22 Telltale Signs of Reckless, Malicious & Deliberate Editorial Fabrication
Since January 2013, a period of 16 months, I have published a mountain of carefully researched and thoroughly documented, independently assembled documentation exposing the greatest Hoax in Canadian art history, which I have dubbed the Morrisseau Hoax, namely the false and unsubstantiated allegations that there are “thousands of fakes by umpteen forgers” of works by Norval Morrisseau “out there” being sold by reputable auctions, art dealers, and galleries.
You’d hardly think so, by reading the National Post, which has, once again, given the fabricated, false, and totally unsubstantiated “allegations” of fakes – instead of identifying it as the HOAX that it is – front page and feature section prominence around the world, in both its newspaper and on its internet portal.
Flashback Alert: In fact the National Post was the original creator and publisher of the ludicrous fabrications and unsubstantiated allegations in May 2001, when a self-interested businessman fed a naïve and gullible National Post journalist, Murray Whyte, self-serving information meant to destroy the reputation of his business competitors by saying they were all selling fake Morrisseaus. He sucker-punched Whyte who, without due diligence or following basic journalistic responsibility just ran off and published the allegations, as if they were real, instead of doing proper research and checking, and recognizing it as the lowlife Hoax it all was.
Now in Feb. 2014, the National Post was at it again, with another negligent journalist so driven by a mad rush for a publishing deadline that he just blatantly ignores doing basic due diligence before rushing off to publish.
So thirteen years later, a different National Post reporter, Tristin Hopper, again fell for the Hoax hook, line, and stinker, and failed to do any research or due diligence to verify the story before rushing off to publish and promote a totally fabricated and unsubstantiated story for which he had no independently verifiable proof of any kind.
And this despite a mountain of documentary evidence that had been unearthed in those years, by judges, police, and forensic scientists all, entirely discrediting the totally fabricated and unsubstantiated allegations at the heart of the National Post story.
The entire page 2 of the National Post’s main news section, devoted to “Art Fraud…” was totally fabricated, designed, and laid out, with singular malicious intent to:
– deliberately misinform Canadians that art forgery is a huge problem in Canada,
– deliberately misinform Canadians that art forgery, specifically of Morrisseaus, is a huge problem,
– create in people’s mind a false connection or parallel between real forgeries, of a high value painter in Europe, with cheaply priced and easily available genuine Morrisseau art in Canada,
– create the impression in people’s mind that there are a lot of art forgeries – especially in Morrisseaus – when the truth is, that not a single one has ever been proven to be fake, not by any judge, any court, any local or national police force, or any forensic scientist,
– create an impression in people’s minds, with the National Post’s totally unsubstantiated claims, that can only have one malicious end in view, which is to devalue people’s genuine Morrisseau’s paintings, both directly and indirectly,
– to push as “News” and factual, the totally fabricated and unsubstantiated claims of the two people referenced in the article, Ritchie Sinclair and Jonathan Sommer, both of whom are trying to get the art forgery Hoax established in the public consciousness for personal and business reasons and are the driving force behind this article, and this publication of the Hoax.
By recklessly – without following Due Diligence – and just publishing an article that demonstrated a clear and multi-layered disregard for the truth, making allegations for which there is no evidence, proof, or substantiation, the National Post editors very well knew, or ought to have known, that their actions would have devastating consequences for genuine Morrisseau art and destroy the valuation of genuine Morrisseaus in the hands of countless thousands of collectors across Canada and around the world.
MALICIOUS ALERT: Before a reader even starts to read and examine the article, alleging Morrisseau fakes, written by Hopper, it is clear that going out the gate the National Post editors deliberately set out, in an incendiary manner, to recklessly, maliciously, and irresponsibly slant the feature article alleging Morrisseau fakes, to give it all the powers of presentation a newspaper editor can muster, to give its readers the idea that the National Post is going to expose fakes and forgeries so that Canadian consumers of art can be on their guard against the frauds.
Sensationalism has always been the “cute” school of supposed journalism.
Forgetting that, if it often crosses the boundaries from fact to fiction, like in this article, when it maliciously destroys the art valuations of people’s genuine Morrisseaus, then legal liabilities are consequent.
The many creative ways the National Post editor maliciously skewed the Morrisseau article include:
1 – National Post Headline – First, by publishing, LITERALLY OUT OF THE BLUE, a story that is NOT at all a “news” story, or “au courant” in any way, that is patently not projected into the public consciousness by a “breaking news” event, and secondly, fabricating a malicious unresearched and unsubstantiated article, OUT OF THIN AIR, and publishing it, in the National Post.
There was no external reason whatsoever, like breaking news urgency, or timeliness deadline, for publishing this article at this time. Or for publishing it in a hurry without researching or confirming the credibility of any of the information fed to the National Post reporter by Sinclair and Sommer.
So the story the National Post published was not daily news pushed or motivated by a current event; so it was not “newsworthy” by any stretch. In fact, the story of musicians suing about Morrisseaus was old hat, and very old news, with the Hearn case filed on June 8, 2012 – a year and a half before – and the McDermott case filed on Oct. 17, 2013 – five months before… And nothing new had transpired in either of those cases in the interim, to warrant publishing an update of any kind on Feb. 3, 2013.
So why was this ludicrous story with its false claim and the defamatory and totally fabricated and unsubstantiated allegations put in the story then published on Feb. 3, 2014 as a feature item on page 2 of the main section of the paper?
Clearly the only explanation can be that someone at the National Post had an axe to grind, a malicious fancy they wanted to indulge, or they were responding to a “news tip” from self-interested and self-promotional parties, like from a lawyer with a personal agenda, or a businessman interested in promoting the scam.
The National Post openly solicits “news tips” from readers. (See 5 Below)
And the National Post compounded the infamy by running with it, without doing preliminary research and without practicing even minimal due diligence, or following the basic rules of responsible journalism, not only by publishing this as a “hot news tip,” but devoting a huge National Post feature page, passing off as “News” the false, totally fabricated and unsubstantiated allegations.
2 – Inside; Art & Fakes Front Page Link – On page one the National Post prominently flagged the story of “ART AND FAKES,” with an “INSIDE” link, alerting everyone to see a special feature on art and fakes, especially Morrisseaus.
Why this special page one reader alert? The National Post was determined to give their false and sensational story line every possible boost it could to attract the widest possible readership and spread its distorted and unsubstantiated story line so it would get maximum readership, and thus inflict maximum damage to the art valuations of Norval Morrisseau.
It is clear National Post editors were not after National Post readers but non-National Post readers, those who see the National Post at a newsstand, and would ordinarily never dream of paying money for it, or reading it, but might become intrigued with the loud front page flagging of “Inside – Art and Fakes.”
Since everyone loves crime, fakes and forgeries, and since the National Post seemed to offer the goods inside, non-National Post readers were suckered into buying, not only the National Post, but the false, and fraudulent article the National Post had prepared inside.
3 – Newspaper “Section A, Page 2” Prominence – The National Post put this malicious article, not on the “Arts Page,” but on the second “News” page of the main section of their “news”paper, signaling to readers that its editors considered the totally fabricated and unsubstantiated allegations and the story serious enough for such a high profile treatment. Rather than devoting a few lines to it, from a lower echelon celebrity chasing lifestyle journalist and putting it at the bottom of a back page of Section F, buried on a lifestyle, zoomer, or entertainment sidebar.
This ensures too that everyone who picks up the National Post will see it, as everyone turns to page 1 for a quick look at what’s inside, and discover there a huge, sensational, feature section and full page article pretending to expose art fraud, especially that which the National Post journalist alleges relates to genuine Norval Morrisseau paintings in the living rooms of thousands of Canadians.
4 – “nationalpost.com” virus spreading to the worldwide internet – To make sure of maximum readership penetration, so that the defamatory, unresearched, and unsubstantiated story line for its fabricated article, alleging non-existent fakes being sold by reputable art dealers and galleries, gets spread around the world and not just in its localized Canadian newspaper edition, the National Post put this article on its website, and repeatedly flagged its website address across the top of this page.
This internet article has been spreading its malicious mischief alleging Morrisseau art fraud, 24/7, day and night, for month after month, since it was originally published on Feb. 3, 2014.
The National Post spread the fabricated story about Morrisseau fakes to web surfers around the world thus ensuring that the prices for Morrisseau art are devalued around the globe and that no one can sell Morrisseaus anywhere because the bogus charges published by the National Post have deliberately caused widespread panic among art collectors.
This ensures that millions, in Canada and around the world, who never read the National Post or buy it, will be exposed to the false, malicious and defamatory article on the internet.
Deliberately Reckless and Malicious Internet Titles – The original malicious title, in the biggest and boldest type on the National Post’s hardcopy newspaper edition page, was “Lucrative ring of art forgers alleged in suits.” (See #14 below where it is dealt with)
This title was altered for the internet versions of this story.
a) Malicious & Defamatory Internet Title #1 – The original title on the internet version of the National Post article “Art forging ring alleged in lawsuit leaves authenticity of works by Aboriginal artist Norval Morrisseau in question” was deliberately damaging to Morrisseau art.
The National Post warned Canadians in no uncertain terms that “the art forging ring” allegations definitely “leaves authenticity of works by Aboriginal artist Norval Morrisseau in question.”
That is false. Just because the National Post decides to fabricate and publicize false and unsubstantiated allegations, does NOT change the validity or authenticity of my genuine Morrisseaus.
But it definitely DOES taint their value in the minds of every National Post reader. Which, of course, is the intention. And does significantly devalue my paintings – or those of anyone else – when they try to sell them.
b) Malicious & Defamatory Internet Title #2 – Within hours of internet publication, the National Post, probably aware of the defamation implicit in the first internet title, removed it and changed it to “Barenaked Ladies’ keyboardist suing in what may be the biggest art forgery case in Canadian history.”
In fact the Hatfield v Artworld trial and Appeal, over three years, is the biggest court case dealing with alleged fine art forgery in Canadian history. And concluded with two judges totally dismissing any and all allegations of Morrisseau forgery as unbelievable and totally unsubstantiated. In other words, absolutely no evidence was produced by the Plaintiff to support her claim that her painting was a fake.
The title is also NOT “NEWS” and shows how artificially trumped up and fabricated is the whole article about the “Barenaked Ladies keyboardist suing.” The reality is that Kevin Hearn had filed his lawsuit not a few days before, so making it “hot” news and a reason for publishing, but a full year and a half before, on June 8, 2012.
And there had not been a new development in the lawsuit whatsoever, or any move to push forward, in his case since then…
The titles, just like the article, proves what false and unsubstantiated information has been fabricated into a phony “News” story by the National Post.
5 – Titling a Demonstrable Fraud with a Factual “News” Headline – National Post Editors headlined the entire page dominated by Norval’s huge photo, as “News,” deliberately priming readers that this page A2 is concerned with truth, and factual information vetted by top journalists and editors, instead of just the wild rantings of some crackpot or scammer, or what this story was actually all about, a business scam begun by a couple of businessmen, and swallowed holus bolus by witless gullible and mindless journalists at the National Post.
National Post Editors headlined the entire page it devoted to a false and unsubstantiated story line about so-called “Art Fraud,” as “NEWS” when in fact, there was no news of any kind breaking in any of the Morrisseau content it was publicizing.
The dictionary defines “news” as “a report of a recent event; intelligence; information” or “the presentation of a report on recent or new events in a newspaper, or other periodical or on radio or television.”
The National Post article hugely, fails that test. What it published was ALL old hat, with no new developments in either the Hearn or McDermott cases, in a year and a half since the first case was filed.
Furthermore the story is not reality News of any kind, nor “intelligence” or “information” as defined by the dictionary above.
The entire storyline is a total and utter fabrication by a malicious two or three people who invented the scam that sucked in the gullible National Post journalist and editors who utterly failed to do journalistic due diligence and proper research. The National Post editor is trying – to attract gullible readers with a sensational and false story line – to make a silk purse from a sow’s ear.
As written and presented by the National Post the story of Morrisseau fakes is false, unsubstantiated, libelous, defamatory, and a total invention of a malicious editor and writer.
This “News tips” line, and “email@example.com advertised underneath the NEWS header, of course, offer a fertile field for malicious people to send in a “news tip” that is born of malice, and make false and unsubstantiated claims, hoping some gullible dupe at the National Post will bite and publish, as happened in this case.
A malicious caller, making a simple phone call or sending an email, cleverly passes the buck of legal responsibility on to the mainstream news outlet – in this case the National Post – which, in this case, ever hungry for salacious and sensational stories, went ahead without doing even elementary due diligence, and just published the unsubstantiated drivel.
In doing so, the complicit National Post which was the successfully “sucker-punched” media outlet in this case, takes over the responsibility of legal liability for libel, defamation, etc., from the “call-in” mischief maker.
6 – Giving Exclusive Full-Page Prominence on Art Fraud – The National Post deliberately decided to devote the entire second “news” page of its main A section to “Art Fraud” to alert Canadians that the National Post considered art fraud a huge problem that Canadians should become aware of.
There was no other feature or story in the entire paper which was centered out and featured with a complete exclusive full page promotion like this.
The National Post also flagged incendiary words all over the page including: “art fraud,” “fake ordered destroyed,” “lucrative ring of forgers,” celebrities “suing,” “bringing out the truth” about fakes.
By its huge spread on art and forgery covering the entire page two of its newspaper the National Post editors deliberately tried to create the idea that forgery was a huge, important problem that Canadians should be aware of, especially if you own Morrisseaus.
In fact the truth is that art forgery as publicized by the National Post is virtually almost entirely unknown in Canada.
In all Canadian history I have found only one Canadian art forger – one Richard McClintock – who has ever been caught, charged, and sentenced for art forgery. He was found guilty of making and trying to sell two (2) paintings he forged of high priced Quebec artists.
Yet the National Post article did not mention McClintock, but devoted a huge majority of its feature page to alleged Norval Morrisseau forgeries, not one of which has ever been found, and no forger charged, either by a judge, a court, a police investigator, or a forensic scientist. Exactly what you’d expect if it was, as I say, all entirely a HOAX to begin with.
In 13 years that the false claims of some 4,000 alleged Morrisseau fakes have been made, not a single forger has ever been accused, charged, or taken to court. And every judge and forensic expert who has examined the case for Morrisseau forgeries, and examined specific paintings alleged to be fakes, have found, to the contrary, that they are authentic without a single exception or qualification.
Canadians should sue the National Post for its totally fabricated and unsubstantiated allegations that deliberately set out to specifically target and devalue the Morrisseau paintings in their living rooms.
7 – Sensational “Art Fraud” Header – After the “News” header the National Post editor recklessly added a teaser headline that loudly announced, “ART FRAUD” though he never went on to prove it or disclose evidence for the sensational headline.
It was clearly and deliberately designed to be a show stopper for any reader looking for crooks in the art world.
8 – Morrisseau “art and fraud” Centerpiece – The editor deliberately and recklessly set up the entire page to feature the supposed Norval Morrisseau fakes as the centerpiece, the focus, the featuring infamy, of his storyline on a page he chose to devote to lowlife art fraud infamies that apparently plague modern civilization, devoting some 75% of the page’s column space to alleged Morrisseau fakes.
NOTE: The National Post editor deliberately and recklessly hid from his readership the huge mountain of published and available evidence that proves incontrovertibly that what the National Post alleges was not only false, but maliciously so. And while he also gave the website address of the chief scammer and perjurer behind the totally fabricated and unsubstantiated allegations, he recklessly and deliberately did not offer the website addresses of the two biggest blog sites that show, with a mountain of independently verifiable and well documented evidence and proof, what an utterly false storyline the alleged Morrisseau fakes is all about.
It’s a deliberate and malicious information cover-up that has no place in any decent publication that claims to be a modern mainstream newspaper, and is utterly unbecoming to anyone who dares to call himself a reputable journalist.
To attract the attention of the reader and deliberately influence his beliefs, the editors tarted up the article of the supposed Morrisseau fakes with the biggest illustrative picture by far on the page, the largest and blackest headline, and the most sub-headers of any article on the page.
When there is not a single fact to substantiate any of it, and he very well knew it, or ought to have known it, had he practiced even minimal due diligence in researching the totally fabricated and unsubstantiated allegations, and followed the elementary rules of responsible journalism, before maliciously creating this infamous feature page showcasing Norval’s art as a main problem area for Canadians.
9 – Huge “Stretched” Morrisseau Photo – The five column photo of Morrisseau was made huge to dominate, and dwarf anything else into insignificance on the “Art Fraud” page. It was deliberately used as the flagship pictorial to anchor the story of the National Post’s “Art Fraud” page.
This photo of Norval in front of a genuine Morrisseau painting was also deliberately stretched, placed and designed by the editor to head up, all the stories of fakes on the page, including that of Chagall which dealt with genuine fakes, but which Morrisseau had nothing to do with.
The editor, if he was not malicious, but responsible, and honest, would ethically have reduced the size of the photo of Morrisseau and restricted it to head up the three columns dealing only with him. Expanding its use, to dominate the page, and to further “embrace and serve as cover” for the columns dealing with the real Chagall fakes is deliberately defamatory in intent and an unforgivable breach of the layout protocol followed by reputable editors.
10 – Wheelchair Invalid Morrisseau Photo – The editor picked a full-body wheelchair invalid photo of Norval, instead of a bust only smiling face of the artist. The intention is clearly to show Norval as a helpless wheelchair invalid, obviously very easy prey for forgers. So giving more credibility to “Morrisseau forgeries” before anyone even starts to read the Morrisseau story itself.
Funeral homes in their obit columns feature a healthy cheery photo of the subject, never, ever a photo of them in their wheelchair, or in their hospital beds. For obvious reasons.
The editor clearly also knew this but was determined, with his photo choice, to prime the reader to think, “Oh, boy! Here’s another old codger ripped off by crooks. Clearly another case of elder abuse. Damn those criminal rip-off artists…”
NOTE: If the journalist had done due diligence and proper research, he would have known the reality was that the people preying on the aging, and Dementia-debilitated artist, were his two closest “handlers,” his primary art dealer, Donald Robinson, and his close companion, and self-designated inheritor, Gabe Vadas.
11 – Irresponsible, Suggestive, Reckless, Incendiary Photo Title – Why would an editor who deliberately makes a connection with “Morrisseau” and “lawsuits” in the title, and labels a picture with “His work is the subject of two lawsuits that allege a Toronto gallery sold fakes,” and references nothing else, when in so doing, whether maliciously or negligently, or both, he deliberately and completely ignores the FIVE far more important lawsuits that have already been settled. And which have resoundingly pronounced on and settled the false allegations, presumably once and for all.
These previous cases clearly give a devastating indication of what the likely outcome will be for the lawsuits launched by the musicians. They will almost certainly waste scores of thousands of dollars pursuing a predictably doomed litigation.
The National Post editor deliberately and maliciously completely ignores five huge previous judicial proceedings on the same topic with the same totally fabricated and unsubstantiated allegations and proof from the same people including:
A – the landmark lawsuit Joe Otavnik won in 2008 vs Vadas and Morrisseau, who had falsely alleged Otavnik was trying to sell Morrisseau fakes, to a Heffel (Vancouver, BC) auction, and then, when Otavnik sued them, were afraid of going before a judge, and begged him to settle out of court. They paid Otavnik off with $11,000 for falsely and maliciously calling his Morrisseaus “fakes.” The paintings in this case had come from the same source, were of the same age, and from the same period of the artist’s work (1970s) as the Hearn painting, featured in the National Post article.
NOTE: Forensic authentication of the signature, by handwriting expert Brian Lindblom, who had spent decades working for the RCMP, caused Vadas and Morrisseau to abandon their defamation of a genuine work by the artist and ask for an out-of-court settlement.
NOTE: But Ritchie Sinclair, in 2014, still publishes the paintings as forgeries on his malicious, false, libelous, and defamatory website.
Yes, the very same malicious website recklessly recommended by the National Post journalist, who recklessly ignored and refused to mention the two carefully researched, well documented countering blogs that reveal that Sinclair is one of the people currently at the heart of the biggest fine art Hoax in Canadian history.
B – the landmark lawsuit Michael Moniz won in 2009 vs CTVglobemedia, whose feature Arts journalist, Val Ross, alleged, in a Globe article of Feb. 2007, that Moniz had and was selling Morrisseau fakes, and that there were many more “out there.” And then, afraid of going before a judge, CTVglobemedia begged Moniz to settle out of court, and paid him off with $25,000 for recklessly libeling him and wrongly defaming and devaluing his genuine Morrisseau paintings as forgeries.
The Globe had recklessly and maliciously illustrated the article with a picture of one of Moniz’s genuine Morrisseaus. Moniz sued the Globe, whose lawyers advised the paper to ask for an out-of-court settlement when Moniz produced a forensic finding from a scientist that the painting was genuine, not a fake as the Globe and its lawyer-sourced article claimed.
NOTE: The salient parallel here is astonishingly and eerily similar to the 2014 National Post article, in that the false info in the Globe article of February 2007, and the false fakes caption on the genuine Norval Morrisseau painting the Globe used to illustrate the story, were also referenced to another lawyer, Aaron Milrad, acting on behalf of one of the self-interested businessmen surrounding Norval Morrisseau’s wheelchair, Gabe Vadas, one of the originators of the Morrisseau Hoax.
Vadas had been using the Dementia-debilitated artist’s Power of Attorney since 1990 – seventeen years – and called himself the sole inheritor of the artist’s estate, and Milrad openly fed the totally false, fabricated, and unsubstantiated allegations about three specific supposed Morrisseau fakes belonging to Moniz, to a gullible, and negligent journalist, Val Ross, who mindlessly went ahead and published false allegations without doing basic follow up research or due diligence. With expensive consequences to her and her paper.
When forensic analysis authenticated the defamed paintings as genuine Morrisseaus – not fakes as alleged by the lawyer Milrad, and the Globe journalist Val Ross – CTVglobemedia’s lawyer advised his clients to cave in, quickly go to the bank and get $25,000 to pay Moniz off, with an out-of-court settlement for their witless journalist being railroaded into this fiasco by taking bad advice for a storyline, failing to do due diligence, and libeling Moniz and defaming his paintings.
Vadas and Milrad, their job done, with the publishing and widespread dissemination of the defamation alleging Morrisseau forgeries, ran, Scott-free for the exit as fast as they could…
NOTE: Forensic authentication of the signature, by handwriting expert Brian Lindblom, who had spent decades, working for the RCMP, caused the Globe and Mail, to ask for an out-of-court settlement, rather than face the wrath of a judge, and pay the huge financial penalty for their defamation of a genuine work by the artist.
NOTE: But Ritchie Sinclair, in 2014, still publishes the paintings as forgeries on his malicious, false, libelous, and defamatory website.
This false, malicious, and defamatory website was specifically and deliberately recommended by the National Post editors as a consumer’s alert site of record for people to use as a truthful reference when considering buying Morrisseau paintings, to ascertain whether they are genuine or not.
In spite of the fact that the National Post’s journalist and editors very well knew, or ought to have known, that Ritchie Sinclair who operates the defamatory website, had no credentials – either academic or in art – nor the requisite experience to back up the claims he makes.
And numerous judges have said exactly that.
C – the landmark lawsuit (in Ontario Small Claims Court before Dep. Judge Paul J Martial) which Artworld won in 2013 against Hatfield (Artworld v Hatfield), in the longest fine art court case in Canadian history, where Judge Martial heard the same totally fabricated and unsubstantiated allegations of forgery, and of a forgery ring, presented and alleged by the same people (including the same lawyer), who were the source of this National Post story.
Sinclair and Sommer had been, again, slanging the same art gallery owner and Morrisseau expert (Joe McLeod) as supposedly authenticating and selling alleged fakes. After which, Judge Martial just hugely, totally, and without a qualification or caveat of any kind, utterly dismissed all their allegations of forgeries as completely unsubstantiated and untrue.
Judge Martial found, in fact, that he “preferred” the testimony and credibility of Joe McLeod as a witness, the very man targeted by Sinclair and Sommer as a source for so-called forgeries, rather than the testimony of Sommer’s only two witnesses (Sinclair and Robinson), whom Judge Martial scorchingly dismissed as having no recognized credentials or expertise in the areas they were claiming to be experts in, and of giving totally unsupported and self-serving testimony.
In fact Judge Martial, also, went deliberately out of his way to say that the very painting maligned in Jonathan Sommer’s Plaintiff’s Claim and by Sommer’s only two witnesses, was authentic in the absolute. He further dismissed totally the testimony, the allegations, the credibility, the expert report, the expertise, and the testimony of the only two witnesses (Ritchie Sinclair and Donald Robinson) that lawyer Jonathan Sommer produced for the court as supposed proof for their totally fabricated and unsubstantiated allegations of forgery.
NOTE: Jonathan Sommer’s client was penalized with having to pay, the winning Defendant, Artworld, costs of $1,500. (Small Claims Court rules allow only a small part of the actual legal costs to be assigned to the losing litigant.)
NOTE: Forensic authentication of the signature, by handwriting expert Dr. Atul K. Singla, played a key role in convincing Judge Martial that “Wheel of Life 1979,” was not a fake as claimed by Hatfield, Sinclair, and Sommer, but a genuine work by the artist, and contributed hugely towards handing Sommer a landmark defeat in his court case alleging a fake.
NOTE: But Ritchie Sinclair, in 2014, still publishes the painting as a forgery on his malicious, false, libelous, and defamatory website.
Yes the very same malicious website recklessly recommended by the National Post journalist, who recklessly ignored and refused to mention the two carefully researched, well documented countering blogs that reveal that Sinclair is at the heart of the biggest fine art Hoax in Canadian history.
D – the landmark rejection (in Ontario Superior Court by the Hon. Madam Justice Mary Anne Sanderson) of the Appeal, won in Dec. 2013, by Artworld against Margaret Hatfield (in Artworld v Hatfield), where her lawyer Jonathan Sommer alleged some 35 judicial mistakes, and demanded a new trial.
Sommer’s claims and demands were totally, and brusquely dismissed, absolutely, in Ontario Superior Court by Madam Justice Mary Anne Sanderson who agreed completely with Judge Martial’s findings in the lower court, strongly supported his conclusions, rejected holus bolus, the credibility and testimony of the only witnesses (Sinclair and Robinson) who claimed the painting was a forgery, and affirmed therefore that the painting was authentic.
Madam Justice Sanderson brusquely, utterly and totally, dismissed Jonathan Sommer’s Appeal, handing him another landmark court defeat by saying there was no substantiation or proof for any of his Plaintiff’s or witnesses’ claims of fakes.
NOTE: Jonathan Sommer’s client was once again penalized with having to pay the amount (in this case $7,500) agreed on by both sides to be awarded to the winning side in Ontario Superior Court.
This brought the total legal costs of Sommer’s client, Margaret Hatfield, based on billing documents Sommer provided to the court, to an estimated $57,000. Leaving her case for forgery, as presented by her lawyer Jonathan Sommer, utterly discredited in two courts, her paltry pension devastated, and leaving her with a painting which she now no doubt hates.
NOTE: In spite of the landmark trouncing of the Sommer Appeal of the Martial judgment, by Madam Justice Mary Anne Sanderson, Ritchie Sinclair, in 2014, still publishes the painting as a forgery on his malicious, false, libelous, and defamatory website.
This is the website – and the only one – that the National Post recklessly recommends to its readers as a credible source for information on Morrisseau fakes.
E – the landmark rejection of Ritchie Sinclair’s claim and testimony in the Queen against Joseph Otavnik for assault and Criminal Harassment.
I also draw attention to another parallel and devastating court case – over a two year period, in which Sinclair had gone to the police and sworn out multiple false allegations in order to charge and accuse Joe Otavnik of Criminal Harassment and Assault. (Otavnik is the Morrisseau collector who won his landmark libel case against Vadas and Morrisseau in 2008.)
The Hon. Justice Alphonse T Lacavera would go on to totally dismiss all charges citing his lack of trust in the credibility and believability of Ritchie Sinclair, and the testimony of his then lawyer Zak Muscovitch.
Justice Lacavera wrote a 40 page judgment in which he clearly indicated that:
1 – he found Ritchie Sinclair’s court testimony unbelievable,
2 – he found Ritchie Sinclair’s huge and detailed deposition to the Toronto Police completely unbelievable,
Justice Lacavera roundly found Joe Otavnik “not guilty” of all charges.
3 – Justice Lacavera also found, as a result of testimony from two strong witnesses, that the allegations about Morrisseau fakes, alleged by Sinclair, were also not believable.
Summary of the Five Previous Court Cases – The results of these five court cases was publicly available information posted on my blog site, long before the National Post published its totally fabricated and unsubstantiated allegations. My carefully documented blog makes it clear without a single caveat or qualification that every painting ever alleged to be a fake, in a lawsuit, by Sinclair and Robinson, was recognized by a judge or lawsuit settlement, and/or forensically verified, as a totally genuine work by Norval Morrisseau.
NOTE: In spite of the fact that three different top forensic scientists and handwriting experts have found that some 70 (seventy) different paintings, that were falsely slanged as fakes by Sinclair, Robinson, and Sommer, are, in fact, authentic and genuine Morrisseaus, with DNA certainty, Sinclair still maliciously publishes them as forgeries on his false, libelous, and defamatory website.
Yet in spite of this the National Post maliciously and irresponsibly chose to use the utterly discredited Sinclair as its sole recommended source of reference for its proof of authenticity of the so-called allegations behind its article.
12 – Priming the Fakes Pump with a Chagall Forgery – Immediately after the huge dominating picture of Morrisseau the editor immediately moves the reader to a story of an actual fake, a forgery of a Chagall that was uncovered and ordered destroyed.
The editor put a true story of a Chagall fake in the lead column under the Morrisseau photo, and noted in the headline that this infamous fake was ordered destroyed. So the reader’s eye follows Morrisseau down to the story of crooks in Europe forging Chagall paintings.
So readers were assured that fakes are a dastardly reality and given to wonder about the “Canadian connection.” Which the editor was pleased to present in the adjoining column. Morrisseau fakes coming up; thank you.
13 – Photo of Fake Chagall Painting – The editor published a picture of a painting that was a real forgery and ordered destroyed to give the Chagall story more power. The editor made the picture of a Chagall fake the second largest on the page.
And deliberately set up a parallel presentation with the Morrisseau spread. First let’s see how crooked and greedy forgers are painting fakes to make a bundle. Then let’s look at what’s going on, in this department, in Canada, and with Morrisseau… And who gives a damn if there’s no evidence whatsoever? Hell, it makes for a good storyline… Right?
14 – Loud & Domineering Title “Lucrative ring of art forgers” – The editor devoted the largest typeset on his page to bannering his idea that lots of money is being made by art forgers. And he put that incendiary, malicious, false, and defamatory banner as the feature title on the page, right under Norval’s wheelchair picture.
This time dealing with Canadian not European fakes.
In fact that header should have been over the Chagall article, where it is a well-known reality that international art forgers make fakes of Chagalls because they are valued in the hundred millions of dollars.
No forger would be stupid enough to fake a Morrisseau when the artist, for decades, gave away his paintings for food, a cab ride, a bottle of booze, for $30 or $40 or a sexual service. Especially since Norval Morrisseau works were in fact, still selling for only a few hundred dollars as late as 2002.
The National Post editor’s wrong-headed but clearly intended message: “there’s good money to be made in forging Morrisseau art, especially if you can find an artist who’s too helpless to know what’s going on because he’s a disabled elder in a wheelchair.”
There is no proof for any of that. Not that there is a ring or that what the non-existent elves are supposedly doing, is lucrative… Furthermore the claim belies even basic common sense of what motivates every forger who ever existed.
There is no proof either that the non-existent art forgers are wearing suits as the editor claims. In fact the more likely scenario for someone faking Morrisseaus is that they are naked… It’s a fact that they couldn’t make enough money doing that to clothe themselves.
Did the editor, by mistake, put the wrong headline on the Morrisseau article, or was he just plain ignorant? You figure it out…
Before the reader even reads the first line in the story, the editor has put the reader right where he wants him, propagandized in 22 major editorial ways, to be primed to accept Morrisseau forgeries as a reality. Even though there has never been one proven.
15 – Major (Canadian) Celebrity “suing Toronto Gallery – In an inset headline the editor wants the reader to think, “Hey this is serious stuff when a major Canadian celebrity goes to sue somebody!” Which clearly was the intention of the editor.
The editor is trading on the public perception that celebrities – their “betters” who supposedly know something the rest of us don’t – are on to something on a plane of understanding and experience that those of us with less money don’t really understand… So, what have they learned that the rest of us should know and beware of?
Well the National Post editor is going to fill you in, big time, on what you, also, should beware of, if you’re even thinking of buying a Morrisseau painting…
16 – Playing the Celebrity Card as “bringing out the whole truth” – Very cagily the editor has flagged another inset header, slyly intimating that the celebrity is “committed to bringing out the whole truth.” The truth about what, is left dangling, deliberately.
But the reader is no fool; he knows already what the editor and the National Post are talking about, right Dear Reader?
First the attempt is to use the “celebrity card” to back up the story, trying to bamboozle the countless millions of the hoi polloi who believe if a celebrity is suing, there has got to be something to it. Celebrities are so much smarter than the rest of us… right?
“Of course! It’s all about those Morrisseau forgeries, ripped off from an elderly wheelchair invalid, by cold-hearted crooks running a lucrative forgery business. You know, like in France with that Chagall guy. They should just burn all those Morrisseaus too. And they can start with that grotty little thing Hearn was bamboozled into buying…”
REALITY CHECK: In fact the editor produces no evidence that he even interviewed either Hearn or McDermott, as authors of the phrase of “bringing out the truth,” or anything else in the story.
17 – Photo of “piece thought to be by Morrisseau” – Where in God’s name is there a picture of a fake Morrisseau on a feature page devoted to “Art fraud,” and more specifically Morrisseau art forgeries.
Both the huge Morrisseau behind Norval’s wheelchair, and the small image below it, are genuine Morrisseaus, one vetted by Norval, the other by Joe McLeod, Canada’s senior and most reputable Morrisseau art authenticator, who has had connections, he has maintained to this day, with Norval’s family and art, since 1960.
It is utterly false for the National Post to claim that “the authenticity of the painting is in dispute” anymore than “the world is flat” just because one idiot claims it is, and the National Post prints it.
Journalism by the Lunatic Fringe – Anymore than just because a third Holocaust denier has chimed in – in this case the National Post – would that make their anti-Holocaust claims any more credible, or undermine the authenticity of that historic event. Would the National Post champion that parallel asinine lunatic fringe minority claim and consider it worth airing as a feature page in a National Canadian mainstream media outlet?
It alone is proof that the National Post was malicious and didn’t give a damn about the damage it was doing to genuine Morrisseau paintings everywhere with its ludicrous, false, and totally unsubstantiated allegations.
Why could the National Post not get Sinclair or Sommer to provide them with a single image of a proven Morrisseau forgery to illustrate its article? When both claim there are literally thousands of them out there…
Because every time they bring one of their so-called fakes to court a judge soon sets them straight and tells them their proof is twaddle, and that they are in fact defaming a genuine Morrisseau.
Tellingly, the National Post couldn’t even find one to illustrate its article. And neither could its two sources provide them with one. So it had to malign a genuine painting to fill in.
They found an illustration of a fake for the Chagall article; they could not, by hook or by crook, find a fake by Morrisseau. And they should have scotched the article of Morrisseau art fakes right there and then. Instead they maliciously carried on anyway. They were not going to let a lack of facts, a lack of fakes, hamper a good story they wanted to tell.
Clearly it is the intention of the editor, in publishing a photo of a fake Chagall, that some of the smut from the Chagall fake will rub off on the nearby genuine Hearn Morrisseau.
By the time a National Post reader had scanned the page, and ends up seeing the grotty little image of the alleged fake involved in the case the reader already is primed to believe that:
– it sure looks like a fake… by God, it is a fake!
– it should be burned like the Chagall forgery
– and maybe the gallery of the guy who dared to sell it
Even though the dealer involved – Joe McLeod, now at age 84 – has for decades been Canada’s senior and most respected Morrisseau expert since he started dealing and selling with the artist and his paintings in 1960, and has, in all that time, never ever, even once, been caught with a fake, or even accused of having a fake, by anyone. Let alone proven to have a fake.
And to the contrary, has repeatedly served as a respected consultant regarding Morrisseau and Aboriginal artists, to public galleries, museums, and universities all over the country.
In fact one of the Morrisseau paintings he evaluated – “Wheel of Life 1979” – just came out of two Canadian court rooms (Martial, Sanderson), with resounding approvals from two judges as it being a totally authentic Morrisseau painting without a qualification, or caveat of any kind.
But the National Post editor deliberately chooses to skip all that and does not even deign to caption it as a “painting,” preferring to just rudely dismiss Norval’s original work as a “piece,” you know, like in piecework done in a shop of diabolical forgers that it appears that a couple of celebrity musicians, Hearn and McDermott, have apparently discovered hard at work making fakes.
18 – Incendiary Title – A reckless title, claiming that “The authenticity of this piece, thought to be by Norval Morrisseau, is in dispute.”
“… thought to be by Norval Morrisseau” is NOT a classification type recognized, used or endorsed by anyone in the Canadian or international fine art community.
It is a caption totally fabricated by the National Post editor to advance his malicious, false, and defamatory allegation that there are Morrisseau fakes out there that have been found, and proven. Nor has any evidence, let alone proof of that, by the National Post journalist or anyone else. In fact, not a single Morrisseau fake has been proven, not by any court, nor by any forensic expert.
Where are the pictures of proven Morrisseau fakes, to illustrate a page and a story the National Post devoted to and exposure of Morrisseau fakes? Both pictures the National Post used, are genuine Morrisseaus, and proven to be such by experts.
NOTE: Presumably, the National Post editors knew that the last time a newspaper – the Globe & Mail – labeled a picture of a Norval Morrisseau painting as an example of a Morrisseau fake, the owner successfully sued the paper and won $25,000 as a settlement for libel and defamation.
It is clearly the intent of the editor to downgrade the painting as not being authentic and pass on the information that it was only hearsay about the painting being genuine in the first place, like in a passing thought…
In fact the subject painting was verified as an authentic Morrisseau by Canada’s most senior and most credible Morrisseau authenticator who has been doing it since 1960. The editor did not report that vital information, choosing to slang the painting as a passing thought and its claim of authenticity a figment of someone’s imagination.
19 – Reference to Jacquie Miller of Compost Media – The editor credited files for this story to Jacquie Miller, the Assistant Arts editor of the Ottawa Citizen, another Postmedia “family” newspaper.
So the National Post editor cannot use ignorance as a fallback position for his malicious posting. He consulted the Miller story and may have even talked to her about it, asking her what she knew – you know as part of his due diligence before rushing off to publish something so sensational…
Because Jacquie Miller very well knew that the whole story alleging Morrisseau fakes – she’s the Assistant Arts Editor at the Ottawa Citizen – is a Hoax and a lowlife business scam by a couple of two or three people.
I told her so, and corresponded with her by email.
If Miller was a credible journalist – are there such beings working for Compost Media? – she should have told Hopper and the National Post editor to KILL THIS PIECE – THERE IS NO CREDIBLE EVIDENCE OR PROOF FOR ANY OF IT, FROM ANYONE CREDIBLE, AND THAT ALL THE EVIDENCE FROM A VARIETY OF CREDIBLE SOURCES (COURTS, JUDGES, FORENSIC SCIENTISTS, INVESTIGATIVE JOURNALISTS WHO HAVE STUDIED AND GATHERED DOCUMENTARY PROOF OF THIS FOR YEARS) IS THAT IT IS A BUSINESS SCAM.
THAT IF THERE IS A STORY HERE, IT IS THE STORY OF A HOAX, ABOUT A FORGERY SCAM THAT NEVER EXISTED…
The truth is that Jacquie Miller, as the Assistant Arts editor of the Ottawa Citizen, very well knew, is that every court had dismissed the charges alleged in the National Post article; she knew every forensic expert had fully authenticated every so-called fake; she knew my blog and all the documents and court testimony it contained proved without a shadow of a doubt that the totally fabricated and unsubstantiated allegations of fakes was only a business scam carried out by a handful of cronies to enrich themselves and their art gallery at the expense of their business competitors.
Jacquie Miller, whose April 8, 2013 Ottawa Citizen article was nothing if not a crass job ad for lawyer Jonathan Sommer, who spoke out loudly, and was quoted in the headline, in a story in which he dissed the judge (Judge Martial who had handed him a disastrous defeat by dismissing not only his case but the believability of the only two witnesses he produced) dissed the judgment, dissed the legal process and assured Canadians that the fakes were a reality regardless of what Judge Martial said.
It was nothing if not a crass extra-judicial attempt by a lawyer to use the media to try and overturn a judicial decision made by a conscientious judge in the longest fine art trial in Canadian history.
Sommer brashly – which, in my view, publicly demonstrated professional misconduct – told all Canadians, through a mainstream media outlet, that they can just ignore Judge Martial’s ruling, that in spite of what he said in his judgment, countless Morrisseau fakes were a stark reality, and implied that he was open for business to take on new lawsuits alleging more Morrisseau fakes.
NOTE: The lawyer always gets very well-paid, whether he wins or loses. But then you already knew that.
What Sommer deliberately chose not say in that article, however, was that even though the collaborators claimed there were some 4,000 fakes out there, that not a single fake had ever been found by any judges, any lawyers, any police forces, any forensic scientists, etc. in the 13 years that the bogus allegations have been self-servingly slanged about by Kinsman Robinson Galleries personnel and presented by Sommer’s only witnesses in court.
The whole thing is being perpetuated without any substantiation whatsoever, as purely a money-making “scam,” as lawyer Brian Shiller told Madam Justice Mary Anne Sanderson, in Ontario Superior Court, on December 6, 2013.
Sanderson agreed, and gave Jonathan Sommer his second disastrous rebuff in his case alleging fakes. She dismissed his Appeal, refused to give him a new trial, dismissed Sommer’s allegations of 35 Martial judicial errors, and brusquely affirmed Judge Martial’s judgment in resoundingly rejecting Sommer’s case, the credibility of his only two witnesses (Ritchie Sinclair and Donald Robinson) and their totally unsubstantiated allegations of forgeries.
Madam Justice Sanderson therefore soundly supported that the painting, called a fake by Sinclair and Sommer, was absolutely authentic. In fact she loudly reiterated what three previous judges (Lederer, Godfrey, Martial) had ruled, that there was no credible evidence of any kind produced by Sommer or Sinclair that proved that the totally fabricated and unsubstantiated allegations of Morrisseau fakes had even a smidgen of evidence or proof to any of them.
Sanderson found Sinclair specifically “unreliable” as a witness, echoing Brian Shiller’s claim that Sinclair was a perjurer, for which he said Judge Martial had ample proof.
NOTE: In fact this was an eerie, but entirely predictable, echo of the findings, a few months earlier, of the Hon Justice Alphonse T Lacavera who totally dismissed a court case Sinclair had started by alleging to the Toronto police that Joe Otavnik had assaulted and criminally harassed him. In short, Justice Lacavera apparently found it impossible to believe a word Sinclair said in court or had reported to Toronto police in a sworn document.
Lacavara also found that according to the testimony of witnesses in his court there was no evidence of any Morrisseau fakes or forgeries as alleged by Sinclair. (See item # 11E above)
All this information has been published on Dec. 17, 2013 and has been on my blog since then where Jacquie Miller had read it all.
The National Post editor, who listed Jacquie Miller as a source, therefore knew, or ought to have known, the “facts,” but deliberately, just opted for “sensationalism” choosing maliciously to publish and just blithely ignore the facts that were out there for all to see.
IMPORTANT NOTE: Since I posted, in the summer of 2013, that the Miller article alleging Morrisseau fakes in the Ottawa Citizen, was, from the headline on down, nothing but a crass job ad and what I consider a display of professional misconduct for lawyer Jonathan Sommer, someone has totally purged this article from the archives and from the internet where it was previously displayed and reference by other web sites. It has been totally obliterated from them all.
You will not find a trace of it left on Compost Media, or anywhere else.
Now who and why would someone, go so out of their way, to do this huge journalistic erasure and cover-up of an extra-judicial attempt to reverse the public’s perception and understanding of a learned judge’s considered judgment and ruling, in deliberately going out of his way to rule that an alleged fake, was, in fact, a totally authentic Morrisseau, front and back, no ifs, ands, or buts?
And just what did Miller tell the National Post editor and writer Hopper about the whole thing when they came calling, you know, with their fake story on the fakes, preparatory to researching their own sensational and unsubstantiated article on exactly the same topic using the same discredited (by multiple courts and forensic scientists) and totally fabricated and unsubstantiated allegations, presented by Ritchie Sinclair and Jonathan Sommer?
Luckily for posterity and for legal cases I have a screen grab, which I have published, illustrating the entire shameful publication, deliberately expunged by Miller and Postmedia.
20 – “alleged in suits” – The National Post editor very well knew, or ought to have known that everything he was posting was false and designed towards an end to distort the truth to a foregone conclusion that Canadians should beware of Morrisseau forgeries.
So he lamely pulled out his totally discredited and totally inapplicable “allegation” defence on a couple of his sensational and false titles.
The editor brazenly, recklessly, deliberately, and craftily tried to mask his malicious editorial fabrications by adding the “allegation” defence as an excuse to his outrageous false, incendiary, and unsubstantiated opening phrase “Lucrative ring of art forgers….”
Just adding “alleged” as an afterthought – when people have already stopped reading the end of the heading – instead of titling it properly, as an “Alleged ring” of “alleged art forgers” involved in an “allegedly lucrative” enterprise, since each one of these words is a supposition totally invented by the editor and for which there is no evidence or documentary support at all, of any kind.
The editor has falsely posited that a “ring” is involved, working as “art forgers,” and that what it is doing is “lucrative.”
When in fact not a single one of these totally fabricated and unsubstantiated allegations is even marginally true, or proven, or has any documentation of any kind to support the claims.
Tagging false, defamatory, libelous, unresearched, and unsubstantiated statements by just appending “the allegation tag” is a gross abuse of responsible journalism, and is not a recognized or allowed defence according to Canadian law established by judicial decisions.
It also does not qualify as a “free speech” right, any more than do the outrageous claims of Holocaust deniers, or Donald Sterling’s racist anti-Black tirades.
21 – The Editor’s Freudian Slip: False Cover with “Allegations” – The editor prominently – right beside the head title of “ART FRAUD” again, tried to mask his malicious intentions by adding the “allegation” defence as an excuse or afterthought, after opening with a boisterous, prominent, and incendiary “Art Fraud…”
Totally fabricated and unsubstantiated allegations, if they deliberately ignore a mountain of independently collected and published documentation, are not backed up with definitive, substantive, and documentary proof, and are attributed to an expert without proper credentials, recognized expertise, and who has a long and documented track record for lying and perjury, are libelous and defamatory.
In fact in this case the “rumours” do not, and have never existed, at all, among experts in the some 40 odd galleries selling Morrisseau art across Canada. The totally fabricated and unsubstantiated allegations are totally fraudulent and have been dismissed by police investigations and judged as such by numerous courts and forensic experts.
22 – “Stifling free speech” Defence – To cover his sorry ass the editor decided on one final creative ploy: to add a first column article about unrestrained restrictions on free speech. In short, excusing any unsubstantiated drivel you want to bandy about in a newspaper as a “free speech right.”
You know, appropriating the same defence – for his false, malicious, and defamatory page on art fraud – which Holocaust deniers regularly use as an excuse to publicize their version of “truth.”
He very well knew, or ought to have known, full well that he had crossed every reasonable journalist boundary in his layout, in favour of maliciously promoting what is demonstrably nothing but a total business scam (the existence of so-called Morrisseau fakes) as if it were a reality, when he had not even one scrap of substantiation for any of it.
He was clearly hoping that journalism means that you should be allowed to say anything as a journalist – no matter how false, how unsubstantiated – all for the good of the democracy, the People’s Right to Know, and the journalist’s right to publish any drivel no matter how sensational, unproven, and unsubstantiated, and to be utterly dismissive, and in spite of, a mountain of documentary proof to the contrary.
And so making a desperate ploy that journalists are entitled to strategically forget or just maliciously ignore the fact that Negligence and Failure to do Due Diligence apply to journalists digging for dirt merely to attract readers.
And that you cannot recklessly invent, out of thin air, without substantiation of any kind, a malicious defamation that destroys the values of people’s genuine works of art.
All of these editorial sleights of hand are deliberately aimed at skewing of the truth and the reality before the reader has even started to read the first line of the Hopper article.
The journalist tried to pretend that he was doing “balanced journalism” by going to “both sides.”
To that end he contacted Brian Shiller, the winning lawyer in both the Hatfield v Artworld case, and the subsequent Appeal of that judgment before the Hon. Madam Justice Mary Ann Sanderson, in the Ontario Superior Court, for a response, since Mr. Shiller is also the Defence lawyer for Joe McLeod, the art dealer targeted in both the Hearn and McDermott cases.
So far so good; and then it goes all to hell…
Shiller told him two vitally important things:
A – the paintings alleged to be fakes, in the musicians’ cases, are, in fact, both genuine Morrisseaus and forensically verifiable,
B – that Mr. Sommer, the lawyer for both Plaintiffs, and the source for the National Post’s story, has never produced any evidence whatsoever to substantiate his claims of a ring of forgers or any forgeries, even though Mr. Shiller had, several times, without luck, asked for the evidence from Sommer.
So the journalist was fully primed, with information from an unimpeachable source, a two-time winning lawyer on the matter, before two separate judges, in trial and Appeal that went on for three years in Canada’s longest fine art court case.
But, after being supplied with such powerful information that totally undermined the thesis of his article and the credibility of his two “sources,” did Hopper go back to either Sommer or Sinclair, in light of such damning new information, and demand corroborating evidence for what they said?
And did he reevaluate the wisdom of publishing their allegations in light of Mr. Shiller’s obviously devastating information?
No, Hopper and his editor did not hold back before publication.
They and the National Post obviously had the story line they wanted and they had no intention of changing any of it, just because it wasn’t true…
Why did Mr. Shiller’s warning information not serve as a clear wake-up call to the lax, negligent journalists employed on this story by the National Post?
It seems incredibly beyond belief that the journalist, the editorial staff, and their legal staff at the National Post, who presumably vet all articles before publication, could possibly pass for publication, something that was obviously maliciously designed to devalue genuine Norval Morrisseau art by multi-millions of dollars.
To devalue art that hangs in countless living rooms of thousands of Canadians across the country.