at Maslak McLeod, and loved it for five years. (Joe was Canada’s senior and most reputable Morrisseau expert.)

In June 2010, during a musical gig, hosted by the Art Rental Department at the Art Gallery of Ontario (AGO), Hearn hung “Spirit Energy” on the wall.

On June 10, “Spirit Energy” became the victim of a notorious art terrorist attack, initiated by Hearn friend, Ritchie Sinclair, who orchestrated the dismount of “Spirit Energy,” from the AGO wall, claiming it was a “forgery.” For an entire week the scandal he precipitated was a gossip item among Ritchie Sinclair, Kevin Hearn, and the AGO “gaggle of giggle girls” Jennifer Bhogal (Art Rentals) and Kirstin Mearns (Gift Shop), all sneering about and behind the back of, a totally unknowing, and unsuspecting, Joe McLeod.

Only seven long days later – presumably to give Kevin Hearn time to work out his “story line” with the cabal of fraudsters behind him – did he bother to tell Joe McLeod that “Spirit Energy” was dismounted, and discredited. Hearn then fraudulently told McLeod it had apparently, all been done by unnamed AGO people. Which of, course, astonished McLeod.

Hearn had already deliberately hidden the scandal, from Joe, for a week, when he finally called him. And now Hearn also hid the Truth from Joe, which was that Ritchie Sinclair and his band of fraudsters had done it all…

And that, in fact, NO AGO curatorial staff were involved at all, on any level, in either dismounting or discrediting “Spirit Energy” as a fake. Least of all, of course, the Art Gallery of Ontario Frederik S Eaton Curator of Canadian Art, Gerald McMaster.

For several months Joe McLeod then tried to get a professional response from AGO Director Matthew Teitelbaum and Curator Gerald McMaster, to inform him what they had allowed to happen, on their watch, under their roof, with his painting, “Spirit Energy of Mother Earth 1974.” They utterly refused to answer his registered professional letters, asking for a professional response.

For the next two years, the man who had taken down “Spirit Energy” as a “fake,” Ritchie Sinclair groomed gullible art neophyte Kevin Hearn and convinced him to launch a lawsuit against Joe McLeod, claiming “Spirit Energy” was a fake and that Joe was a deceptive crook. It was filed on McLeod in October 2012.

The Defence was written, for McLeod, by Brian Shiller, and filed with the Plaintiff Hearn in Feb 2013. That Defence makes utterly clear the provenance of “Spirit Energy” as coming from David Voss by way of Randy Potter (Khan) Auctions.

The Defence, of course, makes a total mockery of Carmen Robertson’s “provenance” analysis in her “expert” report, where she deliberately and maliciously insists on using an outdated, and superceded note tossed off by Joe McLeod, years ago, with errors in it. Robertson – as is so common with her – sneers off and ignores experts and documents she does not like, and favours documents and experts that she finds useful, to help pursue her private vendetta against “Spirit Energy” and Joe McLeod.

There is always the possibility that she has NOT even bothered to read the Defence, where her error is so clearly exposed, and ridiculed, because she already had made up her mind about “Spirit Energy” and Joe McLeod, and did NOT need to listen to him, his lawyer, or his Defence.

This is Repeating on Me – Her disdainful dismissive refusal to consult other opposing experts is exactly what Judge Martial chided Margaret Hatfield for – she loudly sneered off Joe McLeod – and for listening too much to the same two Robertson informers, Ritchie Sinclair and Donald Robinson.

Sinclair also delivered the lucrative Hearn legal contract to his longtime Morrisseau “fakes” business partner, Jonathan Jerome Sommer c.j.c. from Sutton, Quebec.

(This new lawsuit contract would dovetail nicely into another Morrisseau “fakes” lawsuit Sommer was already handling, Hatfield v Child.

That lawsuit, too, had also been precipitated by Sinclair grooming a hapless, helpless, and gullible elderly lady, Margaret Hatfield, by convincing her first, her Morrisseau BDP was a fake, that she should sue the gallery that sold it to her, that her case was a slam dunk, that she would get all her money back and then some, and that she should hire his Morrisseau “fakes” business partner, Jonathan Sommer. Sinclair had delivered her into Sommer’s lap a year before he began grooming Hearn to follow suit. Sinclair’s contribution to the Sommer Business Law Firm bank account, for delivering his two Morrisseau “fakes” contracts, has  been estimated to be between $200 – 250,000.)

Jonathan Sommer’s own Statement of Claim (filed June 2012), (Opening Argument Dec. 5, 2017) and laid out in Final Argument (Feb. 9, 2018), falsely claims that Art Curator Gerald McMaster dismounted and discredited “Spirit Energy of Mother Earth 1974,” on June 22, and called it a “forgery.”

The emails – all from Sommer’s own evidence box – show that he HAS NOT A SMIDGEN OF EVIDENCE for that claim. THAT HIS CLAIM IS FRAUDULENT.

Invoice – Joe McLeod for “Spirit Energy of Mother Earth 1974”
– one of only 14 times, Joe used his own money to buy a high quality Morrisseau at Kahn
– proves his “provenance” is Randy Potter (Kahn Auctions), back through David Voss
– a professional Potter CRA document, NOT an underground cash economy transaction
– dated Feb. 14, 2004, when Ritchie Sinclair was in the hall, praising the “wonderful Morrisseaus,” he told Donna Shea (auction manager) he personally could never afford to own. (Also there that day, besides Sinclair & McLeod, were James White, Joe Otavnik)
– a typical “inconvenient Truth” willfully ignored by Carmen Robertson

THE SET-UP: Ritchie Sinclair started his long career as an art and cyber terrorist in October 2009, when he reinvented himself as a “Protégé of Norval Morrisseau” – Norval had died a year before – and went to work as a fraud enforcer, art and cyber terrorist, for KRG’s Donald Robinson, and put up his racist website denouncing 1,000 genuine Morrisseaus as fakes.

A few months later the duo went to work, as art terrorists, and act as the “Morrisseau experts” Dream Team for lawyer Jonathan Sommer. A job they fulfilled till Oct.2, 2017, when, in the Hiroshima and Nagasaki moment of the trial, Sommer dumped both of them from the trial, saying that the duo, who had prepped Hearn v McLeod for six years, would be removed from the witness chair and not be available to face cross-examination.

Email – Sinclair to Matulic – Meat Grinder Death Threat – Mar 28, 2009
– Sinclair is notorious for being a cyber terrorist with anonymous vile emails

Document – Meat Grinder Sitemeter traced to Sinclair’s CPU – Mar 30, 2009
– Matulic reported the death threat to Calgary Police

Document – Fraudulent Robinson Espionage for RCMP – Mar 26, 2010

One of the humorous lowlights in Don Robinson’s career was when he was doing some industrial espionage at Artworld of Sherway, and when asked his name by a staff member, replied “Mr. Smith.” Everyone in the gallery laughed because they instantly recognized him. You decide whether his disguise was effective, any more than trying to pass himself off as a Morrisseau expert…

– Donald Robinson the art terrorist turns sneaky informer on colleagues, with malicious & fraudulent charges
– KRG’s Robinson family uses the RCMP as a tool to advance their art fraud
– fabricates false & detailed charges against their business competitors
– shows the ruthlessly cunning detail of KRG industrial espionage
– BUT – shows how totally thorough the RCMP investigation was over three years
– RESULT – found NO fakes, charged NO one, seized NOTHING
– KRG TARGETS WERE ALL TOTALLY CLEARED OF ANY ALLEGATIONS
– after three year multi-million $$$ investigation by multiple police forces
– all except KRG which runs a hugely documented provenance manufactory

Document – Fraudulent Sinclair Police Report – Apr. 9, 2010
– Sinclair fabricates false associations of people who don’t even know each other
– Sinclair tell cops he’s member of the NMHS (Heritage Society/Foundation)
– Sinclair knows it works with cops; he’ll try it with AGO a few weeks later

Document – Sinclair Affidavit – Collaborates with Sharon Godwin – Jan. 15, 2009
– TBAG Director collaborates with Sinclair to discredit Otavnik/Seetner paintings & family
– Godwin lies about it to the Otavniks while defaming them & their art privately
– Thunder Bay Art Gallery’s Cultural Genocide v Indigenous art (Morrisseau BDPs)

Email – Alastair MacKay attacks longtime Heritage Blogger – May 18, 2010
– MacKay & Godwin, taking Ritchie Sinclair orders to attack Ugo Matulic

– Thunder Bay Art Gallery’s Cultural Genocide v Indigenous art (Morrisseau BDPs)

THE TRIGGERING EVENT: On Jun. 22, 2010, THREE Morrisseau paintings become part of a fiasco, that would unroll for over three months, at the Art Gallery of Ontario. NONE of the paintings WOULD EVER BE NAMED in any of the emails by anyone. It’s impossible to figure out who is talking about which painting… We’re only interested in Kevin Hearn’s painting “Spirit Energy,” BUT IT TOO IS NEVER NAMED.

Three months later it becomes clear that AGO curator Gerald McMaster does NOT recognize or remember EVER having even seen, or dealt with this painting (“Spirit Energy”) EVER BEFORE. He tells Hearn, he’s mistaken and has the wrong painting… That he (McMaster) has no recall of the painting, has no past association with the painting, and – AFTER HEARN SENDS HIM A PICTURE – that Hearn must be talking about the wrong painting. NIAOB, This cannot be seen as anything other than a professional reprimand from the AGO’s Frederik S Eaton Curator of Canadian Art, to a neophyte art collector who has bought his first painting… and is seeking to involve the AGO curator in a private matter regarding a painting McMaster has NO KNOWLEDGE OR PREVIOUS ASSOCIATION WITH.

Email – Sinclair Dismounts & Discredits “Spirit Energy” Jun 22, 2010
– Sinclair confesses the Dismount & Discrediting of “Spirit Energy” is ALL HIS doing
– the involvement of AGO’s McMaster or Teitelbaum nowhere in sight or evidence

– the Hunt for a more presentable & reputable “trigger man” begins
– the fraudsters will settle on unknowing bystander & hapless victim, Gerald McMaster
– Kirstin Mearns offers Hearn McMaster’s shoulder to cry on
– so McMaster will end up being the designated “patsy” for what Sinclair did
– Jonathan Sommer uses McMaster as the fall-guy to trigger his lawsuit, later in 2012. In fact NO ONE uses the name “Spirit Energy” in any of the 2010 emails. The gossipers never know which painting they’re even talking about. As McMaster makes clear on Sep. 2.
– In fact Sommer is the first person to use the name “Spirit Energy” in his Claim, and try to nail McMaster’s hide to it. When, if Sommer had bothered to read his own evidence emails he would have seen McMaster says a loud and resounding NO. 

NOTE: the RCMP reference echoing KRG; Sinclair is KRG fraud enforcer since 2008
– This totally damning email KILLS the Sommer/Hearn Lawsuit Claim

The AGO’s Kirstin Mearns, got bored with doing the gift shop thing – you know, hyping AGO coasters, doilies, and depilatories – and thought she’d take a crack at “playing AGO curator.” And got the AGO drawn into allowing its imprimatur to be used to front for a fraud and a specious lawsuit, and ending up involving the AGO in doing Great Irreparable Harm to the art and artists of Canada’s Indigenous people.

Email – Mearns gossips with Hearn – Flurry –  Jun 22. 2010
– idle hands of the gift shop girl, promoting mischief with “sandwiches”
– the first AGO related email that totally kills the lawsuit
– Mearns say Flurry… started out as a claim from the Heritage Foundation (AKA Ritchie Sinclair) that the Morrisseau’s (sic) we had on display were forgeries.” Corroborates, totally, Sinclair’s own email, that HE did it.
– shows McMaster being drawn into something he didn’t start & will never understand
– This totally damning email KILLS the Sommer Lawsuit Claim

Email – K Mearns, attacks longtime Heritage Blogger, Ugo Matulic – Jun 22
– idle hands of the gift shop girl, up to more mischief, pretending she’s really AGO curator
– Mearns takes Sinclair’s (Heritage Foundation) orders to attack Ugo Matulic
– lines up the AGO on the side of fraudsters attacking genuine Morrisseau BDPs
– Hearn wildly eating sandwiches instead of responsibly calling & consulting Joe McLeod


Email – Kirstin Mearns calls “sandwiches” Her “Hero” June 22, 2010
– idle hands, busy, busy, busy, fawning over a local celebrity instead of minding the shop
– gift shop girl advises counseling for “sandwiches” with Gerald McMaster


Email – Mearns gossips with Hearn – Wow Wow Wow –  Jun 23. 2010
– the only adult in the building, Joe McLeod, does the professional thing
– tries to ride a wave & sell a previous customer (in 2005) a couple of paintings
– a partner & supporter of AGO (McLeod) gets sneered at by AGO gift shop chief
– idle hands of the gift shop girl, promoting mischief with “sandwiches” 


Email – Mearns gossips to McMaster – Jun 23, 2010
– idle hands of the gift shop girl – Who’s minding the store?
– describes the dismount & discrediting of an unnamed unidentified Morrisseau painting
– Mearns sets up “counseling” session for “sandwiches”
– sends McMaster the telling Sinclair email describing his dismount of “Spirit Energy”
– it doesn’t help; it turns out McMaster hasn’t got a clue about “Spirit Energy” at all

Email – Mearns gossips re Hearn’s talk w Gerald McMaster –  Jun 26, 2010
– “sandwiches” reports to Mearns about his counseling session with McMaster
– Mearns is glad the AGO is NOT involved/stressed like Hearn with his private problem with Sinclair

Email – Hearn to McLeod – “These people” – Jun 28, 2010
– sandwiches has waited seven days before calling Joe McLeod. Why?
– has been freely gossiping behind his back for a week, like a pre-teen. Why?
– has needed the time to get the story straight his handlers want him to stick to
– tells Joe wildly false stories of anonymous “AGO people” dismounting & discrediting “Spirit Energy”

Letter – Joe McLeod to Hearn, Jen says “apology on the way”  – Jun 30, 2010
– the only adult in the building, Joe McLeod, does the professional thing
– Joe allows a misunderstanding has taken place, willing to accept Bhogal apology
– Bhogal realizes she’s been fucked over by Sinclair & backpedals, big time
– by offering an AGO apology, she’s malfeasant AGAIN, with power she does not have
– I would call that firing offence #2 (Bhogal “leaves” AGO a few months later)

Letter – McLeod to McMaster re “investigate my painting” – Jul 10, 2010
– the only adult in the building, Joe McLeod, does the professional thing
– reacts to hearsay evidence from Hearn that McMaster is “investigating”
– if the AGO is investigating his painting, his gallery must be involved in the process
– any formal findings must be in writing and professionally copied to him, OK Gerald?
– there is NO answer; there is NEVER an answer to McLeod, even to registered letters


Letter – McLeod to Hearn – a provenance chit – Jul 10, 2010
– Joe under extreme duress, dashes off a quick note, from the backlot of his memory
– tosses off 4 Morrisseau sources he’s had deals with, or paintings from in the past
– Schnieders and Voss names are well-known Thunder Bay Morrisseau dealers
– Irving Jacobs, a known Morrisseau buyer and dealer (and consigner to Joe McLeod)
– Oh, and the typos? Shame on you… You’ve never done any? And you’re not even an 82 year old man, under awful business and personal attacks, night and day, by art fraud “enforcers”

Arrested – He does have one friend left in the world: Carmen Robertson, who gives him his first ever academic reference related to Morrisseau – the first in 37 years… Are you serious professor? What’s your game?

ANNUS HORRIBILIS 2010 – All during 2010, the 82 year old Joe McLeod has been viciously attacked 24/7 by Sinclair and his cabal of aggressive fraudsters, regarding his Morrisseau BDPs, many of which have already been forensically authenticated.

Joe’s under ferocious physical attack, by Sinclair, at Joe’s car, in the street, at his office and at his home, setting off the burglar alarm at 2 a:m.

On Dec. 18, 2010, Toronto Police would finally arrest Sinclair for multiple acts of Criminal Harassment of 82 year old Joe McLeod.

Letter – McLeod to Hearn eckankar images
– the only adult in the building, Joe McLeod, does the professional thing
– the Enkenkar (sic) reference would cause self-styled Morrisseau expert Carmen Robertson to make one of the more fraudulent flights of fancy in her report
– Joe’s right of course, and Robertson’s interpretation is not only false, but ludicrous; in fact from an academic research point of view, it’s clearly a deliberately distorted analysis on her part.


Letter – Cover TOC – McLeod to Hearn – Summary Report – Jul 10, 2010
– the only adult in the building, Joe McLeod, does the professional thing
promotes “Spirit Energy” as a first class Morrisseau, which the documentation overwhelmingly proves, is not only his professional view, but personal belief

– Email – Sinclair to Hearn – the fraudster in high gear – Aug 19. 2010
– WOW – Sinclair totally destroys the Robertson “Robert Voss” allegation, & reveals McLeod as an honest broker
– Sinclair reveals Robertson as an utterly negligent, and incompetent researcher & a willfully fraudulent reporter
– all by itself, destroys any credibility the professor & her report ever had
– all by itself, kills the lawsuit
– the lying going on here is astronomical in its scale, even for Sinclair…
– This totally damning email KILLS the Sommer Lawsuit Claim

Letter – McLeod to Teitelbaum – No response from McMaster – Aug 6, 2010
– the only adult in the building, Joe McLeod, does the professional thing
– says wrote a professional registered letter to McMaster; no response
– says “Spirit Energy” was removed by Jennifer Bhogal who promised apology…
NOTE: Joe is wrong here only because Hearn lied to him, & hid from Joe, that Sinclair had done the dismounting and discrediting, and made Jennifer, Sinclair patsy #1
– “C’mon you AGO guys, this is serious stuff for me, my gallery and my reputation!”


Letter – McLeod to Hearn no reply from Teitelbaum – Aug 8, 2010
– the only adult in the building, Joe McLeod, does the professional thing
– Joe keeps his client informed that he has fearlessly gone to the TOP
– Joe is fearless because, alone of the entire sorry lot of gossipers, and fraudsters, he knows his stuff. He acts professionally throughout, and demands that the AGO management do the same. He waits in vain…

Professionalism, from the gift shop and rental girls, up to the curator and director, is NOT what the AGO is capable of delivering. So they just let a street terrorist into the building and use and abuse the AGO imprimatur for a personal agenda on behalf of a fraud.

The Telltale Confession that Kills the Sommer/Hearn Lawsuit:

Email – McMaster to Hearn – “C’mon send the right pic” – Sep 2, 2010
– shows Hearn is the witless agent of his own misfortune
– Hearn tells McMaster that McLeod is demanding a professional written response regarding the AGO’s position on his painting “Spirit Energy”
– McMaster can’t even recall the painting, and hell, he’s a top art professional…
– McMaster asks for a picture; Hearn sends “Spirit Energy”
– McMaster has no visual recall at all; that Hearn sent the wrong pic…
– McMaster tells Hearn he’s confused, wrong, mixed-up, whatever
– McMaster has no previous relationship of any kind with “Spirit Energy”
– McMaster advises Hearn to stop all engines & tells Hearn to get the right picture, get the right painting, get the right expert, give him six months, and
– let’s try and save everyone’s ass – sorry, I meant face…
– This email, BY ITSELF, totally KILLS the Sommer/Hearn Lawsuit

Transcript – McLeod Attacked by Ritchie Sinclair all during 2010
– Joe McLeod’s ANNUS HORRIBILIS from the inside
– 82 year old senior Morrisseau expert repeatedly physically threatened
– Testimony in Hatfield – Jun 4, 2012

Arrest Record – Ritchie Sinclair Criminal Harassment – Dec. 19, 2010
– Sinclair repeatedly attacking 82 year old, soon to undergo heart surgery
– Sinclair warned by Toronto Police to cease & desist
– arrested Dec. 19, 2010 for NOT heeding police warning, & persisting
– it is not known what KRG is paying its enforcer for doing this work
– courtroom, prosecutorial & police malfeasance leads to charges dismissal
 I watched the entire disgraceful thing play out in front of me, all day, Mar. 12, 2012

– lawyer Sommer lies to Justice Sanderson, saying Sinclair “acquitted” 2013
– Sommer & Sinclair have been Morrisseau “fakes” business partners, since 2009, with Sinclair providing Sommer with both Hatfield & Hearn clients
– the experience set back Hatfield c $60,000 and Hearn from $100-200,000
– over the years I have seen Ritchie Sinclair & Mrs. Sommer being the only relentlessly constant attendees on Sommer court days (ONLY I have a better attendance record at Sommer’s Morrisseau-related court appearances.) 
– Hatfield & Hearn are the ONLY Morrisseau fakes cases EVER to go to court
– Sommer is the ONLY lawyer – out of 90,000 in Canada – EVER to do this

I think it is disgraceful beyond belief, how AGO “asleep at the switch” malfeasance and negligence at the top, has allowed the “gift shop gossip girls” to “run the show” – play at curator – to snipe behind the backs of loyal AGO supporters (read Joe McLeod), and allow themselves to become witless accomplices of ruthless, off-the-street art fraudsters, and do their bidding, so making the AGO a party to a fraud. And allowing the AGO imprimatur to be used to act as “cover” and an excuse for a totally fraudulently fabricated lawsuit.

To their credit, ALL AGO managers – past and present – tellingly, refused to appear as witnesses in Hearn v McLeod, so demonstrating loudly, and publicly, that the current AGO regime totally refutes ANY AND ALL association with the fraudulent Hearn Statement of Claim as put forward by Jonathan Sommer on Dec. 5, 2017, stating that AGO curators dismounted and discredited as a “fake” the Morrisseau painting “Spirit Energy of Mother Earth 1974” on June 22, 2010.

And the documentary record, from Sommer’s own evidence box, makes it irrefutably clear, that in so stunningly absenting themselves from any and all association with this gross act of racist anti-Indigenous cultural vandalism, AGO managers did the proper, and only decent thing they could have done, and voted with their feet…

The totally stunning, complete AGO absence from the witness box, alone, kills the legitimacy of the Hearn v McLeod lawsuit. 

IN 2010, THROUGH TOP MANAGEMENT NEGLIGENCE, THE AGO WAS DRAWN INTO BECOMING BOTH, WITLESS AND GULLIBLE VICTIMS AND PERPS, OF THE WORST ACT OF CULTURAL GENOCIDE IN ART GALLERY OF ONTARIO HISTORY. Thereby doing Great Irreparable Harm to the Art and Artists of Canada’s Indigenous People.

NOTE: Matthew Teitelbaum totally removes Sinclair’s presence from the AGO website, after I notify the Director of the existence of this BLOG on Jan. 23, 2013.

10 Killer Documents That Kill “Hearn v McLeod”

Précis – On Jun 22, 2017 Ritchie Sinclair, claiming it was a fake, and acting entirely on his own, orchestrated the dismount of his friend, Kevin Hearn’s Morrisseau painting “Spirit Energy of Mother Earth 1974,” at an Art Gallery of Ontario musical gig, where Hearn AKA “sandwiches,” had put it up on the wall.

This was part of a longtime campaign by Sinclair and his cabal of cronies, to target and discredit both Morrisseau BDP paintings, and Joe McLeod, the main Kinsman Robinson Galleries Morrisseau business competitor, who had sold “Spirit Energy” to Hearn.

The documentation makes clear Sinclair accomplished, this brazen act of cultural vandalism by simply bamboozling a couple of gullible, witless and uncredentialed, minor AGO retail gals, into participating with his fraudulent scheme to discredit “Spirit Energy” and Joe McLeod.

The record is clear, that, over the next three months, though the takedown happened on AGO property, there is NO documentation that acknowledges any official AGO participation, or the giving of any directive of any kind from AGO Director Matthew Teitelbaum, or Curator Gerald McMaster. Nor do either, or the AGO, accept responsibility of any kind, in calling for “Spirit Energy” to be taken down, and/or calling it a “fake.”

This totally dismisses, with merit or substantiation, the entire Sommer/Hearn Statement of Claim, that says the AGO aka Curator McMaster as having authorized the takedown and discredited “Spirit Energy” as fake.

Just one of many reasons why this lawsuit should NEVER have been brought.

On Dec. 5th, 2017, lawyer Jonathan J Sommer made his opening statement, before Justice EM Morgan, on behalf of his client, the Plaintiff, Kevin Hearn. Hearn claimed the Defendant, Joe McLeod, had fraudulently sold him a painting “Spirit Energy of Mother Earth 1974,” in May 2005, knowing it was a fake.

Mr. Sommer claimed that Hearn was alerted to this fraud by a dismount of “Spirit Energy,” as a “fake,” by Art Gallery of Ontario Curator Gerald McMaster, during an AGO musical gig where Hearn displayed the painting, in June 2010.

Hearn Buys & Shows the Painting – The lawsuit was allegedly founded when Kevin Hearn bought the subject painting “Spirit Energy” at Maslak McLeod, in May 2005. For five years Hearn was completely happy with it.

Then, on June 11, 2010, Hearn was given a room, arranged by Jennifer Bhogal of the “Art Rentals Department”*** of the Art Gallery of Ontario (AGO), to play some music. He was invited to hang some of his art. He chose to hang Morrisseau’s “Spirit Energy of Mother Earth 1974.”

***NOTE: This was NOT a feature AGO art showcase, either set up, organized, or curated, by either Director Matthew Teitelbaum, or by Canadian Art Curator Gerald McMaster. Bhogal ran the AGO art rental department, organized the event, and was solely responsible for it, hoping thereby, to boost the profile of her art rentals department. Bhogal only had AGO retail responsibilities for the art rental department; she was NOT an AGO art curator or involved in exhibit staging.

Bhogal also put on display in Hearn’s playroom, two other, small, and relatively uninteresting Morrisseau paintings, that Joe McLeod had consigned to her.

Everyone, directly involved in the alleged scandal – Sinclair, Hearn, McLeod – dealt only with Bhogal directly, and only her, when the “Morrisseau Dismount Fiasco” started and became known (June 22 – June 28).

Part 1 – The “Sinclair Fakedown,” Jun 22, 2010 – A week after the Hearn musical gig started, on June 22, 2010, a friend of Kevin Hearn’s, Ritchie Sinclair, a documented art terrorist,*** had Bhogal remove “Spirit Energy” as a “fake” from Hearn’s “playroom” at the AGO.

***Later Sinclair would be discredited by multiple Justices and Judges (Lederer, Martial, Lacavera, Sanderson, Kilian), as having NO expertise, NO credentials, NO trustworthiness in testimony, and even be convicted for being an art terrorist and fined the maximum, by Judge CW Kilian in 2015.

The “Sinclair Fakedown” immediately started a flurry of wild water-cooler gossip, about so-called “fakes” being removed, exchanged via email, by the AGO gift shop girls and Hearn.

(Note, neither Teitelbaum nor McMaster involved themselves in any of this. Neither went into print on any level to anyone during the entire period that followed.)

There was, therefore, at the time of the Sinclair Fakedown, NOT a single piece of evidence, of any kind, that proves official AGO curatorial complicity in any of it – that is either, ordering “Spirit Energy” to be taken down, and/or calling it a “fake.”

In other words, no proof at all, for what Jonathan Sommer was to claim before Justice Morgan, on Dec. 5, 2017 – for an AGO orchestrated takedown and discrediting of “Spirit Energy” as a fake. None… Nix… Nada… Zilch…

For a whole week Hearn did NOT inform McLeod that “Spirit Energy” had been dismounted and discredited as a “fake,” by Sinclair. And then he did NOT inform Joe that Sinclair had done it, but instead said unnamed AGO people had had actually done it. Joe was completely blind-sided – Hearn had NOT sent him a copy of the Sinclair Fakedown email. No wonder McLeod was so stunned that the AGO would have done it.

Had Hearn sent McLeod the Sinclair email it would have been “game over.” McLeod would have known what was up and immediately gone to AGO Director Teitelbaum to raise hell and expose the Sinclair cabal fraud. Thanks to Hearn’s deceit, McLeod now thought the AGO and Teitelbaum and/or McMaster were behind it.

Just what the hell is going on here?

BACKGROUNDER – To the Sinclair AGO Fakedown of Jun 22, 2010

To understand what happened at the AGO on June 22, 2010 you have to know that only a few months before, in early 2009, lawyer Jonathan Sommer and Ritchie Sinclair had teamed up to start a Morrisseau “fakes” business partnership, to “help” a retired schoolteacher, Margaret Hatfield, launch a lawsuit against a reputable Toronto fine art dealer Artworld, claiming it had sold Hatfield a Morrisseau BDP “fake.” (BDP – Black Drybrush Paint/Painting signature on the back)

In July 2009, Sommer took over the Hatfield v Child case, in downtown Toronto.

The initiator of the Hatfield v Child lawsuit was Ritchie Sinclair and the parallels to the Hearn v McLeod lawsuit, which followed the AGO Fakedown of June 2010, are stunning.

Sinclair had found and groomed a gullible, art collecting neophyte – “Maggie” Hatfield – and convinced her that:

– her Morrisseau BDP painting “Wheel of Life 1979” was a fake
– she should sue Artworld (Child) for big bucks
– her court case would be a slam dunk
– the judge would rule the painting was a “forged” Morrisseau
– she would get all her money back – and then some for penalties and costs
– Oh, yeah, and Sinclair already had the perfect lawyer for her, one Jonathan Sommer, from remote, rural Sutton, Quebec. And a lawyer superior, Sinclair, no doubt told her, to any of the 25,000 other lawyers in the Toronto area (who were much closer to Hatfield, and so would have been a lot cheaper).

The damning and telling parallels continue:

Primary Target: 82 Year-old Joe McLeod

Joe McLeod who was the target of the Sinclair Fakedown, and later, of the Hearn v McLeod lawsuit, had, since 1990, long been a prime target of the fraudsters, because he was a principal business competitor of Donald Robinson, and Gabe Vadas.

In 1993 they tried to scare and sue him for violating copyright – by doing what every other art dealer, world-wide, had been doing for eons, using small images in their art catalogues to advertise their shows and auctions.

McLeod was targeted for more Robinson anger by being hired by Revenue Canada as a Morrisseau expert to evaluate an overblown $1.1 million KRG evaluation, for some Whent lawyer group donated paintings. Thanks to McLeod’s input, Justice Mogan, ruling on Whent v Regina, in 1996, cut the valuation in half.

The hate only grew when lawyer Whent appealed and two top Justices, in 1999, ruled against him, and in favour of the Mogan valuation, cut nearer to where McLeod had pegged the real values.

In 2008 Sinclair went to work for KRG as the Robinson’s fraud enforcer.

This was just after Sinclair’s Scollard Street Gallery show had disastrously failed. Sinclair blamed McLeod for telling the proprietor that Sinclair was NO “native” as he claimed, despite using “Indian” names, and “Indian” syllabics on his art. No art collector wants Faux-nishinaabe art by white guys like Sinclair posing as “Indians.” And the owner closed the show down.

McLeod had also turned Sinclair down as a gallery artist. (Sinclair’s anger against Artworld had been triggered because the gallery had turned him down as a gallery artist – so Sinclair groomed Hatfield to sue Artworld to get his revenge.)

Furthermore, McLeod was part of the multi-dealer lawsuit, suing Ritchie Sinclair in the fall of 2008, for Sinclair libeling them and defaming hundreds of their Morrisseau BDP paintings as lowlife fakes on his racist website. Sinclair had first posted it in October 2008.

In addition, McLeod, for decades, considered the senior and most respected Morrisseau expert, was a high value target because, on behalf of the Defendant, in Hatfield v Child lawsuit, McLeod, had appraised “Wheel of Life 1979” as a genuine Morrisseau BDP. So undermining Jonathan Sommer (and Sinclair’s) Hatfield lawsuit.

Motive, Means & Opportunity – Ritchie Prepares Joe’s Annus Horribilis: 2010

The year begins with Ritchie Sinclair visiting a Toronto police station, with malice in his heart.

In April 2010, Sinclair went to Toronto police with a fabricated document alleging that Joe McLeod and Joe Otavnik – among other targets, including John Goldi – were all part of a huge Morrisseau forgery and fraud syndicate. And were maliciously persecuting Ritchie Sinclair. (My HOAX blog was three years down the road.)

The entire two page document was totally fraudulently fabricated from top to bottom. Of the eight people in the syndicate, with whom I was supposedly involved, I did not know a single one, and had never spoken, talked to, met, or emailed a single one of them. And I would NOT for many months, and some for years…

But the Toronto police believed it, and charged Joe Otavnik.

Chalk one up for Sinclair… Where to now? TBAG CORPORATE CULTURE

In May 2010, Sinclair’s art terrorism campaign reared its ugly head in Thunder Bay, ON, against his longtime target Morrisseau blogger, Ugo Matulic – also on the Syndicate List of Eight.

(A year before Sinclair had sent Matulic a “Death Threat,” by anonymous email. Matulic had it traced, and reported it to Calgary Police.)

Now a year down the road Matulic had, quietly, published a celebratory Morrisseau BDP, that the Thunder Bay Art Gallery had in its collection and on its website.

On May 18, 2010 Matulic suddenly received an aggressive and rude email demand, from TBAG Communications Coordinator Alastair MacKay – copied to TBAG Director Sharon Godwin – ordering Matulic that his Morrisseau image and TBAG link “must be removed immediately.” The TBAG had already removed it from theirs. The picture link now led to a dead END.

MacKay further, demanded that in future, if Matulic wanted to post a picture from the TBAG

“you must request permission, and written approval from us for use of any images and of our logo before you post.” (highlights in TBAG original email)

Someone aggressive wanted to police the use of the kinds of Morrisseaus the TBAG – and its handlers – would allow. Now who could that be?

This aggressive assault, out of the blue, on an Indigenous culture heritage blogger, was a stunning development, because only one person could possibly be behind McKay on this, and that was Godwin, and who else? Why her handler: Ritchie Sinclair.

Godwin and Sinclair had been collaborating in targeting the Otavniks and their Morrisseau BDPs, since late 2008. At that time, Godwin – without proof and without doing forensics – had told Sinclair the four Otavnik/Seetner paintings were fakes and that she had dismounted and discredited them.

Sinclair then put her denigrating comments, about the Otavnik/Seetner BDPs, into a sworn Affidavit in Jan. 2009. Sometime later Godwin fed her bilious beliefs to an eager Carmen Robertson who, clearly as a favour to Godwin, featured all four O/S paintings as prominent fakes in her expert report.

Of course Godwin lied to Otavnik, when he called her up in October 2017, some upset, to find his family’s TBAG painting donation – vetted as genuine by some 17 Cultural Property Review Board experts – was all called lowlife fakes in Robertson’s report, and intimating his family was deliberately involved in art and tax fraud.

Whew! Close Call! – Godwin managed to bamboozle Joe Otavnik, telling him she had NOTHING to do with what Robertson says in her report. That his family paintings had NOT been discredited as “fakes” by her or the TBAG; they were still regarded as totally genuine… Intimating, I guess that Robertson, calling them “fakes,” was just off on a wild tear on her own…

When, in fact, Godwin had long ago told Sinclair exactly the opposite – they were discredited by her AND TBAG, as fakes and no longer displayed – as early as 2008, and then to Robertson c 2012, and after. All duly reported, as fact, by Jonathan Sommer in court on Dec. 1, 2017.

Amazingly enough, in spite of what the behind the scenes experts – Robertson, and Sommer – themselves, were saying in person or court documents, Otavnik bought it…

Of course Matulic refused to bow down to art terrorism by Godwin, McKay, and their handler, because he knew who the pusher was – Ritchie Sinclair – and that the claim was false. The dismounted TBAG Morrisseau was genuine, but Sinclair said it goes, so they dutifully dumped it. Matulic left it up.

This backgrounder detailing the May TBAG cyber and art terrorist attack against a Morrisseau BDP orchestrated by Ritchie Sinclair through Sharon Godwin, is key for what will soon happen, in only four weeks, in Toronto.

Barely a month later, June 22, 2010, Sinclair did his celebrated Fakedown of the painting, “Spirit Energy of Mother Earth 1974,” which McLeod had sold to Kevin Hearn, five years before.

The intent was clearly to duplicate the successful launching of the Hatfield v Child lawsuit, a few months before, by finding another way to discredit Joe McLeod and his art, and hopefully convince another gullible and witless art collecting neophyte that his Morrisseau BDP was fake, and that he should sue Joe McLeod.

On June 22, 2010, Sinclair found a gullible art collecting neophyte – Kevin Hearn; found his McLeod-sourced painting “Spirit Energy of Mother Earth 1974”; found the opportunity – a Hearn musical show at the AGO; found the weak link – the hopelessly gullible AGO rental retailer, Jennifer Bhogal, AND STRUCK!!!

Sinclair ordered it taken down as a “fake” and Bhogal obliged…

For the rest of 2010, Sinclair would ramp up his attacks on Joe McLeod and his art.

In November Sinclair – in concert with the Robinsons – terrorized the Elmwood Spa Gallery, owned by Sherry Brydson, reputedly the richest woman in Canada.  She was hosting a Morrisseau show, of paintings mostly from Joe McLeod, and the Robinsons and Ritchie Sinclair, threatened them, getting them to remove many of them from the exhibition.

At the same time, the Spa was also threatened with dire consequences if it published a Morrisseau book featuring Joe McLeod sourced paintings. The Spa, suitably terrorized, cancelled the book launch.

(I was there multiple days, and saw the whole Robinson/Sinclair fakedown operation in action. I watched Sinclair police the premises to ensure Spa compliance, and talked to the principals involved, Spa curator Jessica Wilson and Joe McLeod.)

During this time, Joe McLeod was also personally, physically targeted by Sinclair, at his car, in the street, at his place of business, and at his home. (JOE MCLEOD SPEAKS)

On Sep. 3, Toronto Police warned Sinclair to stay away from and cease and desist from harassing the 82 year old McLeod. Sinclair refused.

On Dec. 18, 2010 Toronto Police arrested Sinclair and charged him with multiple incidents of Criminal Harassment of Joe McLeod.

This was how the last six months of 2010 – following the Sinclair AGO takedown – played out. And was the background against which the AGO fiasco must be seen.

Unlike Teitelbaum and McMaster who were otherwise occupied with the manifold duties and responsibilities thay had to look after, the art terrorists were well organized, determined, and knew exactly where the weak chinks in the armour were and struck with deadly force.

Part 2 – The AGO Declines Any Responsibility (June-Sep 2010)

The AGO Officially Hides/Denies all Complicity – For the next two months, July and August 2010 – and ever after – McLeod tried, in vain to get Hearn to help him, get an official response from the responsible AGO officials, to try to get them to explain why “they,” according to Hearn, had supposedly taken down “Spirit Energy,” and called it a fake.

Despite multiple tries, McLeod spectacularly failed to get any professional response or official letters or emails from top AGO officials, including AGO Director Teitelbaum and Curator Gerald McMaster, BOTH of whom refused to answer his registered letters demanding to know their – or any AGO official role – in dismounting and discrediting his art, if, in fact, they had done it, as Hearn had given him to believe.

In short McLeod spectacularly failed to get even a smidgen of AGO evidence, documenting what Hearn had told him, namely AGO complicity in the Fakedown of “Spirit Energy.”

So two months after the Sinclair fakedown, there was STILL NOT a single piece of evidence  at all, for what Jonathan Sommer was to claim before Justice Morgan, on Dec. 5, 2017 – for an AGO orchestrated takedown and discrediting of “Spirit Energy” as a fake. None… Nix… Nada… Zilch…

Part 3 – Gerald McMaster Admits He Has No Clue (Sep 2, 2010)

The AGO Curator is Blind-sided & Then Some – When Hearn approaches AGO Curator Gerald McMaster, on Sep 2, 2010, for help regarding Kevin’s painting dismounted on June 22, 2010, the flurry of emails between them shows that McMaster has NO clue about which painting Hearn is even talking about, and when Hearn sends him a photo of “Spirit Energy” McMaster says, there must be a mistake, it’s not the painting he remembers seeing…

Clearly, some THREE months after the dismount, the AGO Curator admits candidly, in his own emails to Hearn – not hearsay – that he hasn’t got a clue about which painting Hearn is even talking about. And that regarding the painting Hearn is showing him, he has NO RECOLLECTION AT ALL.

And it couldn’t be clearer that McMaster is telling Hearn directly that he’s totally confused about what Hearn is saying.

It is farcical and patently ridiculous and fraudulent for Hearn and his lawyer Sommer, to claim, as they BOTH did before Justice EM Morgan, that BOTH the AGO and the AGO Curator Gerald McMaster dismounted and discredited “Spirit Energy of Mother Earth 1974” on June 22, 2010. And that that is what they claim to be the foundational cornerstone of their lawsuit.

Hearn and Sommer are desperate to involve the AGO and its curator even though he –McMaster – has admitted on paper that he hasn’t got a clue about, or even remember having seen the painting in question, “Spirit Energy.”

The emails also explain why, despite his most duly diligent efforts to get a professional response from the AGO and McMaster for the fiasco, McLeod remained totally sandbagged by both Hearn and the AGO over the next two years. The AGO Director clearly did NOT want to be involved, and neither did McMaster who didn’t even have a clue about the material facts, the actual paintings, and the images involved.

The foundational “facts” bandied about by Hearn and Sommer before Justice Morgan, are nonexistent except as fabrications in their minds. Why would they launch a lawsuit based on that?

Part 4 – The Hearn v McLeod Lawsuit is Filed – Two Years Later – Jun 8, 2012

On Jun 4, 2012, Joe McLeod testified for the Defence in the Hatfield v Child trial, before Deputy Judge Paul J Martial. The Plaintiff’s lawyer was Jonathan Sommer; the Plaintiff’s witness was Ritchie Sinclair; the Plaintiff’s expert was Donald Robinson.

Four days later, a parallel lawsuit was filed, the Hearn v McLeod, featuring the same lawyer, witness, and expert, making the same allegations, again, against another Morrisseau BDP, also appraised as genuine by Joe McLeod, and sourced from him.

Only a couple of days*** before the legal expiry of the issue, Hearn filed a lawsuit (June 8, 2012) against McLeod, alleging he sold Hearn a fake painting “Spirit Energy of Mother Earth 1974,” and that McLeod had done it knowingly and fraudulently. And demanding big bucks in compensation and for punitive damages. (***Asuming the triggering date for the lawsuit is the AGO event, according to the two years allowed by Limitations Act.)

The lawyer, who wrote the Claim, ended up being the self-same Jonathan Sommer who had been picked and provided to the Plaintiff by Ritchie Sinclair in the earlier Hatfield v Child lawsuit.

Part 5 – The Hearn v McLeod Trial Begins – Dec. 2017

The Hearn v McLeod***  trial got under way, six years later, on Dec. 5, 2017. (***Note Joe McLeod had died in May 2017)

In his opening statement to Justice EM Morgan, Sommer made his case:

“Obviously this is a terrible way to resolve an issue. But it’s technically correct in law. The onus is on the Plaintiff to prove the painting’s a fake.”

“… the allegation my client is making is that he was sold a fake painting and that the Defendant (McLeod) knew or recklessly disregarded the fact that it was a fake.”

“The core claim is that the painting “Spirit Energy” is a fake.”

“The second element of the core position is that the Defendant knew or recklessly disregarded that the painting was fake all along, and chose to intentionally and actively conceal the painting’s true provenance.”

“… the embarrassment and humiliation experienced by the Plaintiff when the painting was removed from the AGO and this is part of the evidence. This was removed by the curator of the AGO*** from the wall during the show and this is where it all started for my client.”

***The AGO Curator whose name the Plaintiff keeps bringing up is Gerald McMaster.

Disclosure: I believe that all these claims are utterly false, and completely unsupported by the evidence in Sommer’s own evidence box of 241 items in Hearn’s “Affidavit of Documents of the Plaintiff.”

And not AT ALL supported by anything any of Sommer’s witnesses said on the stand, or evidence they produced for the court, from Dec. 5-8th.

Examining & Dismissing the Claim’s Truth About the AGO Fiasco

Part 1 – The Bogus AGO – The Water Cooler Gossip – Dismount – June 22, 2010

The Core Sommer/Hearn Claim

That the AGO and the AGO curator dismounted “Spirit Energy,” thus denigrating the painting, discrediting Joe McLeod, and precipitating the lawsuit against the dealer.

On the stand, following Sommer’s opening statement of claim, on Dec. 5th, 2017 Kevin Hearn verbally stumbled around, on the stand, with his varying chronologies of what happened, and with whom, and in what order, etc., but clearly alleging repeatedly, that the AGO were the official, active operatives, who dismounted his art, and specifically naming his communications with AGO Curator Gerald McMaster as being the purported agent of the dismounting, discrediting, and devaluation of his painting.

Hearn kept saying McMaster said “Spirit Energy” was “questionable” etc., and “probably a fake.” But this is all utter hearsay; neither Hearn nor Sommer produced any private or official letter or email from McMaster, or from the AGO Director, Matthew Teitelbaum saying any of that. Or in support of the Plaintiff, in saying that.

And any representative from the AGO to back up what Sommer and Hearn were claiming, was astonishingly and conspicuously absent from the witness box. And even from the courtroom…

The #1 Witnesses everyone expected to see were tellingly NOT forthcoming.

So the Hearn/Sommer core position, about the AGO officially requesting, ordering, approving, or acting in the official dismounting of “Spirit Energy,” was shown to be totally unsubstantiated – make that utterly false – and NOT AT ALL proven by the documentation in their own evidence box of 241 documents Hearn listed.

And then it gets worse.

One document alone, in Hearn/Sommer’s own evidence box, ALONE, demolishes this Hearn/Sommer claim – and therefore kills the entire lawsuit.

Document #1 – The Killer email Sinclair sent to Hearn (June 22, 2010)

On Jun. 22, 2010, documented art terrorist Ritchie Sinclair sent Kevin Hearn a clearly “chummy” email letting him know that HE – not the AGO – had just, on his own, and for his own reasons, had “Spirit Energy” removed from Hearn’s display wall at the AGO as a “purported Morrisseau.” Sinclair apologized for doing so, and told Hearn he would update him later with HIS (not the AGO’s) reasons for doing so.

“Hi Kevin… I met with Jennifer Bohgal (sic) today at the AGO University Ave. venue. I had to ask her to remove your purported Morrisseau painting (which she did). Please contact me when you can so I can better explain why I have asked her to do this.”

The email is totally clear about who did what to whom, how, and why. REMEMBER this because it will become apparent that BOTH Hearn and his lawyer, Jonathan Sommer, appear to suffer from some disabling reading and comprehension problems.

After the dismount, Sinclair – clearly in a self-important bragging mood – emailed Hearn telling him, with unmistakable clarity that it was he, and no one else, who had Jennifer Bhogal, dismount Hearn’s painting, “Spirit Energy,” as a fake.

Sinclair’s email is totally exculpatory of any and all official AGO or curatorial participation in dismounting or ordering the dismounting of “Spirit Energy.” It is also full of totally fraudulent and self-important fabrications and wild exaggerations about Sinclair’s ties to Morrisseau and expertise in his art.

The email is totally damning of the Hearn/Sommer core position about the AGO, or the AGO curator, dismounting and discrediting “Spirit Energy.”

In fact, though the Sinclair email originates in the Plaintiff’s own evidence books, it is the best possible Defence document.

Lawyer Jonathan Sommer’s core claim, on behalf of Kevin Hearn, is clearly fraudulent.

The Sinclair email ALONE makes this clear. In fact multiple documents in the volume entitled “Affidavit of Documents of the Plaintiff,” in Hearn’s own evidence box, do NOT allow any reasonable person reading these few lines, and interpreting the writing, in the ordinary meaning of the words, to make the claim of an official AGO dismount or discrediting of “Spirit Energy.”

Because Sinclair’s email says in unmistakable, black and white terms, WHO originated and did the actual dismounting of “Spirit Energy,” and WHO DID NOT do the dismounting.

The activist agent was, in fact, NONE OTHER, than Jonathan Sommer’s own longtime Morrisseau “fakes” business partner, Ritchie Sinclair acting alone. and strong-arming a hapless and witless AGO art rental employee to act as “cover” for him.

That employee was Jennifer Bhogal, who had NO curatorial standing at the museum, and was NOT acting at the behest of an official AGO curator issuing her an order or a directive.

She was hopelessly hapless and gullible and had NO clue about how she was being manipulated. She was following the direction only, and entirely, of a guy off the street, one Ritchie Sinclair, who had NO official position of any kind at the AGO. His only connection was he was apparently, a friend of Kevin Hearn’s. In her defence, Bhogal probably thought Sinclair was doing this with Hearn’s approval, or actual direction.

I believe he sucker-punched her by claiming to be a member of the Norval Morrisseau Heritage Society. (See Sinclair’s Morrisseau Foundation claim below)

Did she know that Sinclair was a documented art terrorist, and a racist anti-Indigenous website publisher?

And a procurer (of clients) for Jonathan J Sommer, his longtime Morrisseau “fakes” business partner.

Bhogal, by, however witlessly, accompanying Sinclair on his destructive vendetta, I believe clearly usurped authority that was NOT hers to exercise, on behalf of the AGO. She would do it again later, as Joe McLeod’s email to Kevin Hearn would disclose, saying the AGO would issue him an apology, clearly again without official AGO approval. It never came to pass, for obvious reasons.

I would have fired Bhogal for either malfeasance. In fact only a few months after this fiasco, into which Bhogal had involved herself, and enveloped the AGO, in the summer and fall of 2010, Bhogal’s employment at the AGO ended. Draw your own conclusions.

In FACT THE AGO WITNESSES STUNNINGLY MISSING FROM THE TRIAL, said it all. The AGO Curator, Gerald McMaster, who should have been there to corroborate what both Hearn and Sommer were claiming, about the AGO’s – and his – participation in the dismounting, and discrediting of “Spirit Energy” as a “fake,” was a complete no-show.

NOT A SINGLE AGO WITNESS SHOWED UP AT TRIAL to back up the Hearn/Sommer statement of claim before Justice EM Morgan.

It is my belief, that after one look at the witness list, we should all have all gone home…

Where was AGO Director Teitelbaum? Where was AGO Curator Gerald McMaster? Or, even an official letter or Affidavit?

END OF STORY; End of lawsuit…

IT WAS, ONCE AGAIN – LIKE IN HATFIELD V CHILD – ANOTHER RITCHIE SINCLAIR-ORCHESTRATED FRAUD AND LAWSUIT…

Hearn had played along, trying to play up the role of the AGO, and downplaying the role – in fact completely trying to obliterate the role of Sinclair – in the dismount of “Spirit Energy,” as far as Joe McLeod is concerned.

In his testimony on the stand, Kevin Hearn claimed he did not even know Sinclair when he received the June 22, 2010 email, you know, the one that opens with so much familiarity: “Hi Kevin. Ritchie Sinclair here.”

Hearn seems to have misremembered his own email. And HE has his name listed on the front of the evidence volumes as supposedly having put all the documents (241 of them) into the book labeled “Affidavit of Documents of the Plaintiff.”

Hearn did NOT disclose in court, that Sinclair dismounted his painting, as the email clearly told him is exactly what happened.

Hearn it is clear, was determined, like lawyer Sommer, to stick to their nonsensical script lines that were something like: “Let’s ignore Ritchie entirely, and concentrate on McMaster and the AGO doing it.”

It got so bad and surreally idiotic, that Hearn claimed that he did not even know Sinclair in June 2010, when he received his chummy sounding email.

Saying that he NOW – eight years later – knows who Sinclair is: an artist, and one of Norval’s (countless) apprentices, etc.

To me the June 2010 email bespeaks of a familiar previous relationship between Sinclair and Hearn. Certainly Sinclair was no stranger to Hearn. Sinclair had Hearn’s private email address. And Sinclair said he would update him later, about what he had done in dismounting his painting. Sinclair also sent a chummy email to Gabe Vadas’ wife Michele (July 2010), alerting her to Kevin’s latest musical compositions. And then emailed Kevin to tell him he had done so…

Chutzpah and then Some… – How could Sinclair get away with such a brash act as to walk into a major public institution and just demand a retail employee take down a painting from an exhibit?

Another killer document gives us a clue.

Document #2 – The Killer email Kirstin Mearns sent to Hearn (June 2010)

Ritchie, Bhogal & Mearns – the AGO Retail Girls

These three names are inextricably intertwined – and NO others – regarding the “Spirit Energy” fakedown of June 22, 2010.

In 2010 Jennifer Bhogal ran the AGO art rental shop, from which she would also sell the odd run-of-the-mill painting. Which is how SHE ended up displaying two of Joe McLeod’s smaller Morrisseau paintings in the Hearn playroom.

Kirstin Mearns ran the AGO gift shop. But her duties clearly did NOT keep her busy enough to stay out of trouble, because she started – big time, and I believe without authorization – taking over the AGO’s curatorial authority and wheeling and dealing with Morrisseau art authenticating.

It was an area of expertise, which the record makes clear – his own words – the AGO’s official Frederik S Eaton Curator of Canadian Art, Gerald McMaster Ph.D., OC, was NOT at all, comfortable in making any professional assessment – AT ALL. He told Hearn he would leave that to others.

He, told Hearn, it was Lee Ann Martin of the Canadian Museum of Civilization. McMaster, clearly DID NOT mean the AGO gift shop gal.

But, hey! Really NOT a big deal for the gift shop girl, Kirstin Mearns.

In fact her private emails exposes her willingness to be an activist, with Bhoghal, and with Ritchie Sinclair. Sinclair’s fingerprints are all over her email.

Writing on the afternoon of June 22, around the time of the Sinclair dismount, she writes to Hearn:

“Hey Kev. It has been a bit of a flurry of activity over at Art Rental these past few days, what started out as a claim for the Heritage Foundation (sic) that the Morrisseau’s (sic) we had on display were forgeries.”

The first key thing Mearns says is clearly identifying the author of the dismount, as “what started out as a claim for the Heritage Foundation (sic) that the Morrisseau’s (sic) we had on display were forgeries.”

Tellingly, in her first documented email, Mearns, does NOT name “Spirit Energy” and says NOTHING whatsoever about AGO involvement in initiating anything, or calling “Spirit Energy” a fake.

In fact, NONE of the paintings any of these people talk about are ever identified. Specifically “Spirit Energy” is never identified by name. And, in fact McLeod – hey, he’s a businessman – had consigned two other Morrisseau paintings – also not named – with Bhogal of the rental department for Hearn’s show.

And the gossip mill totally muddled up the paintings involved, never mentioning names or even saying what they looked like.

Sinclair Plays the “Heritage Foundation” Card – Again!!!

The key thing Mearns references, as the “fake” initiators, and activists, is to the “Heritage Foundation” which, thanks to Mearns’ bad hearing and memory, is actually the “Norval Morrisseau Heritage Society” (NMHS).

She heard it from someone else. I believe it was Jennifer Bhogal, who over at Art Rental had accompanied Sinclair as he dismounted “Spirit Energy of Mother Earth 1974.”

I believe that Sinclair, to overcome any skepticism Bhogal might have had, about Sinclair’s authority as a Morrisseau expert he may have for dismounting the art, conned her by saying he was a member of the Norval Morrisseau Heritage Society (NMHS), that was garbled by failing memory as “Heritage Foundation,” when Bhogal repeated what happened to Mearns and others.

How can I say something so preposterous?

Because I know for a fact, that Sinclair had done exactly the same thing before.

In fact, only two months before, on April 9, 2010, when Sinclair had filed a police report, alleging a criminal conspiracy against him, and demanding police file a Criminal Harassment charge against one member, Joe Otavnik.

He told Toronto Police he was a member of the NMHS.

Document #3 – The Killer document Sinclair prepared for police (Apr 9, 2010)

The police – suitably impressed – noted that Sinclair said he was a member of the “Morrisseau Historical Society,” AKA the NMHS. It was of course, a total lie, but it did wonders to impress the police.

Sinclair of course had NEVER been a member of the NMHS, though he had lamented to Joe McLeod in the fall of 2008, that Donald Robinson had NOT made him a member.

Sinclair discovered, later, that you didn’t really NEED to be a member; it worked wonders just telling people firmly that you WERE a member, to get them to do your bidding. Like the Toronto Police; like the AGO’s art rental shop employee, Jennifer Bhogal.

Audacious BS when aggressively put, can be a powerful tool with the unwary.

The police then launched a Criminal Harassment claim against Joe Otavnik.

Just as Sinclair would flaunt his bogus NMHS credentials, again two months later, at Jennifer Bhogal and Kirstin Mearns…

Again with good effect. He was able to take “Spirit Energy” down, and discredit it as a “fake” Morrisseau, and engineer having Joe McLeod, Sinclair’s arch-enemy, targeted and discredited as some kind of crook. The behind-the-back sneering about Joe McLeod is reflected in the Mearns emails.

There is in fact NO document in evidence that the genuine NMHS group played any role at all in the Sinclair dismount, though they may have been secretly involved. They are documented as secret denigrators of forensically authenticated Morrisseau BDPs (Red Lake Fiasco, SAW Gallery Fiasco, Dr. Jonathan Browne Fiasco, etc.)

But, the NMHS, exactly like the official AGO curators, left no paper trail of involvement in any of the “Spirit Energy” dismount.

For that entire week from June 22 to June 28, no one, neither Sommer, nor Hearn, nor the AGO director or curator, produced even a smidgen of paperwork to prove the Hearn/Sommer claim that the AGO curator dismounted the painting, on June 22, let alone saying on the record, that it is a “fake.”

The trail to the scandalous dismount of June 22, 2010, starts and stops – supported by unequivocal documentary proof from Kevin Hearn himself – with documented art terrorist Ritchie Sinclair.

On that basis alone the Sommer/Hearn lawsuit is still-born, as based on totally fraudulent claims and actions, they falsely attribute to the AGO curator.

But Mearns is also, like Bhogal, acting as an AGO activist, when she has no business doing it.

Mearns is Bored Doing Retail So She Plays Curator – Some More

Another document clearly shows that Mearns is conspiring with Ritchie Sinclair and I presume Hearn, who had sent her Sinclair’s dismounting email.

On the very same day, probably within minutes of the Sinclair dismount, on June 22, 2010, at 2:42 pm, Kirstin Mearns – the AGO gift shop retail girl – sent an email to Ugo Matulic ordering

“that you remove all reference to the works of Norval Morrisseau at Art Rental and Sales as the works have been removed from the exhibit and returned to their consignors accordingly. Kirstin Mearns, General Manager, Retail, Art Gallery of Ontario.”

Tellingly, Mearns does this on her own volition. She DOES NOT say, that she had been told to pass on a message from AGO Curator Gerald McMaster, or Director Matthew Teitelbaum.

Neither is mentioned in a series of fakedowns Mearns and her cabal of conspirators are clearly orchestrating entirely on their own, out of “Art Rental and Sales.” And traceable to Ritchie Sinclair who is directly and indirectly BOTH documented as the master manipulator of a couple of retail girls.

Sinclair has just come from manipulating the police in April, and manipulating the TBAG in May. Now it’s the AGOs turn.

To me, a retail girl, going to do:
– the bidding of a non-AGO official, an off-the-street art terrorist

– issuing a directive like this on her own
– wildly overstepping the parameters of her own expertise
– and the boundaries of her job description, including
– wildly usurping the authority of the Director and the Curator, I consider a firing offence.

NIAOB.

Sinclair had dismounted “Spirit Energy” in early afternoon.

How, within an hour or two of the Sinclair dismount, would Mearns possibly discover the existence of this minor and unremarkable Matulic posting on her own and send him blog removal notice?

Never, in a million years would Mearns EVER even bother to monitor the Matulic Morrisseau blog, a highly specialized and idiosyncratic posting about a painter the AGO has little or less experience with – NOTE the total unfamiliarity with this artist of even the Curator of Canadian Art at the AGO, Gerald McMaster, is legendary in his own emails.

So, then, how come, within only moments – OK, an hour or two – of the Sinclair dismount, is the AGO retail girl sending an aggressive email to a Calgary blogger, to remove from his blog the two Joe McLeod paintings at the AGO rental shop, which Matulic is celebrating, and the very two that Sinclair had just been telling the retail girls at the AGO, were fakes.

He told them so; he says the Heritage Foundation says so.

The only – the ONLY – explanation for Mearn’s blistering post to Matulic, is that Mearns was put on to it by none other than Ritchie Sinclair. Sinclair is notorious for following the main two Morrisseau blogs with a pathological obsession, multiple times a day…

By trying to attack genuine Morrisseaus on other people’s blogs, using the imprimatur of the Art Gallery of Ontario, she is fronting for a fraud, that has done Great Irreparable Harm to the Art and Artists of Canada’s Indigenous people.

And then Mearns does it again…

When Hearn starts to bemoan the fate of what Sinclair has done to his painting, calling it a “fake,” SHE looks for a shoulder for him to cry on and get consolation.

It is SHE, again, not the AGO, who drags AGO Curator Gerald McMaster into the developing fiasco, in trying to help Hearn out of a brouhaha totally orchestrated by his own friend Ritchie Sinclair.

She says she’ll try to help “Kev” deal with his upset by getting Gerald – a person knowledgeable about art – to maybe give him some advice.

This is a PERSONAL outreach, offered by her, NOT an official AGO anything…

Hearn Calls McMaster

On June 25, three days after the Sinclair dismount of “Spirit Energy,” Hearn contacts McMaster by phone, regarding his upset about the dismounting of his painting (supposedly “Spirit Energy” but its name is not mentioned.) Also no photo reference was involved. The talk is vague generalities.

(We don’t know what McMaster envisions Hearn is talking about. In fact, only a month later it is clear from McMaster’s own emails that the ONLY painting Hearn is interested in talking about is NOT AT ALL the same painting McMaster has any recollection about.)

But one thing immediately becomes clear: McMaster is totally unsure of his ability to authenticate, or declare as a fake, any Morrisseau on any level.

McMaster is quoted by Hearn, as saying that he is going by “gut feeling,”*** that “I would like to investigate it further in the coming months.” Now talk about lack of confidence and knowledge about Morrisseau paintings.

***As a curator, I don’t know what this means. Is this the same as police judging guilt, “For Driving while Black?”

Then McMaster is further quoted by Hearn as wanting to “investigate it further… with a peer of his.” Talk about the height of total uncertainty about how to tell a real from a fake Morrisseau. McMaster wants to ask someone else? Some unspecified and undisclosed person?

McMaster does NOT leave a documentary trail, but the hearsay evidence is utterly strong, and multi-level. He essentially confesses he hasn’t got a clue about Morrisseau art, let alone any expertise to tell real from fakes.

This is the kind of art Gerald McMaster specializes in, stuff he drew and exhibited in an Indigenous art show in 2017. Now do you see why he told Hearn he was totally unqualified to pass judgment on Morrisseau art, and wants to pass off ruling on any Morrisseau art to others, like Lee Ann Martin, etc., down the road – in fact months down the road… – before making any decisions. Does that sound like the guy who Jonathan Sommer claims immediately dismounted and discredited “Spirit Energy” on Jun 22, 2010? Sommer wants us to believe he has reading comprehension problems, I presume, since in his own evidence box, he has an email from his own business partner, Ritchie Sinclair, bragging that he did the dismounting and discrediting of “Spirit Energy,” on June 22. So proving McMaster was totally out of it, and off the hook, however much Sommer wants to blame him…

And that he wants – and will require the unnamed subject painting, whatever the hell that is – for months of examination and studying before he can be sure, as well as further consult with a “real expert.” Offering the “good news.” that perhaps months down the road, he’ll be able to come up with something definitive or conclusive for Hearn.***

***Why not bring this up with Joe McLeod who has decades of experience as Canada’s senior Morrisseau expert? Instead of deliberately staying away from him, as far as he could and avoid answering his registered letter? What’s his game? What’s his aim?

McMaster shows every sign of running for the hills, NOT stepping up to responsibility for either calling “Spirit Energy” fake, or saying he dismounted it. (As Hearn and Sommer both claim he did.)

McMaster is saying in every way possible that he is NEITHER knowledgeable or comfortable with being a so-called “Morrisseau expert.”

In fact McMaster is also running for the exits, because Hearn’s problem, as a result of the Sinclair dismount is NOT an AGO or a McMaster problem…

And, in fact, a day after the dismount, (June 23, 2010) Mearns says exactly that to Kevin Hear: “Believe me none of us are experienced in the world of art scandal and certainly no embarrassment or issues for us… Our concern for you was our only stress!!! K”

In short, we feel for you Kev, but your problem is NOT our doing or responsibility. But let me try to get Gerald to give you a shoulder to cry on…

I believe it is totally farcical for Jonathan Sommer to portray McMaster as being a Morrisseau expert, who, he says, walked into the Hearn exhibit, denounced “Spirit Energy” as a “fake,” and dismounted it.

I think even the hearsay evidence is strong that McMaster was in no way confident in his knowledge of Morrisseau art to do anything like that. Nor would he…

That Hearn/McMaster email exchange, alone, totally absolves anyone at the AGO from participating in the “Spirit Energy” dismount. It certainly absolves Curator Gerald McMaster.

This conversation goes nowhere and resolves nothing other than that McMaster is waffling big time about everything.

FAST FORWARD: In fact two and a half months later when Hearn contacted McMaster again, this time McMaster, for the first time writing his own email, says he can’t remember which painting Hearn was talking about. And when Hearn sends a pictorial reminder, McMaster says that’s not the painting he remembers at all…

Part 2 – McLeod is stymied by BOTH Hearn and the AGO: June 28, 2010

What Did Hearn Know & When Did He Know It?

On June 22, Hearn knew that:

– he had received a personal email from Ritchie Sinclair, telling him that:

– Sinclair had dismounted his painting “Spirit Energy” at the AGO
– Sinclair called a painting Hearn paid $20,000 for, a “fake”

– causing Hearn one of the biggest and most surprising shocks of his life, that
– Sinclair claimed to be a top expert on Morrisseau art and had a long painting relationship with the artist (both NOT true and false claims***)  and that

– there were thousands of fakes out there

***For a brief period after late 1979, Sinclair had been hired by the Volpe crime family, to service Morrisseau, during the notorious “Dollars, Dicks, and Dope Period” when Norval was provided all he wanted in exchange for ALL his art output. (See “Dear M”) Sinclair testified, in Hatfield v Child, that he liked working for the Volpes.

What would you have done after receiving an email telling you all that, if you were in Hearn’s shoes?

I know what I would have done, within five minutes of receiving it. Pick up the phone, immediately and call Joe McLeod telling him everything, and demanding an explanation. And email him as well, complete with the attached Sinclair email.

Demanding, like right NOW! Hey Joe, what the hell is going on?

But Hearn did NOT do any of that: NOT immediately; NOT in five minutes; NOT in five hours; NOT in five days… Why NOT? What is going on? What’s his game? What’s his aim?

Joe Becomes a Hapless Victim of a Con

It was not till seven long days after the Sinclair takedown, on June 28, 2010, that Hearn finally emailed McLeod about the dismount of “Spirit Energy” as a fake.

But tellingly Hearn DID NOT tell McLeod what he knew – NONE OF IT. Instead, he sent McLeod a totally fabricated account of what had happened and who had supposedly done what to whom.

It was dishonest, deceitful, and clearly deliberately fabricated to fool Joe McLeod and try to throw him off his game.

From then on Hearn and his handlers set out to rewrite the history of the event.

Hearn falsely told McLeod that the AGO had dismounted “Spirit Energy.” Joe was obviously thunderstruck.

Tellingly, Hearn DOES NOT mention Ritchie Sinclair at all. Why not?

Tellingly, Hearn DOES NOT mention Sinclair’s enormous self-described Morrisseau expertise. Why not?

Tellingly, Hearn DOES NOT forward McLeod a copy of Sinclair’s email at all. Why not?

Tellingly, Hearn also DOES NOT mention any AGO person by name, or cite any official AGO document as proof for what he claims. Why not?

Tellingly, Hearn DOES NOT do, ANY OF THAT, to wit: what any reasonable person, faced with the same situation, and reading, and reacting normally, to those awful email words, contemplating their normal meaning and understanding would do. Why not?

It’s exactly what you and I would do… Why not Hearn? What’s his game? What’s his aim?

The documentation from his own email shows that Hearn was already turning on McLeod, instead of making a common front with him, to demand an accounting and settle the alleged issue with the so-called “AGO curators,” and find out just what the hell was going on over at the AGO…

Hearn cagily tells McLeod, “the paintings had to be removed from the show because they were cited as fakes. They have asked to keep it as they want to investigate it… Can you help me prove these people are wrong?” (my underlining of the cagey reporting)

 None of these people are ever identified.

Now a week after the Sinclair take-down, instead of being straight up, and straight forward, Hearn has concocted an alternative set of facts for McLeod.

 In fact, McLeod would die, never knowing that NO AGO curators were involved in dismounting “Spirit Energy” and that in fact, Sinclair, all by himself had done it. It was a secret Hearn kept to himself, and away from McLeod.

 Why this clear departure from honesty? From full and transparent disclosure?

Hearn has turned the singular Sinclair into a “group,” and intimates to Joe that they are AGO people, who are the agents of the dismount and discrediting of “Spirit Energy.”

I believe it’s clear that Hearn has spent the week since the dismount, collaborating with his handlers, to concoct a story to target Joe McLeod and make him believe that the AGO – not Sinclair and his cronies – had targeted Joe and “Spirit Energy.”

Hearn makes strong charges to McLeod BUT mentions NOT a single name who, down the road could shoot back and call Hearn a liar, or whom Joe could call, to get clarification, verification, or an explanation from about the dismounting and “fake” allegations.

Hearn Deliberately Hides the Truth – Hearn’s email to McLeod is clearly transparently deceptive and dishonest, and designed to upset Joe and leave him floundering in the dark.

I believe, strongly, that Sinclair and his cabal, deliberately told Hearn NOT to mention Sinclair in any way in the email he sent McLeod.

Why? Because McLeod would have known instantly that the whole set-up was a fraudulent con by Sinclair and his cabal of fraudsters, and NOT a justified or credible complaint by anyone knowledgable at the AGO at all.

McLeod would have known immediately what was going on and who was behind the AGO dismount fiasco.

Joe McLeod had been a business target of Vadas, and the Robinsons since 1990, and of Sinclair’s since 2008 when he became the Robinson’s KRG fraud enforcer.

In the fall of 2008, Sinclair blamed McLeod for engineering Sinclair’s Scollard show debacle, and for NOT accepting him as a Maslak McLeod Gallery artist.

Artworld had similarly turned down Sinclair as a gallery artist, causing Sinclair to engineer the Hatfield v Child lawsuit, which Sinclair set up and delivered into Jonathan Sommer’s lap in mid 2009.

But it was important for Hearn to keep Joe believing that Gerald McMaster was behind the dismount and the discrediting of “Spirit Energy.”

It also explains why Hearn refused to join with McLeod in demanding some kind of official response from the AGO for what he told McLeod was THEIR takedown.

Why? Because Hearn didn’t want to hassle the AGO, when he, and they, BOTH knew the AGO had nothing to do with any of it. And Hearn would have looked bad by joining McLeod to demand a professional AGO response for falsely accusing them of doing what Hearn and they ALL knew they had NOT – and his chum Sinclair – HAD done. (Mearns had sent a copy of the incriminating Sinclair email to McMaster.)

During July and August of 2010, McLeod, totally side-lined and stymied by Hearn, then tried to get a professional response from the AGO without success, even resorting to registered letters to both Teitelbaum and McMaster. Both refused to answer.

Talk about powerful evidence of them NOT owning up to authorizing the dismount and discrediting of “Spirit Energy.” How about because they DID NOT DO IT? And did NOT want to be dragged into anything.

And maybe the AGO even had a lawyer who recommended stonewalling.

After Aug. 6 Hearn never contacts McLeod again. Just lets him swing in the wind.

At the beginning of September, now three months had gone by since the dismount, without the AGO issuing ANY kind of document or admission of being complicit in a “Spirit Energy” takedown on June 22, 2010, or in calling it a “fake” of any kind.

So, by Sep 2, 2010 there is still no documentation or AGO curatorial evidence that is supposed to be the foundational claim at the heart of the Hearn/Sommer lawsuit, that: the AGO dismounted the painting on June 22; that the AGO called it a fake; intimating that the AGO called McLeod a crook, and is involved in some kind of deliberate fraud.

NONE… NIX… NADA… ZILCH…

All just invented bumpf hoping to breathe some life into a fraudulent lawsuit.

On the basis alone, this lawsuit should be dismissed, as fraudulent, and not proven.

To sum up:

– the claim that the AGO was involved in the dismount of “Spirit Energy” is FRAUDULENT.

– the claim that the AGO called “Spirit Energy” FAKE at any time is FRAUDULENT.

And then it gets worse.

Part 3 – The Bogus Participation of AGO Curator Gerald McMaster

On Sep. 2, 2010, we finally get a look at an original document from AGO Curator Gerald McMaster about an event that happened three months before, the Sinclair takedown of “Spirit Energy.”

REWIND: In two hearsay emails, dating back to June 22, 2010, McMaster is mentioned

– by AGO gift shop water-cooler gossiper, Kirstin Mearns

In Hearn’s email of Jun 25, 2010, Hearn said he talked to McMaster on the phone, supposedly about the takedown of “Spirit Energy,” and claims McMaster calls the painting “questionable.”  But there is NO email, or letter, from McMaster (or the AGO) making either an informal or formal acknowledgement or statement to that effect anywhere.

That is now, three months later, about to change, DRAMATICALLY.

On Sep 2, 2010 Hearn emails AGO Curator Gerald McMaster saying he has now contacted Joe McLeod and that he will ONLY give him his money back for “Spirit Energy,” if the AGO writes a letter EITHER saying the painting is real or is fake.

What to do? Hearn reports to McMaster:

“He (McLeod) reacted by saying that he wanted a letter from you/AGO stating that either

1) you felt the painting was questionable, so it was removed, or

2) you apologize for taking the painting down, and that there is no evidence that it is not authentic etc… He said that such an accusation would have to be settled in court, and he would not refund my money or discuss it further until he received a letter.”

In one of the most stunning email exchanges that, alone, again sinks this entire lawsuit is how McMaster replies to this, a full three months after the dismount of “Spirit Energy” on June 22, 2010.

McMaster replies: “Kevin, Briefly, can you send image (sic) of the work in question? Also, please contact Lee-Ann Martin at the Canadian Museum of Civilization regarding the Norval Morrisseau society (sic) which I think is responsible for uncovering fakes.”

It appears he thinks Hearn wants info on fake Morrisseaus, and suggests someone far better equipped and capable of handling the topic than he is. McMaster is standing firm on a subject McMaster admits repeatedly, knowing littler or less.

McLeod had written Hearn, and McMaster had read it “… there are no fraudulent paintings and challenged me to show him one example of a court case where a painting was proven to be so.”

McMaster is running for the hills. Hearn mildly reminds him: “You mentioned to me that you would write joe (sic) a letter (or a telephone call?) and i hope that you will…”

McMaster, far from being a complicit Morrisseau “fakes” AGO activist, sounds completely “out of it” to me. And signs off; and puts on his runners…

Gerald McMaster, Ph.D, O.C.

Frederik S Eaton Curator, Canadian Art

Art Gallery of Ontario

McMaster, you have to realize, runs a multi-billion dollar collection of thousands of Canadian ultra-valuable art works, from the likes of Lord Thomson, and other members of the rich and super-rich in Canada. Can you really expect him to become preoccupied, concerned or knowledgeable about one shitty little Morrisseau, down in the art rental department?

And he clearly does NOT remember a damn thing about any of it.

I say give him a pass…

Hearn sent McMaster a picture of “Spirit Energy.”

Gerald replies: “I didn’t think this was the work that was shown to me. Was there another work?”

Amazingly McMaster DENIES any knowledge of anything regarding “Spirit Energy.” I believe he is totally truthful, NOT dodging.

Hearn responds: “Hi Gerald. This was the only work that I own personally that was removed. There were two smaller pieces lent to the gallery by Joe that were also removed. Kevin”

Note: Hearn tellingly tells McMaster directly – he can’t lie to him, like he can to McLeod – that “this was the only work I own personally that was removed.”

Hearn tellingly and clearly deliberately does NOT say “you removed” because they both know Gerald did NOT do so. Hearn totally absolves McMaster from being the agent of the removal of “the only work I own personally” namely “Spirit Energy” which McMaster tellingly CANNOT identify or recall.

Why? Self-evident. McMaster did not do it. The AGO curator did NOT do it.

McMaster is an art professional. Would he not remember a painting that had caused more upset and gossip at the AGO that summer than any other of recent memory, if he had been involved with it?

End of the lawsuit.

Furthermore Hearn now has to “inform” McMaster that “two smaller pieces… were also removed,” because he realizes McMaster has no recall of any of it.

Even with these two – which Sinclair told him “McMaster removed” McMaster seems to be equally foggy about. And Hearn again does NOT say “the two which you removed.” Why? Because Hearn knows McMaster had nothing to do with either the dismount, removal, or discrediting of his “Spirit Energy.”

Gerald replies with his usual caution: “Let me suggest that you hold off on pursuing your move until I’ve had a chance to think about this more in detail.  I don’t want to make a judgment that I’ve not thought about in detail… Okay. Maybe we can get to the bottom of this and everyone can save face. Gerald”

Clearly the AGO bosses have let something fester out of control in the art rental department. Joe McLeod is raising hell that his name and his art are being wrongfully attacked, libeled and defamed. And he wants something official in writing or he’ll ask the courts to straighten this out since AGO management is laying low.

The Final Nail in the Coffin of the Lawsuit

The Hearn/McMaster email exchange establishes several things clearly:

– McMaster hasn’t got a clue what painting – the only painting, “Spirit Energy” – which Hearn is talking about, and demurs when he’s finally shown a picture by Hearn, only to discover it is NOT what McMaster remembers, at all.

– McMaster echoes his earlier exchange with Hearn that, he likes to make thoughtful decisions, over time, and involve other experts, down the road. NOT fly off the cuff decisions.

– McMaster is by conviction, and by his own confirmed email documentation, NOT AT ALL the guy who shoots off his mouth, and dismounts and desecrates a painting (“Spirit Energy”) on June 22, 2010.

What McMaster himself, documents, interpreting his own words, is that no one can honestly or rightfully make the claim that lawyer Sommer and Plaintiff Hearn made before Justice Morgan, namely that McMaster, on behalf of the AGO, did the instant dismount of Hearn’s painting “Spirit Energy,” on June 22, and discredited it as a “fake.”

Because three months later, McMaster still absolutely denies – we have to take him at his word – that he even recognizes or remembers doing anything with the subject painting “Spirit Energy.”

And AGAIN, tells Hearn, as he did two months before, he wants to move with caution and do a lot more research before acting, on whatever it is that upsets Hearn and that he claims happened to his painting during a musical gig when a couple of AGO shop gals down in art rentals, fell into the hands of art terrorist Ritchie Sinclair on June 22.

And conspired to attack Joe McLeod, and dismount and discredit his art, about which, the record is quite clear, McMaster is completely uninformed.

McMaster has now seen the registered letters McLeod has sent him and Director Matthew Teitelbaum and realizes, whatever side-show fiasco had gone on in the rental department, he has now been dragged into something NOT of his own – or the AGO’s – official doing.

In short, by Sep. 2, 2010, there is NOT the slightest bid of documentary evidence that either the AGO or Curator McMaster took any of the actions that Sommer and Hearn accuse him of, and claim are foundational proof for launching this lawsuit.

The Hearn v McLeod lawsuit was filed on June 8, 2012.

The Defence – The Statement of Defence, written by lawyer Brian Shiller, for Joe McLeod, makes a couple of key points that destroy the keystone of BOTH the Plaintiff’s expert’s report and the the Plaintiff’s Claim.

The Defence makes it unalterably and incontrovertibly clear that the provenance of “Spirit Energy” to Joe McLeod came through Khan Auctions AKA Randy Potter Auctions, whose wife testified under oath – while Ritchie Sinclair himself was cross-examining her – that ALL the Potter Morrisseaus came from only one consignor and that was David Voss. NIAOB.

Had Sommer, Hearn, and Robertson only bothered to read the Defence, they would have learned that. And so prevented Robertson from embarrassing herself by using an old, outdated document, from two years BEFORE any lawsuit was involved, and chasing down erroneous leads that did not exist or led nowhere. She should have known better… What is her game? What is her aim?

In going on to cherry pick an old, outdated document just so she could draw false and ludicrous conclusions about “Spirit Energy” and Joe McLeod.

McLeod and Shiller had corrected the record for the lawsuit EXACTLY for people like Robertson so they would be in possession of the real facts regarding the origins of “Spirit Energy.” Why did she so wrong-headedly, deliberately choose to ignore updated, legally affirmed, evidence?

The Defence, had she bothered to read it, would have boldly, and incontrovertibly, told Robertson that all the named people she was ignorantly chasing down looking for “provenance,” were NOT involved with “Spirit Energy.” And NONE of them had EVER owned “Spirit Energy.”

Only David Voss had consigned “Spirit Energy,” just as he had consigned ALL the Morrisseau paintings to Potters, for the last ten years.

And Robertson deliberately avoided calling him up… Or Randy Potter, either. In fact Potter told me that Robertson NEVER called, EVER. What the hell kind of researcher is that? And then on that basis go on to slang a genuine painting and a good man.

And regarding Dr. Irving Jacobs, who, Robertson snorts pompously in her expert report, NEVER owned “Spirit Energy.” Well, obviously. But that is not the end of the story.

Potter also specifically told me, that Irving Jacobs bought Morrisseau BDP paintings from him. So it seems obvious to me, that Jacobs, a full-time doctor, would have consigned his own Morrisseaus for sale through Joe McLeod’s full-time Maslak McLeod Gallery as many people did.

Joe sold mostly consigned paintings, as he testified on June 4, 2012, in Hatfield v Child. McLeod explained that galleries had to work mostly with consignments since gallery owners could not afford to buy the art they sold themselves.

McLeod said he only rarely bought paintings himself, and only if they were of special importance and quality. He testified he only bought 14 Morrisseau paintings at Potters. He couldn’t afford more. A hell of a lot of people bought way more than Joe, many buying dozens, others buying hundreds.

One of those special paintings McLeod bought himself was Spirit Energy of Mother Earth 1974.”

Randy Potter sent me a copy of the invoice, dated Feb 14, 2004.

This is very good news for Kevin Hearn, because it shows, long before Joe met Kevin Hearn, he considered and treated “Spirit Energy” as an extremely high value acquisition worthy of spending his own money on.

In fact “Spirit Energy” also impressed someone else who was in the auction hall that day, Ritchie Sinclair. It was the ONLY time he ever went to Potters to try to buy back some of his own art that had been seized by the Sheriff for non-payment of storage fees. Donna Shea, the Potter auction manager, testified Sinclair looked wistfully at the Morrisseaus in the hall that day – including “Spirit Energy” – and called them wonderful, and expressed regret that he would never be able to afford to buy any.

Now why would Robertson ignore ALL this evidence that the Defence would have opened her eyes to, or make a phone call to Potter, Shea, or Voss, and opt instead to go do something so damn irresponsible?

So Robertson, failing to find ANY link from “Spirit Energy” to Robert Voss, Rolf Schnieder (sic), and Irving Jacobs – because, hey! there was none to be had – concluded that since the painting had NO traceable provenance to this trio, that “Spirit Energy” was “fake” and Joe McLeod a crook.

Duuuh Professor! – A more proper conclusion could also have been that these men had NOTHING to do with “Spirit Energy.” That someone else had owned it. Which in fact was the case, as the Defence made crystal clear. That Robertson was tracking down an erroneous lead… All based on relying on a quickly mentally tossed off memo by McLeod years before, and one that had long ago, been updated and superseded by the Defence, which had been carefully drawn up based on files, records, documents, and correspondence, to answer a lawsuit.

And in fact the Defence ever so kindly pointed out to Robertson who that was – reading is a good skill to develop – to where the provenance trail actually led. Namely, one David Voss, and a man she DID NOT bother to track down. Can you guess why not?

In fact in court testimony in Otavnik v Sinclair, Donna Shea on the stand, being grilled by none other than Ritchie Sinclair told him without shading of any kind that ALL the some 2,000 Morrisseaus Potter Auction sold, came from only one source, and that was David Voss, the man Robertson deliberately chose NOT to call.

And Sinclair knew it then. Robertson quotes Sinclair as a trustworthy source in her book. Would he have told her “Don’t call David Voss” we know what he is going to say..

Sinclair’s Aug. 19, 2010 email

Of course it’s full of wild falsehoods but…

The one thing Sinclair is correct on is that he backs up McLeod as, saying, under oath that “Spirit Energy” came from “David Voss” NOT Robert Voss. Sinclair, of course, embarrasses Carmen Robertson because he therefore says she is hugely wrong in trying to tape Robert Voss to Joe’ forehead. She’s now the odd man out…

The Defence, Randy Potter, Donna Shea, David Voss, and even Ritchie Sinclair say the source for “Spirit Energy,” with only Robertson begging to differ, for some odd reason.

Exceeding The Limitations Act – in Time & Credibility – I believe this case has far exceeded the legal time limit within which you can launch a lawsuit after learning of an alleged infraction.

Hearn claims he was sold a fake in May 2005. He now says he was a sold a fake at that time.

Hearn claims the AGO and/or AGO Curator discovered it, and notified him it was a fake in June 2010, and dismounted and discredited it immediately – ALL OF WHICH ARE BOTH FALSE AND UNDOCUMENTED.

Hearn launched a lawsuit, two years later, in June 2012, with only days to spare, claiming that bogus event as the jump-off point for when he said “experts” told him it was a fake.

In the Defence, Brian Shiller and McLeod, demanded to be shown the “expert” report claiming “Spirit Energy” was fake.

Neither Hearn or Sommer ever produced or provided an expert report, in the thirteen years Hearn has owned the painting.

Neither was any expert report from an AGO curator or director – they are credited/blamed for the triggering even – ever produced, to that effect, or an Affidavit, or an agreement to testify on the stand.

Failing to supply the requisite expert report from an AGO curator, or a forensic expert within the time required, therefore renders this lawsuit to have been cut off by the Limitations Act, based on the May 2005 purchase date.

The last chance to sue, therefore disappeared in May 2007.

I consider it fraudulent then, to instead, just bumph up a Statement of Claim with invented bogus “hearsay” – putting words into the mouths of absentees – on behalf of AGO curators, who will NOT speak up, or appear on their own behalf.

That is NOT credible proof of a fake painting, or a fraud being committed, that can be served up in court, to supplant a forensic report by a scientist.

Back to RS and BS

Which brings us back to Ritchie Sinclair, the only documented participant – his own, and the Plaintiff’s emails, confirm it – to have orchestrated the anti-McLeod fakedown of “Spirit Energy,” and called it a “fake.”

Why then did lawyer Jonathan Sommer and his client Kevin Hearn, NOT ask Sinclair to put into an Affidavit all the claims he put into the email he sent to Hearn on June 22, along with all his claims to Morrisseau and art expertise?

AND then produce him and his claims, etc., under oath, on the stand?

And then why didn’t they, as requisite backup, immediately send “Spirit Energy” to a forensic expert to prove the BDP signature is a lousy, lowlife fake, as Sinclair, Sommer, Hearn (and Robinson and Robertson) ALL claim it was.

 It would have made Sinclair’s Affidavit much stronger, and his testimony on the stand much more convincing.

 Why Then, Nagasaki? – Can you explain, then, why Jonathan Sommer, INSTEAD, dumped Sinclair, the one and only instigator of the June 22, Fakedown, from the Affidavit list, and the Witness list? Didn’t he know that this would prevent the Defence from questioning or cross-examining the perp – the ONLY guy – who started it all?

Was it because they all knew Sinclair was a documented art terrorist who has been discredited as a serial perjurer and an untrustworthy fraudster, even when under oath, starting with Justice Lederer in 2008, and multiple other judges since: Godfrey, Martial, Lacavera, Sanderson, Kilian.

The Ultimate Shame – In the end even his own lawyer dumped Sinclair, in the Nagasaki Moment that stunned courtroom observers on Oct. 2, 2017. Was it so his serial perjuries, libels, defamations, Criminal Harassment of Joe McLeod, his “Death Threats,” etc., couldn’t be exposed in cross-examination?

Was it because, as multiple judges have found, he made lots of claims and accusations but NEVER had produced a smidgen of proof for any of what he was saying?

Because there wasn’t any… There never is behind a fraud…

The Last Roundup

The BDPs And All That…  In fact Morrisseau black drybrush paint signatures have a varied history.

Robinson and Robertson say they’re all fakes.

Norval says, signing BDPs is really a pain in the ass, but necessary, sometimes…

KEY BDP INSIGHT – The most tellingly important evidence regarding BDPs I’ve ever heard was inadvertently revealed by Marlowe Goring during the Hatfield v Child trial.

It is so powerful as evidence, because neither Goring nor anyone else in court caught its enormous significance when it dropped out of the blue. It also means it couldn’t be crafted, or fraudulently dreamed up, to back up some point of view or other. It was something Goring just said in passing…

Goring was busy late at night, in Ottawa, framing up paintings Norval had completed for a show, and brought in to Goring’s framing shop earlier in the day. Now in the wee hours, Goring was alone, still busy framing the art for later that day…

Then a knock at the door. It is a grinning Norval, holding a brush, and a blue Chase & Sanborn coffee tin full of black paint. Said Norval, “I have to sign the back of the pieces for the show tomorrow, so I need time for it to dry.” (Transcripts, Marlowe Goring, Hatfield v Child, p81, June 4,  2012)

And there you have it. End of story.

I don’t really care what Norval did after that. The key point has already been made. And you probably missed it too… And that is that: the paintings and the BDP signatures were done – or not done, if you will – by Norval at different times…

Marlowe Goring, a sometime framer and drinking pal of Norval’s in the 1970s and 80s.

Without knowing it, certainly without meaning to fabricate anything, Goring had given us a private fly-on-the-wall insight into Norval the artist, and how he worked, especially with regard to his signatures.

This time Goring watched Norval put his BDPs on the back, which is also interesting.

Without knowing what he had said, Goring established that Norval painted and signed at different times. Obviously you can’t flip over a wet painting and sign the back at the same time. It was a pain in the ass for Norval, so if THERE WAS NO NEED, Norval didn’t sign the BDPs. Norval would probably very often NOT sign the backs with his BDP signature.

But if there was a need, for advertising himself, and the story of the painting, for a show – like the one in Ottawa – or a gallery, Norval came back to sign the BDP to help boost sales.

But if there was NO need, Norval, who was always in a hurry, to finish the art and get the bucks, didn’t really want to go to all the trouble to do the BDP signatures.

Hey! It’s just common sense. And Norval had it.

In fact, Norval started evolving BDPs slowly, over time. The earliest of the type I’ve seen is probably “After Life Spirit of the Fourth 1958.” Norval did a lot of them on his souvenir ware on paintings, bottles, baskets, skins, etc. in the 1960s.

Demonstrating clearly malicious intent – to hide evidence of genuine Morrisseau BDP signatures for the benefit of lawyer Jonathan Sommer – Carmen Robertson, in collusion with Sharon Godwin and their KRG collaborator, enforcer  Ritchie Sinclair, blocked this key holding of the Thunder Bay Art Gallery from her report. The Sommer/Robinson thesis: ALL BDPs are fakes; not once have I ever seen it says Donald Robinson. A statement for which he was roundly and deliberately ridiculed by the Hon. Madam Justice Mary Anne Sanderson, who affirmed the BDP as established Morrisseau signing practice. And discredited all who claim they only decorate forgeries.

BDPs suffered a setback when Norval became famous in 1962, and went to work for Pollock and also followed the advice of Selwyn Dewdney. They did not like anglicized BDPs. They were interested in marketing Norval as an unspoiled primitive in order to appeal to the snoots and suits among the pompositing classes who wanted art from an “unspoiled savage.”

So for marketing to their clients, they told Norval to remove stuff from his paintings – on both the front and the back – that smacked of white civilization and spoiled the illusion of the savage they wanted to market. And that includes using Christian symbols, cars, and planes, and all the Englis titling and signatures that would hurt sales to their target crowd.

SO, don’t look for BDPs among the stuff Norval painted for Pollock, Sinclair or Dewdney.

Then along comes Wolf, his younger brother who told Norval to use big, bold BDPs in English to appeal to foreign buyers in Japan and Europe, who don’t understand the syllabic signature on the front, and want some information about the fabulous stories his paintings seemed to tell. Wolf got Norval to formalize and regularize the BDP in the form we are familiar with today. (Testified before Judge Martial, in 2012.)

SO, look for a hell of a lot of BDPs from the 1970s and 80s, during Norval’s peak period when his fame was spreading internationally. Wolf said he saw Norval sign thousands of BDPs, as have others, on the stand, and by Affidavit.

But DON’T look for BDPs for quick sale paintings, and DON’T look for BDPs when Norval already had a client, or a sure sale, in the bag, like a public gallery or a museum commission. Then he didn’t need to promote himself or explain or title some kind of story line.

(Carmen Robertson is one who says public galleries don’t have BDPs. Well there’s a reason, Ms. Robertson! Get it? Though she ignores paintings like “After Life Spirit of the Fourth 1958” in the Thunder Bay Art Gallery, which is a clear brash Norval Morrisseau BDP in a public gallery. And one she knows very well, but for some reason can’t see…)

And DON’T look for BDPs when Norval was selling 216 paintings in a lot to a group of lawyers like Whent, Zelinski, and Pustina. They didn’t give a damn about any story line thank you; they were just interested in doing a big CRA flip for big bucks to galleries and museums. Doing 216 BDPs would be a total nuisance for Norval when he already had the lawyers in the bag. Look for a lot of BLANK-backed genuine Morrisseaus among their hundreds of donated paintings.

In summary: the BDP English signature was just a marketing or promotional tool. Norval used it when he needed to sell himself or his art, but just an inconvenient time waster for a sale that was already a done deal.

The Courts – On Mar. 25, 2013 Judge Paul J Martial affirmed the “overwhelming evidence” that established in the court’s eyes the existence and authenticity of possibly thousands of Morrisseau BDPs.

The BDP as a common authentic Morrisseau signature was confirmed by the Hon Madam Justice Mary Anne Sanderson on Dec. 17, 2013.

All the forensically authenticated BDPs have been upheld in ALL lawsuits as genuine and determinative:

– Otavnik v Vadas & Morrisseau in 2008 – $11,000 paid to Otavnik by Vadas

– Moniz v CTVglobemedia in 2009 – $25,000 paid by Globe to Moniz

– Hatfield v Child – Hatfield’s Claim dismissed in 2013 – had to pay costs to Defendant

– Hatfield v Child – Hatfield Appeal dismissed in 2013 – had to pay costs to Defendant

– Browne v Bugera – abandoned – “Grandfather Speaks” forensically authenticated

Every Robinson “expert report” claiming BDPs are fakes has been dismissed or rejected – FIVE out of FIVE – by judges, justices, lawyers, forensic experts. Oh, and did we mention? That he bought 31 BDPs for $54,000 from Potters and NEVER, EVER, brought a single one back, demanding a refund…

KEY BDP INSIGHT – Mr. Sommer Kills his own case – again!

Jonathan Sommer was the Defence’s best witness, in multiple ways.

Especially with regard to BDPs.

Sommer brought in two of the Defence’s best witnesses, Dallas T. and Amanda D. He had brought them in trying to prove that they were part of the forgery ring that produced “Spirit Energy of Mother Earth 1974.” Which was, of course, a total bust.

Justice Morgan had said on Dec. 5, 2017, he only wanted to hear about specifics with regard to “Spirit Energy” NOT about other Morrisseaus, like for example the ones my mother copied…

Alas, neither Dallas or Amanda had ever seen “Spirit Energy” before, nor copies of it; nor had either seen it, or anything similar, painted. Nothing… none… nix… nada… zilch…

What a waste for someone to pay so much to bring them in and house and feed them, when they had NOTHING whatever even marginally relevant to offer the man who paid the bills…

But wait; there’s more.

They did stay long enough to become two of the best witnesses for the Defence.

In a completely inadvertent disclosure – very much like the innocently dropped Marlowe Goring bomb in Hatfield – the duo dropped a bombshell of their own, that everyone missed.

But I didn’t.

Both Amanda D. and Dallas T. disclosed, in passing, that the forger they saw, was COPYING ORIGINAL MORRISSEAU ART – NOT INVENTING, OR FABRICATING, OR CREATING NEW STUFF FROM SNUFF…

Repeat, the forger was copying…

AND THAT FIRST HE WAS COPYING THE FRONT, AND THEN THE BACK, OF THEIR ORIGINAL MORRISSEAU MASTER PAINTINGS.

By both, independently, and unwittingly saying the same thing,  trying to be helpful to the Sommer Dream Team, they SAID TOO MUCH.

They affirmed the “forger” was COPYING MORRISSEAU BDPs, and that sometimes he did it by COPYING original Morrisseau backs, and sometimes he signed the back freehand, he was that good… AT COPYING MORRISSEAU BDPS… in case you missed it…

They were impressed and so should you be, with their powers of observation and honesty in reporting, regardless of who paid them.

Sommer and his Dream Team missed the bombshell they dropped entirely, and that they had given the Defence two powerful witnesses who could prove with finality – and they did – that Norval painted BDPs, exactly like “Spirit Energy” was signed.

When the claim of Sommer and his expert Robertson, is that Norval NEVER signed BDPs. That a succession of ignorant judges and justices, and forensic experts are to blame for what he now has started to call “controversial Morrisseau paintings.”

They ALL got it wrong; only he got it right.

And then the delusion gets worse.

Amanda and Dallas did another dirty on Sommer.

They reduced the diabolical syndicate of Thunder Bay forgers, which the Sommer and Sinclair duo, in tandem, have been promoting aggressively in the media since 2013, as huge and expansive, down to a measly single “forger” Benji Morrisseau.

Sommer is left with a “Forgery Ring” a “Forgery Syndicate” of ONE.

After five years, and spending scores of thousands of Hearn’s money, that’s the best Sommer could come up with.

And then it gets worse.

The “Forgery Ring of One” was Benji Morrisseau, a nephew of Norval’s.

And Benji was for years, an apprentice of Norval’s and unlike Sinclair, Benji painted with and for Norval for years. If anyone knew how and what Norval painted that was Benji. NIAOB…

Which is why Benji copied the front AND backs – as Amanda and Dallas testified – why Benji painted BDPs… Because he knew it was Norval’s customary way of signing his paintings.

And then it gets worse…

Dr. Singla, speaking about the psychology of “forgers” said something telling: that a forger will NOT do what an artist he is copying, does not do. That would be foolish and immediately betray his work as a lowlife forgery, resulting in NO sales, and or jail time.

If an artist does not sign the back, then the forger won’t sign the back. If the artist signs the back in BDP style, then the forger will sign the back in BDP style.

Elementary My Dear Watson… Even for people with single digit IQs.

And Benji, who is a hell of an artist in his own right, would have made a hell of a forger. And that’s why he would have strongly, only done what his uncle Norval would have done, when asked to make a copy of Norval work.

Now do you know why Benji painted BDP backs…?

So Amanda, Dallas, and Benji, whatever the hell they were doing, with creating or selling whatever, back in Thunder Bay, they affirmed loudly and clearly that Norval painted and signed BDPs… NIAOB…

Exactly like the back of “Spirit Energy.”

So we’re all glad they came to testify.

Jonathan Sommer, after he reads this, not so much…

“Fuck off!… with “your iconography” – Tom Hoving, MOMA, NY

Norval, like most artists, hated “talking” art, though clients frequently did like one annoying woman who demanded he explain the Ojibwe significance of a fish painting he was selling.

Norval exasperated said, “Lady, sometimes a fish is just a fish!”

Probably no other subject – including sex – has had so much utter bumph spouted off about it as art, and what the artist was trying to say with it, and the meaning of this and that inclusion, or colour, or juxtaposition of forms or meanings. Blah… blah… blah…

Art catalogues are full of this utter crap written by people who claim to have learned in school, about how to divine what is in an artist’s mind when he creates.

Artists don’t like to talk art; they like to do art.

Talk show hosts and associated windbag professions like to talk art and pretend to have a superior insight into the mind of a creative artist, that even he or she doesn’t have.

I have been a professional visual artist for most of my adult life. Yet neither my family members, nor my friends know what I have done for a living in the creative arts that have won me over 130 international awards for creativity. None of them could say two lines – better make that one – about anything I’ve done or do as a creative artist and why.

For one simple reason; I don’t talk to any of them about it, ever. I don’t like talking about it. I like doing it. Talking about it is such a waste. Doing it, is the passion.

It’s utterly key to understanding Norval as well.

Norval said he was a born artist. I’ll buy that. He never said he was a born talker.

Norval left NO verbal trail of his art anywhere.

SI MONUMENTUM CIRCUMPSPICE. Don’t listen to his CD or his E-book.

Because there isn’t one.

It’s other people – non-artists – and mostly white guys who SPEAK about Norval’s art.

Pretending that they ARE Norval, and know exactly what he was thinking, and intending, when he dipped that brush in paint and drew that symbol in that place in that particular way.

It’s called deciphering iconography. And Carmen Robertson says she’s a master at deciphering Morrisseu’s art and divinging exactly what he was thinking.

Because Norval never told anyone…

All the books supposedly authored by Norval were all written by mostly white people, NOT AT ALL, appearances and title pages to the contrary, by Norval. Anyone who reads any Norval letter from the 1970s knows Norval was functionally illiterate and could NEVER write any fluid prose of any kind of the sort that found its way into hardcovers with his name attached.

All Norval’s writing was faked… especially his “Indian” stuff, faked by white men… for personal profit and writing glory.

Morrisseau Fiction Part 1: “Legends of My People” – 1965  
Often considered Norval’s first book – AKA his voice – it was “edited” by Selwyn Dewdney, a white guy, and for a change, one of the good white guys. But Selwyn was far, far more than an editor. In a real sense he was the voice for Norval. He was the first white guy to speak for Norval because Norval couldn’t speak for himself. He was practically illiterate.

But there’s even less of Norval’s voice here. Norval’s “voice” for the Indian stories in the book is phony, a rip-off AKA not Norval’s voice either. His brother Ronald told James Stevens, that Norval ripped him off, big time: “Most of the stories in that book came from my own writing. I helped him with a lot of stories that I knew. There was a time when I helped him write it… I was never given anything out of that book.” (Picasso of the North, James R Stevens, p 176)

In his first so-called book publishing outing, Norval rips off his brother. Get him to do all the work, and he then, along with Selwyn, take all the glory and all the bucks. It’s only fitting that for the rest of his life white guys and academics would, in turn, rip Norval off by speaking for him, and taking all the bucks. And so often just regurgitating what other white guys had said in the past. Pretending they were the authentic voice of Norval about his work and his art.

Morrisseau Fiction Part 2: The Art of Norval Morrisseau – Lister Sinclair, Jack Pollock – 1979 –  The Sinclair/Pollock book, which Carmen Robertson refers to as the bible and the bedrock for her “expert” report, and as her “voice of Morrisseau.”

In fact the paintings were picked by white guyes, and the voice of Morrisseau Robertson is regurgitating from the book was ENTIRELY written by ultra-white, all-around cool urban white guy, Lister Sinclair, pretending – however benevolent were his intentions – that he was Norval Morrisseau as he put pen to paper.

Many in the public thought Norval had written large parts of the book. When Norval had NOT written a single line; all was written by Lister Sinclair, trying his best, in his CBC suit to sound like Norval, a bush “Indian.” So we fail AGAIN to hear the voice of Norval Morrisseau. And Robertson has ALL the art in the book, and all the prose written in the book, pre-sifted for her, straight from the pen and heart of a cool white urban dude.

In fact the damning proof is a passage in Robertson’s own book, “Mythologizing…” which she ends with a curious comment indeed… (p 131)

Morrisseau Fiction Part 3 – KRG’s “Travels to the House of Invention” –  In 1997 the next Morrisseau book forgery “Travels to the House of Invention” was totally concocted, fabricated, and published by the ultra-white urban downtown Toronto dudes in suits, in Kinsman Robinson Galleries.

In fact the title gives it away: “Norval Morrisseau Travels to the House of Invention” – that is Kinsman Robinson Galleries – where the Master of the House of Invention, Donald Robinson, totally invents not only “Travels” in 1997, but “Return” in 2005, and of course all their “provenance”for their paintings, in the basement.

A prominent front chapter was – fraudulently of course – attributed to Norval to make it appear he had something to do with it. That he was the principal author, and Don Robinson just a guest commentator. lol and lol some more.

In fact Donald Robinson and his KRG elves wrote the whole damn book themselves. Exactly like Lister Sinclair had done twenty years before, at a time when Norval was at the peak of health in 1979. But still of course, virtually functionally illiterate as a writer and author.

But by 1997, when Robinson entirely ghosted “Travels” Norval was hugely degraded, debilitated, physically and mentally. What he couldn’t do in 1979, he certainly could NOT AT ALL DO in 1997.

SO Norval wrote NOT a word of Travels and its reissue “Return” in 2005. The KRG white guys did it. Go see Ritchie Sinclair’s Goofy Bear Dance video to see how verbally, and physically debilitated Norval was at exactly this time (1997).

Watch the video and read Norval’s chapter out loud… See the connection?

It’s just another KRG fraud perpetrated upon its clients and history by Donald and Paul Robinson and John MacGregor Newman.

Ask them to produce Norval’s handwritten notes that is the basis of “HIS” chapter. Will they be able to do it? NOT on your life.

Ask them to produce the audio tapes of Norval saying ANY of those things. Will they be able to do it? NOT on your life.

But Donald Robinson can show you his rough notes and multiple drafts and computer files for Norval’s chapter. Will he do it? NOT on your life. In fact I hear him running to burn them as he reads these lines… And you do too…

Morrisseau Fiction Part 3 – Armand Garnet Ruffo  – Then along comes Armand Garnet Ruffo pretending that HE knows exactly what Norval is thinking and saying, and then totally dreams up the whole damn thing as a total fiction made up in his own mind.

Ruffo calls his flight of fancy, “creative non-fiction.” No, Armand, it IS FICTION. TOTAL FICTION. NOTHING non-fiction or “real” about it whatsoever, except in your mind. Though I’ll allow, it’s the same kind of poetic fantasy about trying to “talk” for Norval, that Lister Sinclair did in 1979, Donald Robinson did in 1997.

Those men at least, had a passing acquaintance with the man, when he was hale and hearty. A man whom you didn’t really know at all.

In fact your book is probably the very first so-called biography of a notable person IN HISTORY, which has not a single academic footnote attribution of any kind to anyone for any of it. It sprang totally from your own, NOT Norval’s mind.

Call it poetry if you like; if you insist on calling it biography, I call it farce.

Just because a writer claims to share some kind of Indigenous DNA with Norval, doesn’t mean he can’t make an utter fool of himself by making utterly dreamed up claims about “speaking for Norval.”

How reliable is it?

Well consider this: I watched Armand Ruffo, sit for a book-signing session inside Toronto’s notorious and discredited Kinsman Robinson Galleries, the home base of another creative fiction writer claiming to “speak for Norval,” one Donald Robinson. Worse Robinson is also the most disgraced and fraudulent self-described “expert” regarding the art of Norval Morrisseau in world history.

The man who has done more than any other Canadian to do Great Irreparable Harm to the Art and Artists of Canada’s Indigenous people with his vicious attacks on Norval’s BDP signed paintings, thousands of them… To benefit his son’s gallery.

How the hell can Ruffo, if he was a self-respecting Indigenous artist, show up for a book-signing in Kinsman Robinson Galleries, just to make a measly buck for himself…? Maybe he thought no one would see. Well I saw…

Shame… History will NOT forget.

Morrisseau Fiction Part 4 – Robertson – Mythologizing  Robertson is only the latest among those who’ve decided, for fun and profit, to make up myths about Norval and claim to speak as an expert on his behalf. A man she’s never met… And only knows through books written by ghostwriting white men. With only one interest, to make Norval say what they wanted him to say so they could make him a more salable commodity for flogging his paintings.

This malfeasant book has two hugely fraudulent sections that alone totally discredit Robertson as having anything credible, or trustworthy, to say about anything in the book, let alone be a spokesperson for Norval and his art.

She deliberately chooses to falsify the Globe journalism malfeasance fiasco of 2007, in regurgitating the notorious article by Val Ross, as a result of which Canada’s National Newspaper had to pay Michael Moniz $25,000 for libeling him and slandering his Morrisseau BDPs. And about which Robertson says NOT a peep, out of deference, I believe, to her two colleagues, Gabe Vadas, and lawyer Aaron Milrad, who had fed Ross the fraudulent information that destroyed her career and brought on both her and Moniz’s premature deaths.

Robertson also deliberately paints the NFB filmmakers of 1974, as being some kind of deliberate racists in the film editing process in order to make Norval look bad, as if he was some kind of out of control drunk…

I can only surmise that she did again, NOT interview the film’s producer, exactly like she refused to interview any of the key people involved with “Spirit Energy” before she also wildly and fraudulently denigrated that work and the people associated with it.

She has NO credentials as a filmmaker. She certainly has NO insights into filmmaking in the 1970s, or in remote Indigenous communities. A subject I have huge and many years of intimate knowledge and experience in, all over Canada. Producing the same kind of films on, with, or on behalf of Indigenous leaders, communities, and peoples. Programs which have won huge international kudos as well as Platinum and multiple Gold Medals, in Canada and the US, and winning kudos by being installed or premiered, in top international museums, and parliamentary venues in Canada, the UK and Europe.

If I had been involved in the NFB show she sneers at, I would have sued her, and demanded that the NFB also sue her.

She should stick to something she knows; whatever that is…

One such fraudulent and incompetently researched passage is enough to throw out any book by an academic. TWO such stunning failures of academic malfeasance is beneath contempt… I’m off to burn my two copies of her book, so they do not further contaminate the minds of someone else about the real art and life of Norval Morrisseau.

Morrisseau Fiction Part 5 – Robertson Testifies – On the stand for hours Robertson loudly and brashly pomposited, endlessly, about Norval’s iconography, and the meaning of this and that element in his art and how it relates to this and that period of painting.

And how, if it doesn’t, then it’s a sure sign of a forger’s work. Blah… blah… blah…

And all this fabricated bumph, entirely based on a very tiny and highly restrictive sample group of paintings, and as a study entirely based on viewing low res dupe images and picture books.

I do not have the foggiest, from where she got all these wild suppositions, because she personally NEVER interviewed Norval, during the last seven years of his life when she first claims to have seriously started to study him… Well, not so seriously, it turns out…

I believe she probably got input in how to come up with something from nothing by talking to masters in the art of bumpf, both colleagues of hers, Donald Robinson and Armand Ruffo.

Remember, ALL the source books Robertson used as “the voice of Norval” – you know regarding what he painted, how, when, where, and why – were ALL written by white men, fabricating stuff they made up themselves. In order to con upper class white ladies into spending big bucks for art from this genuine “primitive.”

One comical highlight was when lawyer Jonathan Sommer offered to make an exhibit of the Lister Sinclair book, which Carmen Robertson used as the bible bedrock for her expert report. The picture book from which 26 of her sample study group of 38 paintings,  came from!!! And ALL just, like kids, from looking at pictures in a book.

Except kids, on that basis, don’t go out and sneer in public at genuine paintings and call McLeod and the Otavnik/Seetners as some kind of lowlife art and tax fraudsters…

And NO neither Sommer nor Robertson told Justice Morgan that NOT a single word of it was Norval’s. That the entire books was a total fabrication, by one white man using his genius to impersonate Norval and speak for him, with HIS voice and understanding. The book was copyright NOT to Norval but to Lister Sinclair, whose voice the book really was. So he got all the money.

NOT a single word, I kid you not, came from Norval.

Because Norval was a born artist – and a showman – not a very good or convincing talker. And a far worse writer…

Which is why so many people who fancy themselves as having the gift of the gab, have jumped up to say “I know better: I know exactly what Norval meant to say” blah… blah… blah…

And rush into print pretending they are Norval… NO, better than Norval…

But then white men have always known what’s best for Indians…

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10 “Killer” Documents that Kill the “Hearn v McLeod” Lawsuit

Coming… soon…

I believe that BOTH the evidence – and often, rather lack of evidence – in the Plaintiff’s own evidence box – seven volumes – ALONE – kills this lawsuit, even if the Defence were asleep at the wheel…

Remember, the Plaintiff, Kevin Hearn, had to prove that “Spirit Energy of Mother Earth 1974” was a fake… Has he done it? I think NOT! The Plaintiff’s own documents, and the very words of the Plaintiff’s own witnesses, tell a completely different, and damning tale…

Update – KUDOS 3

“He’s just some random dude on the internet,” Lawyer Jonathan Sommer

“Where the bodies are buried…” Some of the Morrisseau HOAX files that expose the worst fraud in Canadian Art History; one that has done GREAT IRREPARABLE HARM to the art and artists of Canada’s Indigenous people. A racist, wanton act of Cultural Genocide, that repeatedly and maliciously attacks as “fake,” multiple, specific, genuine Morrisseau BDP paintings, that have been, repeatedly, forensically authenticated – over 150 to date – by three of Canada’s top professional handwriting experts. And a fraud that uses specious lawsuits, and hapless, hopeless, uncredentialed, and/or untrustworthy witnesses, all of whom have been repeatedly discredited and “rejected” as such, by multiple judges, justices and corporate lawyers, as NEVER having ANY material evidence to produce that challenges or undermines, in any way, the forensically authenticated BDP paintings in question. (ex “Jesuit Preist 1974,” “Father & Son 1977,” “Wheel of Life 1979.”) The latest victim of this wanton and reckless, racist act of Cultural Genocide against Morrisseau BDPs, is “Spirit Energy of Mother Earth 1974,” which, along with three other key BDP paintings related to this lawsuit (and its witnesses), was authenticated, on Sep. 25, 2017, by a professional handwriting expert, with the highest rating he was able to give it. Even though ALL four were called “fake” by the fraudsters. (These professional, full-time handwriting experts, have large banks of original “known” Morrisseau signatures on letters and BDP paintings, to use as comparators.) The four damning independent scientific forensic authentications, hugely impugn the so-called “professional expertise,” the trustworthiness, and confirm the reckless and wanton disregard for TRUTH, of multiple witnesses in this lawsuit, who were exposed as giving false, irrelevant, or self-defeating testimony on the stand – I heard them; I saw them; I took notes – or who submitted sworn Affidavits, supporting Hearn’s claim that “Spirit Energy” is “fake.” You make your own damn list, of all the guilty…

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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, and red-tagged earlier in the day. (below) 

I am the only one of her children who inherited the family artistic streak. I have always loved the colours and fabrics she chose to decorate our homes. So, like in my family, I believe it was the same for Joe and his daughter. (Goldi Artists)

Art Cunanan – A Winter Evening 1988 (Art Cunanan)

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

Like Father; Like Daughter – I photographed the huge painting BELOW 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, and invest, as a gamble, in time, money, effort, canvas, and paint, and expect to sell it, from a no-name artist to anyone for anything?

That the huge painting exists, and hung in the private 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. But no date…

“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 yellow-circled 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, and remounted on stretchers, 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. (Virtually all the Voss/Potter Morrisseaus had been removed from their original stretchers, and then rolled for shipment to the auction house. But there were usually two or three generations of staple holes along the edges.) 

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 reconditioned and mounted:

– “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.

Disclosure – in fact one of the most common, telling features of most genuine Morrisseaus I’ve seen – of the countless hundreds I’ve examined up close and personal – is that they are far more worn, cracked, scuffed, and dirty, usually with multiple generations of staple holes, and old framing folds, than those of any other artist I’ve ever seen. And that folks, is well over a thousand artists, and hundreds of thousands of original paintings I’ve seen up close and personal. And that folks, includes a hell of a lot of historical works of art that are 100 years old and back, to decades before Norval was even born. Norval’s paintings like the man himself lived a hell of a rough life, and it showed, and then some, on both…

– “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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