FINAL MAJOR UPDATE COMING: Aug 25
Can you match up the faces on the Cultural Genocide Express with their part in promoting the biggest racist act of cultural genocide against Aboriginal art in Canadian history? (A 85 page Special Report)
1 – Norval Morrisseau
2 – Ruthie: AKA Dr. Ruth Phillips (of Carleton University)
3 – Dickie: AKA Richard Baker (NMHS lawyer)
4 – Paul & John – Paul Robinson & John MacGregor Newman (of KRG)
5 – Donald Robinson & his “Dunce” Cap (of KRG)
6 – Diane Kinsman – Donald Robinson’s ex-wife (of KRG)
7 – Dr. Wang – “Junk Science Fabricator Extraordinaire”
8 – Gabe & Aaron – Gabe Vadas & Aaron Milrad (Vadas lawyer)
9 – Greggie: AKA Greg Hill, of the National Gallery of Canada & NMHS
10 – The Finger & Joe McLeod (of Maslak McLeod & prime target of KRG)
11 – Ritchie Sinclair – “The desperately wannabe something I’m not”
12 – Joyner Delisting & Desecration of “Nature as One 1977”
13 – Discovery of Wanker #1 – “Warriors in Circle of Life 1974”
14 – Running over Norval one last time
15 – Drugging the TIBWAP at the National Gallery Retrospective 2006
1 – The old guy – Norval Morrisseau – In 2001, the year Donald Robinson, suddenly out of the blue, announced his so-called discovery of “thousands of fakes by umpteen forgers” of Morrisseau BDP*** paintings, the artist Norval Morrisseau was shut away and locked up in terminal care, because he was possessed of the most destroyed mind and body of any leading Canadian personality in history.
Norval Morrisseau “the Insentient Body with a Pulse” (TIBWAP) would be “run over,” exploited, and become a hapless victim of the worst case of elder abuse I’ve ever heard of. And a defenceless victim of the classic Canadian story: a group of crafty white men eagerly manipulating and victimizing another helpless Indian for personal gain.
***BDP is short for Black Drybrush Paintings, those thousands of 1970s and early 1980s Morrisseau paintings, which Norval signed, titled, dated and copyright symboled on the back in a huge expansive hand with black drybrush paint. This is done by pinching off most of the paint (so drybrush) before writing away. This is done NOT to make the signature look old or faded to fool you, as Donald Robinson would have you believe. It’s done when a painting is finished and the artist wants to stack or roll paintings together. Which he can’t do if he signs the back with a fully loaded paint brush. It would take forever to dry, so smudging the artwork piled on top. Drybrush paint signing technique allows a thin application of paint to dry very fast, allowing finished paintings to be bundled together, for shipping, storage, or to create new working space.
All BDPs have ALL been targeted by Toronto’s Robinson family as ALL fakes (after they bought a great many themselves and sold numerous ones for a big profit).
In fact BDPs are a godsend to Morrisseau collectors because the signatures allow forensic scientists foolproof evidence that Norval Morrisseau signed them and no one else. Some 70 BDPs have been authenticated as genuine this way. Buying any blank-backed non-BDP gives you no proof or similar forensic protection. All you are left with is the word of the motivated seller, the art gallery. Now, would you take the word of a
used car – SORRY, I meant used art salesman?
Norval Morrisseau was Canada’s First and Only “People’s Artist” putting thousands of quality, genuine, original works of art, at affordable prices,
into thousands of Canadian working class and middle class homes
Norval Morrisseau had the most destroyed mind and body
of any leading personality in Canadian history
Norval Morrisseau was a victim of the worst case of elder abuse
in Canadian history
Norval Morrisseau’s original art became the target of
the worst case of cultural genocide in Canadian history
The Long, Sad, & Sorry Saga of “Wheel of Life 1979” & Ritchie Sinclair
In 2009, longtime KRG business associate and enforcer, Ritchie Sinclair, persuaded a gullible old lady, retired school teacher Margaret Hatfield, that a Morrisseau painting she had bought from Artworld, a very reputable Toronto gallery was a fake and that she should sue Artworld.
Tellingly this was after Artworld had declined Sinclair’s request to display and sell his own “Faux-nishinaabe art” (aka FART for short) to its clients.
(I call fake, copy-cat, illegitimate “First Nations” art made by white men Indian impersonators/imposters, “Faux-nishinaabe art,” (aka FART for short), as a fraudulent rip off of genuine “Anishinaabe art” as painted by Canadians of Aboriginal background, who have the DNA and the cultural history imprinted on their psyche.)
Instead of checking with Joe McLeod, who had authenticated the painting, Hatfield chose to believe Sinclair, his business cronies, and their wild allegations. For this, and for her wrong-headed refusal to do Due Diligence, and seek advice from properly credentialed experts, she would be scorched by Deputy Judge Paul J Martial in his Judgment. In effect, he told her, she had no one to blame but herself for the fiasco she was victimized in, that ultimately cost her some $60,000 burned on a fool’s errand. (Based on documents published by her lawyer Jonathan Jerome Sommer.)
It resulted in the longest fine art trial in Canadian History. Hatfield’s only two witnessesses were longtime business associates in purveying unsubstantiated fakes accusations, Donald Robinson and Ritchie Sinclair. Neither produced any credible evidence during the five day trial, which I attended in its entirety, the only journalist to come close to doing that.
Artworld, the Defendant, produced various witnesses (including reputable art dealers, gallery owners, credentialed forensic expert, art collectors, Morrisseau family member) with countering evidence saying “Wheel” was a genuine Morrisseau and authentically signed by the artist.
After a trial that went on for over two years, Deputy Judge Paul J Martial ruled on the fraud allegations.
Judicially Established for the Ages by Dep. Judge Paul J Martial
(Mar 25, 2013) after the longest fine art trial in Canadian history
– That the Morrisseau BDP “Wheel of Life 1979” is NOT a “fake” but is 100% “genuine.”
– That Artworld was NOT involved in a scam and fraudulently selling Morrisseau fakes.
– That Artworld’s Witnesses were credible & believable unlike the Plaintiff’s Witnesses.
– That “Wheel of Life” is AUTHENTICALLY SIGNED by Norval Morrisseau on the back.
– That BDPs like “Wheel of Life” are genuine works of Norval Morrisseau.
– That there are literally thousands of them, authentically signed by Norval Morrisseau.
– That there is “overwhelming evidence” that this is so.
– That forensically credentialled scientists and handwriting experts confirm this.
Deputy Judge Paul J Martial Utterly & Ruthlessly “Rejected”
the claims and credentials of all those who claimed THAT:
– “Wheel of Life 1979” was a fake – TOTALLY REJECTED
– Artworld was involved in a business scam making & selling fakes – REJECTED
– Norval never even painted one BDP, as claimed by “the Boys on the Bus” – REJECTED
– The Plaintiff’s two Witnesses had the proof for saying that – REJECTED
– The Plaintiff’s two Witnesses had the credentials for saying that – REJECTED
– The Plaintiffs Witnesses were acting out of altruism & from honest beliefs – REJECTED
– Donald Robinson’s “Expert Report” summarized and reflected it all – REJECTED
– Witnesses Robinson & Sinclair were NOT self-serving and self-interested – REJECTED
– Robinson & Sinclair had credentials & expertise on Morrisseau art – REJECTED
Judge Martial’s stunning rulings are especially devastating because the “Boys on the Bus” had been allowed to pick the “best fake” of their own choosing, to be the judicial test case, as their best shot as their incontrovertible proof of “thousands of fakes by umpteen forgers.” And tellingly, they failed so utterly in every way to prove even a smidgen of what they claimed to be true of a single alleged “fake” painting.
Judge Martial hugely impugned the motives and integrity of the “Boys on the Bus,” especially Donald Robinson and Ritchie Sinclair, the only Witnesses for the Plaintiff put forward by lawyer Jonathan Jerome Sommer.
Judge Martial firmly “rejected” everything the duo claimed, “PREFERRING” in every case the Defendant’s witnesses and the testimony and their evidence, which claimed Robinson and Sinclair were involved in a business scam and manipulating a gullible old lady (the Plaintiff, retired school teacher Margaret Hatfield) to promote their own self-interest by suing a Morrisseau business competitor of Kinsman Robinson Galleries, and using her money to do so.
And then the Martial Judgment gets hugely and totally affirmed in its entirety by the highest court in the land..
Martial Judgment Judicially Confirmed for the Ages by
the Hon. Madam Justice Mary Anne Sanderson
in Ontario Superior Court on Appeal
(On Dec. 6, 2013) In Ontario Superior Court, I watched and listened as the Hon. Madam Justice Mary Anne Sanderson intently listened to unbearably long hours of Appeal lawyer Jonathan Jerome Sommer trying to regurgitate the same bogus proof and allegations, he had so spectacularly failed to convince anyone of, in the Small Claims Court, and citing as well some 35 judicial errors allegedly made by Judge Martial. (Sommer’s frequent legal coach, Ritchie Sinclair had published these legal “errors” for him on Sinclair’s malicious and defamatory website.)
Justice Sanderson would have none of it.
From fifteen feet away I saw and heard her repeatedly openly scoffing at what Sommer was claiming. Watching and listening to her sparring and jousting with Sommer, over many hours, it became clear to me that she did not believe Robinson or Sinclair, or anything Sommer was claiming. And the more Sommer talked – hours past the deadline she had given him – the more Sommer only succeeded in confirming to her – and everyone else in the public gallery – that this Appeal had no merit of any kind on any level.
As Brian Shiller pointed out to her, the Appeal was based on, “a scam… a scam… a scam, and I submit that Donald Robinson is, by his actions, involved in that.” I watched her purse her lips and nod in understanding.
Three times Justice Sanderson expressed open amazement that the Plaintiff and Sommer were unhappy that Judge Martial had found her painting “genuine.”
“I would have thought this would be something for rejoicing?” – a thought she returned to several times, because Sommer’s attempt to explain made no sense to her, or to anyone else in the public gallery. Clearly she knew – like everyone else in the public gallery – that “something else” was going on behind the scenes.
Justice Sanderson even corrected and openly chided Sommer for having forgotten some basic lawyering procedures, when he openly literally whined at length of being blind-sided by Judge Martial in his questioning of witnesses, grousing about a book that the Defendants were referencing that had long been out of print and so not available to him to do a proper cross-examination of witnesses.
The “obscure” book Sommer plaintively complained about as having taken him at an unfair advantage, was Jack Pollock’s “Dear M: Letters from a Gentleman of Excess,” had, in fact, been only relatively recently published (1989.)***
“Show me,” Sanderson almost barked. “You could have asked them to ‘show me.’ And if they couldn’t, well…” It was lawyering 101, which seems to have been lost on Sommer. After putting up with hours of this, Sanderson sounded exasperated to me, and didn’t try to hide it.
*** I went home to track the usual sources literate people use when looking for books. Within two minutes on the internet I found that the Toronto Public Library had 6 copies of “Dear M,” available, instantly ready to go, with no wait times for any of them, and that ABE Books had 43 copies available that could be sent at a moment’s notice from scores of sources. And Sommer had had over two years to locate a copy. Perhaps Sommer had no experience with these common sources which other people use for books. And that he prefers to get “his” information from other sources, namely the longtime business associates and collaborators, both inside and outside court, Ritchie Sinclair and Donald Robinson, the only two witnesses he was able to find to support Hatfield.
I knew this hard-working Justice had a caseload of important Appeals that – unlike this one that was droning on and on, and wasting everyone’s time – had merit, and were awaiting her urgent attention.
Still, she had stretched over backwards allowing Sommer many more hours to try to make the case than she had clearly allotted to each side at the start of proceedings. Shiller, for the Defendant, professionally restricted himself to the timetable she requested.
In telling world record time – only 11 days later – Justice Sanderson issued her stunningly definitive, stern, and tersely written finding (Dec. 17, 2013) totally confirming for the Ages, everything that Deputy Judge Paul J Martial had ruled in his judgment: “Wheel” as genuine; BDPs as genuine; Norval’s signature as genuine; Artworld and its witnesses believable; Robinson and Sinclair as not believable; Sommer’s Appeal as having no merit.
She also pointedly commended Judge Martial for his diligent work in such a long case and for having perused over 900 pages of transcripts before rendering his decision. So much for those “35 judicial mistakes” Sommer and Sinclair accused him of making.
For Norval Morrisseau and the Aboriginal art heritage of Canada it was a triumph and a vindication that the huge corpus of his art from the 1970s and early 80s WAS NOT, AND NEVER WAS, contaminated by “thousands of fakes by umpteen forgers,” as a small Toronto family-owned and operated art gallery was claiming to the witless and gullible mainstream media, saying that only its Morrisseaus were genuine and everyone else’s were fakes.
For Joe Otavnik, Michael Moniz, and Ugo Matulic, those principled Canadians who were pioneers at identifying the fraud and the fraudsters, when no one else in the Canadian fine art community had the inclination, the courage, the expertise, and the knowledge to stand up and do the right thing, it was total and profound confirmation that the Morrisseau “fakes” scandal was a deliberate business fraud as they had been claiming for years. And a scam that was only possible because the so-called author of the so-called “fakes” was a TIBWAP – Norval Morrisseau, “the Insentient Body with a Pulse.”
For Michael Moniz, the victory came too late. The struggle for justice and to clear his name killed him, only a couple of weeks after the Judgment.
For a little old retired school teacher, Margaret Hatfield, it was a personal, reputational, and financial disaster of epic proportions. The fiasco had victimized her to the tune of some $60,000.
Finally: Is it professionally allowed, by the Law Society of Upper Canada – is it legal? is it ethical? – for a lawyer to be involved in orchestrating a lawsuit – and a losing one at that – in Ontario Small Claims Court that costs a little old lady litigant some $60,000? (Estimates based on documents and amounts published by Jonathan Jerome Sommer.)
Or is this a neglected field that other lawyers should well consider exploiting with profit?
What two judges had confirmed, in spades, in 2013, for all Canadians, without a single caveat, qualifier, or reservation of any kind, was that there was a business fraud afoot and that the “Boys in the Bus” were involved. In effect, they were involved in committing cultural genocide to make a buck.
And that the fraud was so transparent, amateurish, and unbelievably contrived, that the “fakes alleging Plaintiff’s witnesses and their lawyer,” couldn’t even make – had spectacularly failed, in fact – to make their case with a single “fake” painting of their own choosing. When given every opportunity to do so in two Ontario courts before two honourable and independent judges.
Immediately after the stunning and totally definitive Martial and Sanderson judgments (2013) affirming that “Wheel” and Morrisseau BDPs were genuine, and numerous, and clearly signaling that there was a fraud and scam afoot, the judicially discredited witnesses Ritchie Sinclair and Donald Robinson, and their losing lawyer associate, Jonathan Jerome Sommer, launched a renewed media campaign to discredit the judicial findings and overturn these judgments in the public’s mind.
And they found the gullible and witless dupes in the Mainstream Media easy pickins.
Since Robinson and Vadas had first invented their Morrisseau “fakes” fraud in 2001, to enrich themselves by cornering the Morrisseau market by convincing the public all the Morrisseau paintings being sold by their competitors were “fakes,” a lazy and compliant mainstream media has just mindlessly and eagerly spread every piece of false information fed to them by the fraudsters and their business associates.
The HOAX had begun with the 2001 article in the National Post, one of the most negligent examples of malfeasant Canadian journalism ever written. And one of the most damaging. It alleged that there were “thousands of fakes by umpteen forgers,” out there. The offending journalist, Murray White, committed one of the most egregious malfeasances in journalism: he had published this false information without taking time or care to confirm any of it with the supposed source, Norval Morrisseau, saying he could not be reached. Failing that, Whyte should never, ever have published. So launching a heinous fraud on its way.
It was a classic case of a journalist – Murray Whyte – failing to follow the basic rule taught in every beginning course on elementary journalism – check and double-check your sources, to make doubly-sure you are not being manipulated by scammers, and end up publishing propaganda, malicious falsehoods, or just utter bullshit, instead of facts. And end up making yourself look like a total idiot.
It happened to Murray Whyte, on May. 18, 2001. His notoriously unsourced article cut a destructive swath through Canada’s Aboriginal art heritage. The damage he caused, especially to Norval Morrisseau’s art, can never be repaired.
Other negligent journalists just snowballed the “fakes” infamy over time.
Since the beginning of the fraud in 2001, irresponsible journalistic malfeasance by Canadian mainstream media journalists has been hugely complicit in aiding and abetting, and establishing the fraud in the public mind.
Members of the mainstream media have been witless, thoughtless, irresponsible, and maliciously negligent participants and promoters of the fraud, failing hugely to do Due Diligence, and so becoming mere putty in the hands of the fraudsters.
They just incestuously quoted and mindlessly recycled each other’s published falsehoods, as if any of it was true. At the Globe James Adams picked up the ball from Val Ross and her fraudulent publication of Feb. 9, 2007.
At Postmedia, which had started the HOAX in 2001, with its then employee, Murray Whyte, just kept up the journalistic malfeasance. In 2013, Postmedia editors just allowed neophyte stringer, the baby-faced Tristin Hopper, to just continue aiding and abetting the HOAX by failing to do Due Diligence and just copying files from other Postmedia employees, Jacquie Miller and Paul Gessell.
(All three names are noted as sources on his infamous article published on Feb. 3, 2013. It’s nice, being able to just crib from each other; no need to practice Due Diligence or do primary research or check with “outside” sources.)
Much of this is the result of huge cuts to mainstream media newsroom budgets in Canada and the US, layoffs of hundreds of expensive experienced staff, and replacing them with cheap, inexperienced newcomers with a penchant for fast turnaround of facile tabloid fare in order to keep their – often part-time – stringer jobs, while all around them hundreds of old pros were losing theirs.
The same kind of huge American media scandals have scorched the practice of American journalism to the core. In the US, media operators have tried to become responsible and “own up,” like the New York Times, which admitted wrong-doing, and fired top journalists and editors to clean house.
As recently as April 2015, Rolling Stone admitted to huge journalistic malfeasance and asked the Dean of the Columbia School of Journalism to publicly expose its journalistic failures in excruciatingly damaging public disclosures.
Multiple elite journalists like Janet Cook, Jayson Blair, Jack Kelley, Jonah Lehrer, Stephen Glass, and Brian Williams, who just totally invented numerous articles and stories, that were then trustingly published by highly reputable and prominent US publications like the NY Times, the Washington Post, USA Today, the New Republic, and NBC News, have brought universal condemnation and shame on the profession of journalism, and given the media a notoriety for incompetence it richly deserves.
Not at all in Canada.
In Canada, malfeasance by journalists is not about being “inventive,” and “creative wordsmiths,” which of course requires some talent, but are more notorious for really compromising their journalistic principles by committing lowlife, low level “rip-offs” in underhanded backroom dealings:
– sexual exploitation (CBC’s Jian Ghomeshi),
– “leg over” promotions (CBC’s Amanda Lang),
– dealing art privately with high profile guests lured to him by CBC (CBC’s Evan Solomon),
– raking in private bucks by trading on their high profile CBC names for speeches (CBC’s Peter Mansbridge, Rex Murphy, etc.),
– promoting, on air, clients of companies he has investments in (Global’s Leslie Roberts),
– repeatedly and aggressively, claiming other people’s work as her own: serial plagiarism (Globe’s Margaret Wente),
– thinly disguised, or out in the open, racist slanging of visible minorities directly or indirectly (Star’s Rosie DiManno who was publicly reprimanded for this by the Star’s Public Editor, Kathy English.)
The same US style journalistic malfeasance, just wildly inventing and publishing crap, is also rife in Canada but no one in Canada has publicly “owned up,” apologized, or promised to do better. Here media outlets just hire more expensive lawyers to cover their ass, and their tracks, so avoiding the moral requirements of retraction and apology, of their American counterparts, and having to fire favourites.
(Like the totally fraudulent, libelous, and defamatory article, assassinating Michael Moniz, published by the Globe on Feb. 9, 2007. I believe it’s the worst case of Mainstream Media journalism malfeasance of the 21st century, and I believe it will remain that.)
In Canada the journalistic malfeasance – so hugely evident in promoting the Morrisseau HOAX – just goes on and on, and lawyers get rich living from the avails.
After the Sanderson Appeal totally upheld the Martial Judgment, which roundly discredited Sinclair, Robinson and their claims and credibility, the media still let these fraudsters feed them false information which they gleefully published without doing even minimal research or Due Diligence.
It was pretty apparent that the gullible and witless mainstream media hacks didn’t even bother to read the Martial and Sanderson judgments. Because their journalism betrayed no change or reconsideration in how they chose to cover “the story.” They just gleefully went on publishing any crap that Ritchie Sinclair, and his associates, chose to shovel their way, for free… to promote a HOAX that had been suddenly started, without evidence of any kind, in 2001. Sinclair was a witness who was totally discredited, and “rejected” by the Martial and Sanderson judgments (he was even cited as a perjurer, in Superior Court).
Sinclair had only been a late convert to the scam. It was not till October 2008, not till AFTER the death of Norval Morrisseau, and not until AFTER the disastrous failure of his own one man “Faux-nishinaabe art” (aka FART for short) show at the Scollard Gallery, Sinclair became the “attack dog” and the enforcer for the Kinsman Robinson Galleries and Gabe Vadas fraudsters.
Ritchie Sinclair, a “lily-white” man***, has launched numerous vicious racist attacks against many First Nations people, especially Norval’s Aboriginal family members.
*** “Wannabe Something I’m Not” Imposter/Impersonators – Sinclair, claiming to be First Nations or native – he has perjured himself before judges with this claim – when he is a total white person in origin, is not the only one to try to scam the public with a totally false and made-up invented persona. Rachel Dolezal, the NAACP chapter President in Spokane, Washington, was forced to resign when it turned out that her claims of being African-American were totally false and made up. Her mother and father and brother said so. Both “wannabe something I’m not” impostors just dreamed up their fake identities for personal (Dolezal) or pecuniary (Sinclair) reasons.
Sinclair has also attacked, libeled and defamed many other decent fine art business operators, and maliciously and fraudulently defamed and devalued hundreds of their genuine Morrisseau paintings. Despite the fact he has no credentials or recognized accomplishments, not in education and not in Morrisseau art authentication or valuation.
It has led to current related lawsuits:
White Distribution Ltd. v Ritchie Sinclair
– White Distribution Ltd., using Brian Shiller (winning lawyer in both the related Martial and Sanderson courts), is suing Ritchie Sinclair for Libel and Defamation, seeking $25,000 in penalties & punitive damages. Trial completed; judgment expected fall 2015.
Goldi Productions Ltd. v Ritchie Sinclair
– Goldi Productions Ltd. is suing Ritchie Sinclair for Libel & Defamation, and for Trade Libel against one of the corporation’s paintings, “SOMA 1976.” Trial ongoing; judgment expected late 2016.
– it will become the longest trial in Canadian fine art history, surpassing the previous record-holder, Hatfield v Artworld.
Astonishingly, early in 2014, within only weeks of the definitive Sanderson Superior Court ruling, Sinclair was able to con CTV into giving him a national broadcast window to spew the same totally fraudulent allegations that had been totally discredited by two judges. And to maliciously display “Wheel of Life” as a “fake,” on national TV, without an iota of proof, when in fact two judicial judgments had said it was 100% authentic – with tons of evidence as proof.
CTV producers appear to have put Sinclair on air without even reading the judgments. If they had, they would have discovered that Sinclair is well known for making wild, false, malicious, and unsubstantiated claims and charges, based on zero evidence.
– On CTV’s Canada AM program & related publications – Feb. 7, 2014
At least two parties are suing CTV for this false and malicious publication, for injurious falsehood, and an act of gross journalistic incompetence and malfeasance. When we complained, CTV immediately dismounted all related video and internet publications featuring the totally unsubstantiated, false, malicious, libelous, and defamatory claims CTV published about “Wheel,” and related Morrisseau BDPs, resulting from its negligence and failure to do Due Diligence in its broadcast hosting of Canadian art terrorist Ritchie Sinclair.
A couple of months later Sinclair again further defamed “Wheel of Life” again and libeled Artworld by putting it into the “F IS FOR FAKE” exhibit in Ottawa’s SAW Gallery.
– In Ottawa’s SAW Gallery “F IS FOR FAKE” exhibit, June-Aug 2014
A lawsuit threat from Artworld resulted in the gallery instantly dismounting its false, malicious, Libelous & Defamatory exhibition of “Wheel,” and the publishing of an Apology in the Ottawa Citizen, for negligently allowing Canadian art terrorist Ritchie Sinclair to falsely, and maliciously, libel and defame “Wheel” and Artworld, by putting “Wheel” into the SAW gallery’s “F IS FOR FAKE” exhibit.
At the same time Sinclair launched a fraudulent offensive on the National Post.
Goldi Productions Ltd. v Postmedia
– Goldi Productions Ltd. sued Postmedia for journalistic malfeasance, and failure to do Due Diligence before it published false and unsubstantiated information in an article in which it negligently quoted malicious art terrorist Ritchie Sinclair and lawyer Jonathan Sommer who fraudulently claimed that there are countless Morrisseau fakes made by a forgery operation in Thunder Bay. And for promoting Sinclair’s malicious website as a source for accurate information when, in fact, it is only a source for fraudulent, libelous, and malicious materials.
All of it just utter unsubstantiated crap invented out of malice by Sinclair and his associates to promote a business scam.
The Assistant Managing Editor of the National Post & Tablet Editor, John Racovali requested to meet us privately with the Postmedia corporate lawyer. He said Postmedia was embarrassed by how I had portrayed the journalism practiced by its editors and journalists.
I had scorched the Post hugely, for unforgivable acts of journalistic malfeasance, in sourcing, and promoting an unsubstantiated fraud, totally invented by Ritchie Sinclair and promoted by Jonathan Jerome Sommer in Postmedia newspapers and websites.
And for hugely, deliberately, and maliciously, tarting up the (false) story, and false experts, and its presentation in the paper, to give readers the impression that there WERE Morrisseau fakes, and lots of them, and that credible people and “experts” were saying so. And scorched them for quoting Sinclair and Sommer as experts when they were anything but, and had both, been totally discredited as so-called “Morrisseau experts,” both inside and outside court, and were both hugely tarnished by total self-interest.
Racovali asked that we settle out of court. That Postmedia would give us a letter of apology, all of it, of course bound by the usual gag order.
We were firm; we would sign no gag order, a demand Racovali and his lawyer, cleared for us with Postmedia headquarters. We then agreed to settle.
Postmedia Editor, Anne Marie Owens sent Goldi Productions Ltd. a letter of apology, on Postmedia corporate letterhead, saying that the National Post never intended to say or imply that there were any Morrisseau fakes. (Read my original post to see if you agree.)
(SEE: The National Post Fraudulently Devalues Your Art)
Isn’t it high time for Canadians of conscience to root out the malicious Fraud and the Fraudsters,
– by firing incompetent journalists and editors, like they have in the US, for gross acts of journalistic malfeasance,
– by suing the gullible and witless tools in the Mainstream Media for failure to do Due Diligence and just maliciously publishing unsubstantiated fraudulent claims from discredited scammers intent on promoting a fraud for personal and/or pecuniary gain,
– by firing compromised individuals in publicly-funded institutions,
– censuring academics guilty of malfeasance in promoting the fraud
– targeting the employers and sponsors of these individuals and their businesses with complaints and lawsuits
– launching lawsuits vs individuals, groups, businesses, & institutions involved in promoting the fraud
– complaining to the Law Society of Upper Canada to disbar, discipline, and/or penalize lawyers clearly involved in promoting the fraud as just another way to make a buck
2 – “Ruthie” – AKA Dr. Ruth Phillips – the repeatedly discredited Morrisseau academic and self-declared Morrisseau art expert member of the faculty of Ottawa’s Carleton University. She has for many years been the handmaid of Donald Robinson at the Norval Morrisseau Heritage Society (NMHS), the Kinsman Robinson Galleries (KRG) branch plant organization set up by Donald Robinson in 2005, to work, hand in glove, to destroy secondary market Morrisseau BDPs** belonging to his business competitors, in order to enhance the value of KRG’s own particular brand of Morrisseaus/Burrowsseaus.***
***Burrowsseaus are my designation of the kind of paintings KRG was selling, from 1990 onwards, produced by the “Morrisseau studio,” whose manager, Gabe Vadas, had hired talented artist Karl Burrows in 1989 to “help” the increasingly physically, mentally, and artistically debilitated Norval Morrisseau with his painting, when his increasing shaking made it more and more impossible for him to sign his name or draw or paint straight lines anymore. Burrows has written that he first painted steady curved lines when Norval was too shaky to be able to do so, then as the years passed, he painted more and more of the canvases themselves, finally going on to sign Norval’s own name on the front in Cree syllabics.
In the end Burrows said he painted entire canvases, signed by him with Norval’s name and marketed by Bryant Ross (Coghlan Arts, Aldergrove, BC) and Kinsman Robinson Galleries as “direct-from-the-artist” Norval Morrisseaus, though the disabled artist had nothing to do with them. I call them Burrowsseaus because nobody can tell how much, or if any of these KRG and Coghlan Arts-marketed “Morrisseau studio” canvases created from c 1990 to 2007 were really painted or signed by Norval Morrisseau himself.
Dr. Phillips, the gullible and naïve academic, has long taken a leading, albeit thinly disguised secret role, behind the scenes, in the cultural genocide against Canadian Aboriginal art by aiding and abetting the campaign to discredit, destroy, and even destructively attempt to “burn” genuine Norval Morrisseau paintings, and thus to defame and destroy Morrisseau’s genuine art heritage. It is also a patently racist attack against Aboriginals and Aboriginal art by a group of almost entirely white males and females.
The evidence is damning, that she took a leading role as being involved in the notorious Dr. Jonathan Browne*** case and in the Red Lake Exhibition Desecration, both instances in which a total of some six genuine Norval Morrisseau paintings belonging to different knowledgeable, responsible, and honest collectors, were secretly falsely libeled and defamed as forgeries by members of the NMHS. Phillips and Greg Hill were specifically identified as the Red Lake (Ontario) art terrorists.
All the Morrisseau paintings the malicious duo deliberately dissed, defamed, and devalued, were subsequently authenticated, with DNA certainty, as genuine Morrisseau BDPs by a forensic scientist and handwriting analyst.
***The malicious, uninformed, and gullible Ottawa-based art collector, and dung beetle expert, Dr. Browne, and his wife Julie Witmer accused NMHS members of informing them that their genuine Morrisseau painting “Grandfather Speaks of Great Ansistral Warriors 1977”) was a fake. I assume their NMHS informants were also from Ottawa – very likely NMHS key activists Phillips and Hill – both paid – she for writing for the Morrisseau catalogue with Hill – by the National Gallery of Canada of which Browne and his wife were listed high profile donors and patrons.
Their probable slanging of his art caused Browne to publicly defame and dump a genuine Morrisseau painting as a fake, for which he had no proof at all, when “Grandfather Speaks” was genuine all along, and authenticated as such, by Kenneth J. Davies,*** a Canadian forensic expert in signatures, on Apr 1, 2012.
*** Note: Unlike Phillips and Hill, Kenneth J. Davies, as a professional forensics scientist had neither a personal interest or a hidden agenda to promote, in order to sway the outcome of his examination, one way or the other.
The “dung beetle doctor” lost a great painting, hugely discredited himself as an art collector, and exposed himself as a gullible dupe in taking part in a business scam that was committing cultural genocide against the original art of Norval Morrisseau.
His blind ignorance as a credible academic is hugely compromised in that he received offers from two different people to pay out of their own pockets the expensive forensic testing to see if the painting was genuine or fake, and he stubbornly refused.
The Davies authentication proves what a willful fool the doctor was in refusing to use common sense, his head, and wildly and wantonly disregard his own academic training, to end up being so utterly duped by his malicious NMHS informants. When challenged to come forward publicly with their claims and names, they refused to do so – guess why? – and Browne refused to “out” them. You are now in the sleazy world of the backroom manipulators of an art desecration.
Where the hell is the dung beetle doctor’s compliance to “transparency” that all reputable academics slavishly treasure with a passion, and adhere to whenever they put forward some claim or theory?
But tellingly, and not surprisingly, Dr. Browne subsequently could not be found any longer on the list of NGC patrons, where his name and his wife’s, were once proudly emblazoned beside that of super-wealthy Wallace and Mrs. McCain, the potato king and queen of Canada.
The hugely publicly-embarrassed Ottawa power couple probably also stopped attending National Gallery of Canada galas and kaffeeklatsches where they had previously very likely hobnobbed with Phillips and Hill and probably chatted about Morrisseau art. It was probably at one of these that the gullible and ignorant Ottawa power couple was first so maliciously misinformed and led down the road towards their huge public humiliation.
It is to Dr. Browne’s huge discredit, that once he realized what a total public fool he had made of himself, by representing fraud artists who were maliciously intent on destroying the art heritage of Norval Morrisseau by targeting his genuine painting, he did not just, as men of common sense would have done, just slink away and hide somewhere hoping his idiotic wrong-hotheadedness would be ignored and forgotten by the merciful passage of time and from the attention of merciless scribes like myself.
Acting from common sense was just not part of the overbearing persona of art neophyte Dr. Browne. Having been humiliated – only by himself, of course – he now wanted to take his revenge and make others suffer equally. Instead of becoming pro-active and help to root out the fraud that had victimized and professionally embarrassed him.
He overbearingly put up a website – the fraudsters must have loved this – warning Canadians to be on the lookout for Morrisseau fakes. Of which he had no proof of any kind, just assurances from malevolent fraudsters intent on pursing a business scam.
Dr. Browne, even after he knew he had made a huge mistake, sucker-punched a gullible little old lady Margaret Hatfield and convinced her to seek out the same art fraud misinformants that had so victimized him, causing her to lose some $60,000 in legal costs, trying vainly to prove that her painting “Wheel of Life 1979” was also a fake. Two courts proved her painting was 100% genuine, reiterating in spades that she and the dung beetle doctor were hugely and willfully deluded.
Judge Martial openly chided Hatfield in her wrong-headed refusal to do Due Diligence with the right people, and her preferring instead to seek out and listen only to discredited and uncredentialed fraudsters. He could have been speaking to Dr. Jonathan Browne.
Did Dr. Browne take responsibility for steering Hatfield to her huge financial loss, which she would never have sustained had he not, bull-headedly, delivered her into the arms of the totally discredited plotters and fraudsters? Did he make a financial contribution to help her cover her losses, because his bad advice that led to the destruction of a retired little old lady’s paltry pension? You can guess…
In the history of Canadian art Dr. Jonathan Browne and Julie Witmer have an unchallenged place as key activists, their arms entwined with the KRG and NMHS plotters involved in the cultural genocide carried out against the art of Norval Morrisseau and Canada’s Aboriginal people.
Concerned Canadians may well ask, who’s paying Dr. Ruth Phillips and Greg Hill, to carry out such egregious acts of business and cultural sabotage against honest private Morrisseau collectors and dealers, and to so hugely participate with KRG in devaluing the giant corpus of Norval Morrisseau’s genuine art works?
And why do their regular, publicly-funded employers not fire them for their despicable, unconscionable, and repeatedly proven malicious and unethical behaviour in their campaign of cultural genocide against genuine Canadian Aboriginal art?
3 – “Dickie” – AKA Richard Baker – the lawyer, and founding member of the Norval Morrisseau Heritage Society, who, actively aided and abetted Gabe Vadas and his lawyer Aaron Milrad in the NMHS sponsored campaign to discredit, destroy, and “burn” any number of genuine Norval Morrisseau paintings.
In July 2009, NMHS lawyer Baker collaborated, in a meeting** with Donald Robinson, and his longtime KRG business associates, John MacGregor Newman (KRG Associate Director) and Ritchie Sinclair (KRG Enforcer), that resulted in the elder Robinson fabricating a 114 page, so-called “expert report” to call a genuine Morrisseau painting, “Jesuit Preist Brings the Word 1974,” a fake**** so promoting the HOAX for the sake of the KRG bottom line. **(Court Trans/Otavnik v Sinclair, Mar. 18, 2010).
**** The “Jesuit Preist” “expert report” concocted and fabricated, by Donald Robinson free of charge, for his longtime business associate, Ritchie Sinclair, on Sep 10, 2009 – he claimed it had taken him six months – hugely failed to convince Judge MD Godfrey before whom it was produced. Tellingly, the judge totally ignored its claims, “proof,” and arguments. He refused to take it into account, or the accompanying testimony of Donald Robinson, and Ritchie Sinclair, and utterly refused to call “Jesuit Preist” a fake, or damaged in any way by their allegations of it being a “fake,” in effect, telling its owner, Joseph Otavnik, that the Morrisseau remained as authentic as the day he brought it into court. That any slanging by Sinclair and Robinson had not changed its status or had an impact on undermining or devaluing it in any way.***
(***Trial Transcripts & Judgment: Otavnik v Sinclair, 2010-2011, Judgment by Judge MD Godfrey, Jan 11, 2011 – I was an investigative journalist observing the trial, and saw and heard Judge Godfrey confirm it all when I heard him deliver his judgment.)
If Robinson’s claim was indeed true, six months of research and charitable writing work by the self-described “Principal Morrisseau Dealer,” on behalf of his longtime business associate, Ritchie Sinclair, the KRG “Enforcer,” went totally down the drain. (It would be the second of Robinson’s four similar bogus “expert reports” he was to produce for various courts and lawsuits on valuations of Morrisseau art, including three claiming to prove three Morrisseau BDP paintings as fakes. ALL would be scorched by different judges and lawyers as not believable, and rejected.
Four zeros with four outings, at bat, by Donald Robinson as a so-called Morrisseau “expert report” author. These failings are only four of his most spectacular failings as a Morrisseau art evaluator and authenticator; he has made scores and scores of other documented utterly fallacious calls, every bit as embarrassing and damning.
Not a good result; would you buy a used car – sorry art, from this guy’s lot?
“Jesuit Preist” was later forensically authenticated, with DNA certainty, on Dec. 19, 2011, by a reputable handwriting expert, Kenneth J. Davies, thus revealing that Robinson’s so-called “expert report” claiming it was fake, was, in fact, a fabricated and malicious fraud. (Joe Otavnik v Ritchie Sinclair Court transcripts).
In fact all paintings that Robinson had slanged as fakes in his spurious “expert reports” or to the gullible and witless tools in the Mainstream Media, would be ruled authentic by three different forensic experts and handwriting analysts.
The Red Lake Conspiracy by KRG & the NMHS
4 – Bosom Buddies Paul Robinson and John MacGregor Newman, now totally in charge of driving the wildly careening KRG & NMHS Cultural Genocide Express together, ruthlessly run over any man, artwork, or inconvenient truth that gets in their way to enhancing the corporate bottom line at KRG.
John MacGregor Newman, in his role as Assistant Director of Paul’s gallery, has also amassed a reputation as an internet art terrorist with his anonymous and fabricated email and internet personas. Two of his fictitious names include, “HVK” (as in Herbert von Karajan, the famous music conductor), which was later abridged simply to “Herbert,” and which Newman used as cover for a long time, before his secret was outed by Google after an identity search by an internet investigative blogger and sleuth.
I believe Newman is likely the author of much of what appears on KRG’s corporate blogs, including its racist posts, and on internet media comment postings. He regularly sent anonymous emails into the blogosphere with his opinions, attacking KRG’s targets, under the pseudonym “Herbert,” until the internet sleuth blew his cover.
The Red Lake Exhibition Desecration 2008 – John MacGregor Newman was also involved in the Red Lake Exhibition Desecration where a business plot took place to defame and devalue five genuine Morrisseau paintings which had already been accepted and published in the Exhibition Catalogue. He was documented as being there with Ruth Phillips and Greg Hill and, as Associate Director of the Kinsman Robinson Galleries, was the emissary speaking for Donald Robinson and KRG when the malicious and false Morrisseau art defamation occurred in Red Lake in the summer of 2008.
The conscientious Red Lake Gallery Curator, Michele Alderton, had put together a substantial, well researched and thoughtful catalogue of Morrisseau paintings, articles, and interviews with numerous people who had known Norval when he was starting out and living in Red Lake and environs.
Alderton knew more about Morrisseau, and had met and deposed more people who had known the artist, than all the supposed knowledge of Ruth Phillips, Greg Hill and John Newman combined. She had also seen more genuine Morrisseau paintings than the big city snoberati trio combined. There were thousands of them across Northern Ontario.
A Trio of Suits on a Search & Destroy Mission to Red Lake Ontario
Yet these big city poseurs from Ottawa and Toronto breezed into Red Lake and clearly intimidated Alderton, with their overblown big city bravura. They cowed her and scared her about some paintings she had put in her catalogue, calling them fakes.
They were determined to stomp them out at any cost.
In what was a clear act of industrial sabotage and cultural genocide, the big shot trio collaborated to bully an obviously scared and cowed small town curator, into agreeing to destroy all the show catalogues, remove the five targeted Morrisseau paintings, and reprint the “cleansed” show catalogues again. No doubt National Gallery of Canada money was used to do the dirty deed, as Alderton’s remote Red Lake Gallery was too poor and cash-strapped to re-edit and reprint all her show catalogues.
Another example of how Canadian tax money is used to promote a fraud and commit cultural genocide against the art of Norval Morrisseau by civil servants and publicly funded university employees acting in cahoots with a private Toronto family gallery.
Oh, and how did the dastardly trio of “art exterminators” chose the five paintings for defamation, deletion, and devaluation? Simple; you should know how it works by now Dear Diary…
Kinsman Robinson Galleries and its collaborators had set out to target the five paintings as revenge against blogger Ugo Matulic who owned them, for his publishing about KRG’s complicity in being involved in a conspiracy to defame and devalue genuine Morrisseau BDPs without cause or proof.
And Greg Hill who, as a longtime KRG enforcer, in his private life, had a documented passion for falsely rewriting history, had deliberately and maliciously destroyed the entire credibility of his 2006 Morrisseau NGC Catalogue, by publishing fraudulent history at the behest of Donald Robinson and KRG, now was at it again, this time in Red Lake.
Undermining and desecrating Michele Alderton’s honest Show Catalogue, and five genuine Morrisseau paintings just to please Donald Robinson and KRG.
A clearly upset and contrite Michele Alderton, who had originally profusely thanked Ugo Matulic for his generous contribution of images of his five “Red Lake period” Morrisseaus, now privately apologized to him for their unceremonious removal. And asked him to PLEASE NOT make waves regarding the desecration of his paintings…
Alderton was clearly deathly afraid that Matulic’s quite predictably angry response would alert and anger her “big city trio of benefactors.” They would turn against her and cut off the future public funding for her remote gallery, which she relied on.
Under the circumstances can you blame Alderton? Was she complicit in aiding and abetting cultural genocide against the art of Norval Morrisseau? Yes she was. Did she do it knowingly? I believe she did. She was one of those who played a part, for good or ill, in big ways or small, in committing cultural genocide against the art of Norval Morrisseau.
Rather than blowing up at the outrage committed by Alderton, Phillips, Hill, and Newman, Matulic sent the defamed and rejected paintings for analysis, to a forensic scientist, who pronounced them as authentic, with DNA certainty.
So much for Hill’s, Phillips,’ Newman’s, and KRG’s big city “smarts.” But then small town Canadians are well schooled in how big mouth, big shots from Ottawa and Toronto breeze into town blowing about how important they are in the “big city.” And their common attitude that “small potatoes” in small towns should just bow down to the superior smarts of a trio of suits from Ottawa and Toronto.
But their failing is far worse than just overbearing big city pompositing.
The trio of plotters all very well knew, out the gate, that the five Matulic paintings they had delisted had been genuine. But they were all pursuing a malicious private agenda against the blogger who had first raised the alarm about the fraudulent Conspiracy to defame and devalue Morrisseaus in the secondary market, shortly after Ritchie Sinclair joined KRG as an enforcer, and started to put up his malicious website at its behest in October 2008.
5 – Donald Robinson’s well deserved “Dunce” cap for his record of being the world’s worst art authenticator in history. He has amassed an astronomic number – it has, at a minimum, climbed into the high double digits – of false authentications and misidentification of genuine Morrisseau paintings. Depending on how you count it could go into the hundreds, even thousands of totally false calls.
He easily eclipsed the world’s previous record holder in this infamous category in the Guinness Book of World Records, Werner Spies, who became the laughing stock of the international art community after he made only five (5) false authentications, from which his reputation never recovered. Spies was sued for those false calls and a court ordered him to pay almost one million dollars US in damages to a former client for damaging his investment with one his false calls.*** (Spies was regarded as the world’s top Max Ernst expert, before he declared five of his paintings genuine, when they proved to be utter forgeries.)
*** What about the other defrauded collectors, also ripped off for tens of millions? It’s common that they hate anything which publicizes: their name, their painting, their location. Partly it’s to avoid being embarrassed, for people like Dr. Jonathan Browne, who likes to trade on his smarts, to now being exposed as being ripped off for millions. But there’s another reason: the gallery that sold them went bankrupt. Where can they get their millions back? Well from another gullible and witless dupe who – hopefully – also has more money than brains and has not yet heard in the media that the paintings he’s being offered for “a bargain at 5 million, instead of the 10 million they are really worth,” are in fact fakes and worthless…
Not to forget, that ALL Donald Robinson’s so-called “expert reports” on the value and authentication of Morrisseau paintings – there are four we’ve been able to find – have been totally discredited and rejected by every judge, legal expert, and forensic expert who has examined them. It is a record of academic incompetence in publication, unmatched by anyone else we’ve been able to find, in the halls of Academe anywhere in Canada, the US and Europe, in this world or the next.
6 – The ex-wife of Donald Robinson, Diane Kinsman, who left him but who obviously calculated the financial advantage of staying on as a gallery business partner, was at the very least, a willing collaborator involved in cultural genocide, in order to help her son Paul get a good start in life with the family gallery.
7 – “The Schlock Doc” – The hapless and complicit Dr. James Z Wang AKA “The Junk Science Fabricator Extraordinaire,” who was duped into aiding and abetting a fraudulent misuse of his scientific skills as a computer analyst by agreeing to reduce Morrisseau paintings to numbers, sines, tangents, and cosines, in order to craft fraudulent computer models, thus naively helping to promote an art business scam. Wang had been given two piles of paintings – all genuine Morrisseaus from different periods of the painter’s career*** – but one labeled for him by Donald Robinson as genuine, and the other one, again by Robinson, but this time labeled as “fake.”
***You can predict where this is going… Obviously, if you were to do a similar database projection about your own signatures, say from the 1970s, with another batch of your current signatures, they will absolutely produce different computer models. But that doesn’t mean one is fake, or not your legitimate signature. It doesn’t mean one group model represents forgeries, any more than separately quantifying paintings from different eras of Morrisseau’s output as an artist says paintings from one artistic period are real, and the others are fakes. But that is exactly the fraudulent sleight of hand that Robinson is pulling with his fabricated Wang Report, trying to get the public to believe it’s a certain and “science-based and confirmed,” indicator of fakes. That Dr. James Z. Wang, the University of Pennsylvania statistician, says so…
Dr. James Z. Wang was asked by Donald Robinson to quantify the two piles of Morrisseau paintings mathematically etc. The Robinsons would then match any Morrisseau painting they wanted to defame (and that includes some 4,000 BDPs in the hands of their secondary market*** business competitors) to their Wang “fakes” computer models.
*** “Secondary market” past paintings of every artist vastly outnumber those each still has for sale as current “direct-from-the-artist” works. Secondary market paintings are those the artist sold years before and have changed hands multiple times, and for which the artist gets absolutely no benefit. In a real sense artists hate their works in the secondary market because they compete with their new works and depress the price for what they can ask. Destroying valuations in the secondary market – which is what KRG and the NMHS have been hugely involved in – has the opposite effect. If you destroy early, previously sold art by convincing the public it is all fake, you restrict – in the case with Morrisseau, totally destroy – the flow of product in the secondary market. In this case the target was some 40 plus galleries across Canada who were selling Morrisseau secondary market art.
So allowing the direct-from-the-artist claimed works from KRG to demand a premium price as the only “authentic” Morrisseau art available. Even though, in the case of the Robinson-sold Morrisseau studio-produced Burrowsseaus, more than one person*** had their hand on the brush of many, if not most of those paintings. Produced when Norval was quickly losing his mind and his ability to paint or sign his art anymore – in effect becoming a totally disabled TIBWAP (the Insentient Body with a Pulse. But with Norval’s “studio” still grinding out painting after painting… and funneling hundreds of them out through Kinsman Robinson Galleries and Coghlan Fine Art to a gullible and unknowing public.)
In short the totally silly but destructive Wang Report which truly victimized the gullible and witless professor, proved the old adage, and the bane of beginning computer programmers and modelers, and scientific researchers: “Garbage in; Garbage out.” But KRG has maliciously used the “Schlock Science Wang Report” on its corporate website for years to help it destroy genuine Morrisseau paintings in the hands of its business competitors.
Needless to say, and quite predictably, the hapless and gullibly-victimized Dr. Wang, has been totally unavailable for comment on his report.
Worse than that, as a supposed academic scientist – he has a Ph.D. – to make an honest, reliable, and trustworthy academic finding and computer model projection – as opposed to a fraudulent academic fabrication – Dr. Wang has, in utter disregard of every principle and protocol of academic transparency, demanded by every research scientist around the world, utterly refused to disclose his research data for examination by other scientists, academics, investigative journalists and forensic experts.
His deliberate and conniving cover-up will forever stain his career with being a culpable and naïve scientist for failing to question the self-serving motivation of Donald Robinson, and for creating and publishing pseudo-scientific trash for the gallery owner, and for conspiratorially hiding his supposed support and research data from the public and fellow scientists.
“Junk” or “Schlock Science” has been hugely documented, elsewhere, as being harnessed to business scams and produced in court as pseudo-science that is downright fraudulent in its claims and proof.
I consider “Dr. Wang’s Report” swamped with pseudo-scientific claptrap – sines, cosines, tangents, and curves, contrived equations, etc. – and posted on KRG’s website as supposed proof of Morrisseau BDP fakes, as a classic of the kind of “junk” science, and the most fraudulent Canadian document ever published in Canadian history.
Dr. Wang’s Damning Disclosure: Though he refused to come clean in public Dr. Wang did briefly communicate in private with one critical party, but then refused to continue to do even that after one Morrisseau collector threatened to sue him and his university over his “Schlock Science Report.”
Writing on Oct. 23, 2010, Dr. Wang told his correspondent: “The findings in the paper cannot be used to identify any particular painting as fake or not. And hence no one will be able to use the findings to judge in favor or against a particular painting. I hope that this is clear now.” (I have the complete documents for the correspondence on file.)
Which is, of course, exactly what Kinsman Robinson Galleries have been doing, and using the Wang Report for on its corporate website. Deliberately and fraudulently distorting for their own pecuniary gain, what Dr. Wang, I am certain, told them was an unwarranted use of his study.
Wrote Bonnie Czegledi, a Toronto-based international lawyer and art fakes sleuth extraordinaire:
“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)
It is telling, that, though Dr. Wang can be excused for non-disclosure, because he was paid by KRG to do their bidding, and as a sub-contractor for Donald Robinson and KRG, be expected to “shut up,” KRG at least, could have been open, honest and transparent, and made the research data – the Wanker 31*** – available for public examination.
Tellingly, this Robinson, KRG, and the NMHS, have resolutely refused to do for many years, clearly out of fear of what disclosure would expose – a damning proof of the fraud and HOAX I have been writing about and exposing since Jan. 2013.
***Wanker is an acronym, for genuine Morrisseau BDPs that KRG bought at Potters then sent to the US to Dr. Wang for falsification – Wang+KR (Wanker) ie falsified by Dr. Wang, paid by KRG. The falsified Wanker 31 are what Robinson bought at Potters for $54,000. The falsified Wanker 16 were then sent by KRG to the NMHS for further defamation, hiding, and destruction. The remaining Wanker 12 were sold by KRG to unwitting customers “for a small profit,” as Robinson told Judge Paul J. Martial, under oath. Robinson’s “small profit” turned out to be a 708% markup. (That’s not a typo; it’s a 708% markup.)
These are now starting to turn up as angry customers become outraged that they were sold paintings which KRG long ago started to call fakes. They are angry that KRG never even attempted to call them to make refunds or restitution. Just preferring to take a “F*** You/Buyer Beware” attitude to ripped off Kinsman Robinson Galleries clients. (SEE Wanker #1 Found, Below)
I have not the slightest doubt in the world that the Wanker 31, falsely desecrated as fakes by the naïve and gullible professor and the cunning Donald Robinson, are far from the forgeries the duo claim, but are in fact genuine Norval Morrisseau BDPs, with DNA certainty. Which is why Robinson and the NMHS have connived to hide them from public view for years. Releasing the data the Wanker 31 contain, would totally destroy what vestigial credibility KRG, Donald Robinson, and the NMHS have left as Morrisseau authenticators. Clearly they are inclined to ensure that more steps need to be taken to prevent that.
I believe that KRG, in collusion with the NMHS, have now collaborated to make sure they have “burned the proof” (the Wanker 31) so that no one else will be able to see what totally bogus foundations the Robinson family’s claim of fake Morrisseau BDPs is based on. In the process they have “burned” or destroyed some dozen of Norval’s genuine paintings, an egregious act of cultural genocide by a group of high-falutin’, poseur academics who set themselves up as “protectors” of Canada’s and Norval’s genuine art heritage, and worked overtime to, deliberately and, with malice aforethought, do exactly the opposite, destroy it. They very well knew it
or ought to have known it.
Tellingly, there is no evidence that either Robinson or the NMHS ever hired any of the top three Canadian forensic scientists and handwriting analysis experts, that have done all the Morrisseau forensics over the last eight years, to analyze the signatures on any of the Wanker 31. Or if they have, to publish the findings.
Why not? By now Dear Diary, you don’t need to guess anymore…
For one very good reason: the collaborators knew the signatures were Norval’s, the paintings were Norval’s, and no matter which forensic scientist they would go to, they would all say the same thing, and authenticate the signatures as genuine, so exposing the HOAX and their conniving duplicity.
In fact Robinson has sneeringly dismissed forensic scientists as little more than servile hacks who will gladly falsely authenticate painting signatures for anyone who pays them. When, in fact, he very well knew that would be against the ethics of their profession as forensic scientists, document examiners, and handwriting analysis experts.
(On the other hand, it is probably a good time to recall what international art sleuth and Toronto lawyer Czegledi said about what passes for “ethics” in the fine art world in downtown Toronto, and New York.)
Robinson’s intended insult is, of course hugely self-serving and compromising, as is everything he says and does about Morrisseau art, akin to saying that a court judge is being paid by one or another party to swing his opinion and judgments in their direction.
This is from Robinson who told Judge Martial with a straight face – I saw him do it and tried to gauge the judge’s response, amid palpable snickering in the public gallery – that just because, in an expert report he prepared for the Tax Court of Canada before Justice Murray Alexander Mogan, he evaluated 216 Morrisseau paintings for Thunder Bay lawyer Ken Whent, as being worth $1.2 million, didn’t mean that he believed them to be real!!!
8 – Gabe & Aaron – Gabe Vadas, Morrisseau’s longtime boyfriend, supposed “caretaker,” but really the self-designated, and self-aggrandizing heir to his estate, and Aaron Milrad AKA “The Morrisseau Pyromaniac,” (see below), and Gabe’s longtime lawyer. They have worked in tandem from possibly as early as Apr 24, 1990 when Gabe grabbed Norval’s Power of Attorney (POA) away from him, and from then on, for the last 17 years of Norval’s life, totally controlled, directed, and manipulated ALL Norval’s legal matters, his art production and distribution, his personal care, his finances, and property. (Source: Vadas Defence in Otavnik v Vadas & Morrisseau May 8, 2007)
Guess for whose benefit? You know the properties, the cars, the boats, the bank accounts…
In the last ten years of his life, Norval was totally out of the loop, as a mentally and physically debilitated victim of elder abuse, as a handful of white guy business operatives maliciously manipulated his POA to discredit his secondary market art in the hands of their business competitors, for their own personal advantage, resulting in an enormous economic gain valued in the millions of dollars for KRG and their business collaborator Gabe Vadas.
But of course, at the enormous cost of falsely discrediting a huge corpus of Norval’s art from his high period, of works now numbering in the thousands.
It was Gabe Vadas who was a founding member of the HOAX. It was he, through his lawyer, Aaron Milrad, and his main art dealer, Donald Robinson, who, for years, targeted their business competitors with legal SLAPP suit threats and plied gullible media journalists with false information and bogus claims.
CANADA’S MOST MALICIOUS, MAINSTREAM MEDIA FRAUD
In February 2007 Gabe Vadas and Aaron Milrad fed hapless and witless Globe feature Arts columnist Val Ross with totally fraudulent information claiming that Toronto art dealer, Michael Moniz, was a criminal and selling forged Morrisseau paintings on ebay and elsewhere. Ross and the Globe hugely trusted lawyer Milrad and his client, Gabe Vadas, and so utterly failed to do even common sense basic Due Diligence, just wildly published, on Feb. 9, 2007, the infamous and totally fraudulent allegations that maliciously victimized and vilified Michael Moniz, a decent and honest Canadian businessman, on the Globe’s newspaper pages.
Again, out of the supposed goodness of his heart, Donald Robinson fabricated another one of his fraudulent “expert reports,” this time for the Globe, claiming Moniz’s painting “Father and Son 1977” was a fake.
Disclosure: As an investigative journalist I had been at the auction (Jan 1, 2007) where Moniz had bought “Father and Son.” But I did not know Moniz, and wouldn’t meet or even talk to him for another six (6) years, as part of my journalistic insistence on keeping a personal distance from the litigants, partisans, and victims in the HOAX. As a longtime researcher on the HOAX, I photographed the painting, front and back. It was a very typical Morrisseau BDP. This was six full years before I started to publish my blog “TheMorrisseauHoaxExposedBlog.com.”
The research this blog is based on goes back many years to the 1970s when I lived and worked with First Nations and Inuit peoples in remote arctic and sub-arctic villages, and then spent decades more producing Aboriginal-related educational materials sourcing people in countless other Aboriginal villages across Canada.
Disclosure – I saw my first Morrisseaus in those years when I got to know acclaimed British-Canadian author Sheila Burnford (who wrote “Incredible Journey,” “Bel Ria,” etc.) She had actually been with artist Susan Ross – a longtime pal – when she famously introduced Norval Morrisseau to Jack Pollock in 1962. Paintings Burnford bought from Norval were displayed in her daughter’s house in Yellowknife where I was a frequent visitor.
After the Globe defamation, Moniz had “Father and Son” and two of his other maligned paintings analyzed by Brian Lindblom, a highly respected forensic scientist (on Nov. 5, 2008). Lindblom does frequent handwriting analysis and forensic work for the RCMP and other police forces. He certified the BDP signature as totally genuine with DNA certainty, whereupon Moniz then sued the Globe for Libel and Defamation.
Robinson’s fabricated report was immediately rejected, outright, as not believable, by Peter Jacobsen, the Globe lawyer. Jacobsen and the Globe preferred to believe the countering report by the respected and credentialed forensic scientist Brian Lindblom, saying “Father and Son” belonging to Moniz and targeted by the Globe article was genuine.
The subsequent actions by Jacobsen and the Globe, are nothing if not a totally damning indictment of Robinson’s so-called “expert report” clearly concocted by a self-serving amateur with no recognized or requisite credentials to give credibility to what he was writing or claiming.
And then it gets worse.
Jacobsen clearly must have been alarmed, by now, at the possibility of facing a clearly disastrous losing lawsuit before a judge, and his client, the Globe, must have urgently demanded incontrovertible proof of fakes from Ross’ source, lawyer Aaron Milrad and his client Gabe Vadas. These two had been the only source for all the information that Val Ross had used. Of course they had none and so could produce none for Jacobsen when he asked for it.
Or what the collaborating duo of plotters submitted was laughably dismissive…
There must have been panic at the Globe…
The conclusion is inescapable: Jacobsen would have realized that lacking any proof of so-called “fakes” the Globe had been sucker-punched by a business scam and a fellow lawyer. Jacobsen must have realized that Milrad very well ought to have realized that his client was involved in a diabolical business scam to vilify Michael Moniz and defame and devalue his genuine Morrisseau paintings for self-interested pecuniary gain.
And lawyer Milrad, in promoting it so aggressively on behalf of a financially motivated and self-serving client, Gabe Vadas***, was clearly crossing the line of permissible professional conduct in representing a client, as clearly laid out in Law Society of Upper Canada’s code of conduct governing the permissible behaviour of lawyers.
***Behind the Scenes as this was going on: on Apr. 16, 2007, the same scamming Gabe Vadas (and Norval Morrisseau) were first sued by another art dealer, Joe Otavnik, for also libeling and defaming his genuine Morrisseau paintings. Vadas quickly chose to settle out of court (Jun 9, 2008) rather than face the wrath of a judge with his lack of proof, and actually paid off Otavnik with $11,000. A clear admission that the dying Morrisseau’s business manager and wielder of the artist’s Power of Attorney was just a malicious scammer and exploiting the name of the totally mentally and physically debilitated artist in his care. Norval was only a few months from death when Otavnik launched his libel and defamation lawsuit. In fact Vadas and Milrad could not produce Norval for the Globe either to corroborate what his business manager and his lawyer were claiming to CTVglobemedia and its lawyers.
Milrad must have been aware of all these parallel developments and still promoted the malicious and fraudulent fabrications to Val Ross and the Globe. He is named and sourced by them, repeatedly.
Faced with this obvious and looming disastrous reality, the Globe, presumably acting on the recommendation of its lawyer, Peter Jacobsen, and fearing a scorching finding and huge penalties by a judge, asked Michael Moniz, for an out-of-court settlement. Moniz accepted and the Globe paid him $25,000 in damages for falsely libeling him and falsely defaming his genuine Morrisseau paintings.
Moniz was up against the wall in agreeing to settle. His lawyer was demanding payment. Moniz had no money or income now. The Globe had destroyed his business, and in dragging out the lawsuit, destroyed Moniz’s marriage and his health. The Globe settlement money went mostly to Moniz’s lawyer. Moniz’s health went into a steep decline. He died, in his forties, directly because of the stress of the fraud publicly promoted against him in the pages of Canada’s only national newspaper, and its aftermath as orchestrated by the Globe and its lawyers.
It’s the only funeral I have attended in 35 years, since I helped dig the grave and bury one of my teenage students in an Indian village on Great Slave Lake in 1978. I went because I knew his story from years of research, but had only met him and talked to him a few weeks before he died. I thought, as a journalist I should keep personal contact to a minimum on a story I was covering and stick with facts.
Now I thought someone should represent Canada in recognition of the great fight he had put up on behalf of the art of Norval Morrisseau against vicious fraudsters and HOAXERS intent on committing racist attacks and cultural genocide against Aboriginal artists and their art.
His stunning lawsuit victory that exposed the Globe’s brand of incompetent journalism will long be a defining landmark in the history of lowlife Canadian mainstream media malfeasance. For decent Canadians it was a huge victory on the road to re-establish honesty and decency in the Canadian fine art market against those involved in the racist attacks on the art of Norval Morrisseau.
Disclosure – After 20 years of subscribing to the Globe, I cancelled it after reading its anti-Indian racist editorial “Michael Bryant: a good day for justice,” on behalf of the disgraceful former Ontario attorney general. You know the aggressive BMW lawyer type, who, after a “dry” evening of partying with his wife, slammed an Indian bicyclist to death, and then left the scene of the accident, and drove away around the corner supposedly to find a phone.
(Who ever heard of: a BMW sports car driver who doesn’t drive aggressively and then some? Two lawyers in a car without two separate cell phones? An evening of partying where no liquor was drunk? A car driver who inflicts life-threatening damage – obviously when a two ton vehicle crashes and smashes into a bicyclist – and doesn’t stop to render possibly life-saving assistance? A late night accident involving a car running down a bicyclist where no breathalyzer is taken?)
Had I been involved in that, exactly the same way, or any other ordinary Canadian, we would have been breathalizered to death, and we would have been arrested, our car and our phones confiscated as evidence, and jailed, “for leaving the scene.” But the police, the Globe and the Establishment circled around one of its own, proving what we all know: there’s a law for the rich and one for the poor. And Indians, on bicycles, drunk or sober, come behind that…
I wanted to throw up… I cancelled the Globe instead…
These same nasty and vicious racist Globe managers and editors were the same ones who would go on to launch a cyber terrorist war against Michael Moniz for embarrassing and exposing the total incompetence at Canada’s National Newspaper, and use a high priced lawyer to cover their ass.
They were the same ones who victimized Jan Wong, a loyal and talented employee, who wrote brilliantly about the malice at the Globe in her book “Out of the Blue.” Jan also wrote about the last days of Val Ross, who wrote the defamatory Globe article, and who had her life made hell because of it and who also, like Moniz, would be, hounded to an early grave.
And then it gets worse. (I have all the correspondence between the parties of what follows.)
The harassment of Michael Moniz only got worse AFTER the Globe settled with him and paid him $25,000 in return for a gag order.
He was gagged; but not the Globe…
The Globe was supposed to remove the offensive and totally fraudulent article permanently from its archives by March 2009. Nothing of the kind happened. For some reason Michael’s business kept nose-diving.
On August 5, 2009 Michael was forced into Personal Bankruptcy.
Moniz discovered the defamatory and fraudulent Globe article was up on the internet again in January 2010 and had been up for months.
Again, he had to pay his lawyer to launch a protest. Globe lawyer Jacobsen replied it was only up because of a “computer glitch.” What the hell does a lawyer know; he’s only a covering mouthpiece. You can believe “the glitch” story or not.
I don’t. I have been a professional computer operator and user since 1981 when the IBM PC came out, and a website publisher since 1996, running a huge complex of websites, with a stupendous inventory of untold thousands of files and thousands of pictures. If I want an article or picture “gone” I can do it instantly, in a way that it never surfaces again. Am I smarter than the Globe’s highly-paid, but supposedly inept computer wizards?
It’s much more probable to believe that the Globe executives were deliberately malicious and wanted to preserve the article to get even with a small businessman who had hugely embarrassed Canada’s Only National Newspaper by exposing the completely slipshod nature of its research and its major acts of journalistic malfeasance.
In fact, in early 2011, Moniz discovered that the Globe was publishing the defamatory Ross article yet again. That it had been up, again, for many months. And that the vicious lies were being maliciously and gleefully linked to and re-published by: Kinsman Robinson Galleries, KRG enforcer Ritchie Sinclair, Coghlan Fine Arts (Bryant Ross, an original Vadas business collaborator who gave Sinclair two genuine Morrisseaus to put up as “fakes” in the SAW Gallery in 2014), and another KRG enforcer, ultra-vile blogger Mark Anthony Jacobson. All the groups opensly colluding to spread the HOAX about so-called Morrisseau fakes in order to enrich themselves at the expense of the thousands who had bought art from Norval Morrisseau through the years.
(Jacobson is the KRG enforcer who gave Jessica Wilson, Curator of the Elmwood Spa Gallery, the most vile, scary, and threatening phone call she said she’s ever received in her life – she told me that in person in Nov. 2010. It was piggy-backed behind another threatening phone call she said she received from Paul Robinson. She and the Elmwood Spa Gallery therefore speedily removed the Morrisseau paintings that Paul Robinson, and his enforcers, Jacobson, and Ritchie Sinclair objected to, and cancelled a Morrisseau book launch. Perceived fear of physical violence can do that to people.)
This time, on Feb. 14, 2011 Moniz demanded – more money spent on his lawyer – a retraction and an apology be published by the Globe.
The Globe, ever the big bully, ignored Michael’s complaint. Clearly there never was a computer glitch, just deliberate malice aplenty. It’s nasty corporate bosses were just getting even. No apologies; no action. Just giving the big corporate finger to a decent and totally traumatized small Canadian businessman.
Michael, formerly a successful art dealer, was living as a security guard, when he collapsed and died alone in his apartment.
Now do you know who murdered Michael Moniz?
In my view, the Michael Moniz defamation and victimization has got to be the biggest slap in the face, for being an aggressive activist in promoting a business fraud ever meted out to any lawyer (Aaron Milrad) ever involved in the Canadian fine art market in Canadian history.
Milrad’s fraudulent claims led the Globe to publish its infamous article; I believe Milrad’s utter failure to produce any evidence of any kind that Globe lawyer Jacobsen could have used as a defence of its journalism in court, caused the Globe to settle and lose the biggest lawsuit for Libel and Defamation I have been able to find in its history.
Vadas’ lawyer, Aaron Milrad had his name repeatedly referenced in the notorious article by the Globe, as the source of “truth” for the fraud that made the Globe publish such a huge and atrocious lie, Libel and Defamation about Michael Moniz, and his paintings, when, in fact he was a decent and honest Canadian businessman, and his paintings genuine.
Note: A lawyer’s job is advancing his client’s legitimate cause. Which is why people say you can get a lawyer to say or do anything, as long as you pay him. That’s not entirely correct. The Law Society of Upper Canada has a code of professional ethics which forbids a lawyer from representing, promoting, or advancing the cause of a fraud.
You decide where lawyer Aaron Milrad fits in here…
It is my firm belief that Toronto lawyer Milrad, ought to have known, that he was in the middle of an art fraud carried out by his longtime client, Gabe Vadas, that Vadas had been wielding Norval’s Power of Attorney for 17 years, and that he was victimizing a totally disabled Aboriginal elder, who was entirely mentally and physically debilitated, had become a total TIBWAP (the Insentient Body with a Pulse), unable to speak intelligibly, and unable to even recognize family or friends anymore, and was only a few months from death.
All documented by Wolf Morrisseau 2001; Ryan LeBlanc 2002; Paul Carvalho 2003; Gary Lamont 2005; Christian Morrisseau 2006. Still Milrad continued to do his damndest, working in tandem with Vadas, as noted in the Globe article published only a few months before Norval died, and in other media promotions, to make the fraud stick, when he should, by all that is decent in this world and the next, have kept his mouth shut. And also by the Law Society of Upper Canada’s own “code of ethics” for lawyers.
While his client, Gabe Vadas, on whose behalf lawyer Milrad was speaking and acting for pay, was selfishly, fraudulently, and aggressively wielding his Power of Attorney against anyone he chose, to enhance the value of his Morrisseau estate paintings, to which he claimed he was the legitimate heir.
As part of his well-paid promotional activities, Milrad famously got his nickname as “The Morrisseau Pyromaniac” for publishing, in 2005, that he will gladly burn any painting that the NMHS – under Donald Robinson’s direction – rules is a purported fake and fit for burning. Quoting him about targeted paintings, Westbridge Publications on Mar 30, 2005, said “many are even destroyed.”
Furthermore the article makes clear that Milrad would do even more than just “burn” paintings; he would prepare legal protections to allow the “pyromaniacs” on the NMHS to burn anything and everything at will, and be totally protected from criminal prosecution and civil lawsuits, resulting from their vicious acts of cultural genocide against paintings sent to them for “evaluation” by gullible and trusting Morrisseau owners in Canada and around the world.
How would anyone – except one contemplating doing evil – even think of doing such a thing? Or come up with the ideo for the need of such legal protection if what they were planning was indeed honest, transparent, and independently verifiable as based on true facts.
Why, one may very well ask, are Canadian governments and Supreme Court Justices so caught up with bemoaning acts of cultural genocide against Aboriginal peoples that are decades in the past, when real, malicious, and vicious acts of REAL cultural genocide are happening and going on as we speak, by a few Toronto private art gallery operatives and their Ottawa civil service collaborators? With a huge destructive impact not only on the art of Norval Morrisseau but in fact undermining ALL Canadian Aboriginal art.
In 2005, the NMHS sent out a call for people to send in their paintings to see if they qualify for burning. I have communications from alarmed Canadian collectors who sent in photos and were informed that “they are probably fakes,” and were instructed by both the NMHS and KRG, to send in the originals to the NMHS to “store with the other fakes.”
Pending, of course… you guessed it: the next visit of lawyer Aaron Milrad with gas can in hand, matches in his pocket, and malice in his heart…
The NMHS has scared the hell out of countless Canadian collectors who realize if they send their paintings to the NMHS for “authentication” by KRG and Donald Robinson. These could well end up being denounced, defamed as fakes, confiscated, and “stored.”
And guess what happens to “stored” fakes at the NMHS? As I have repeatedly warned, ask to see the Wanker 31 and all that the NMHS can come up with is a few ashes…
And thanks to Milrad’s diabolical legal protection, collectors who have sent art for evaluation, “on trust” to the NMHS, have no recourse to sue anyone if they are then informed, “Well these were certified as fake by Kinsman Robinson Galleries, and fit only for burning. So Aaron took them out with fifty others and reduced them to ashes.”
Poof! Up in smoke another genuine Morrisseau destroyed by the “Morrisseau Pyromaniacs.”
In the history of Canadian cultural genocide, Vadas lawyer Aaron Milrad has, for the Ages carved out a prominent niche for himself, resplendent with a gasoline can in his hand, and an eager look on his face, surrounded by a pile of smoldering ashes, all that remains of who knows how many scores or hundreds of genuine Morrisseau paintings he and his operatives have burned so far…
And guess what? Who will decide on authenticity and the ones to be “burned?” Why, the only Morrisseau authority in the world that the NMHS has designated as an “expert” (published in a letter by NMHS lawyer Richard Baker) is Kinsman Robinson Galleries. You can guess how that will go…
Astonishingly, the NMHS has recognized that only the staff members at Kinsman Robinson Galleries have the sole authenticating power – in the entire world – to decide which paintings will “burn.” That will be the only principals working in the entirely family owned and operated gallery: Donald Robinson the father, Diane Kinsman his ex-wife but continuing business partner, Paul Robinson the son, and John MacGregor Newman, Paul’s partner, and Associate Director of KRG.
For all we know lawyer Richard Baker’s notorious letter may even authorize the KRG cleaning lady, to authorize so-called fakes in promoting what lawyer Brian Shiller, acting before the Hon. Madam Justice Mary Anne Sanderson, in Ontario Superior Court, in an Appeal he would win, called “a scam… a scam… a scam, and I submit that Donald Robinson is, by his actions, involved in that.”
(I heard him say that with more than a little passion from ten feet away in Ontario Superior Court Dec. 6, 2013. I was an investigative journalist and watched Madam Justice Sanderson purse her lips and nod with understanding.)
The scam, of course is now part of Canadian art legend, and is used to hugely scare the art buying public by declaring as fake all the Morrisseau BDPs (thousands) in the secondary market, and belonging to KRG business competitors, and so boost the valuation of the Robinson family gallery’s own brand of so-called “direct from the artist’s studio” paintings.
This toxic and incendiary mix of plotters has led – I have published and predicted this for two years now – to what I believe to be the burning and destruction of the Wanker 31, because the paintings will disclose evidence of the plot to destroy genuine Morrisseau paintings and expose Donald Robinson’s totally discredited and false expertise in Morrisseau paintings. It will be the biggest act of cultural genocide by white people against Canadian Aboriginal art in modern Canadian history.
You can only shudder to guess how active lawyer Aaron Milrad, aka “The Morrisseau Pyromaniac” has been. Guess how many genuine Morrisseau paintings he has “burned” so far, since initially announcing in the media, in 2005, he had the will and the authority to burn all the Morrisseaus he wants? I assume he had the gas and matches ready to go…
He just needed people to give him art, KRG staff to denounce it, and he’d happily set them all ablaze, no doubt surrounded by a dancing and cackling gaggle of fellow members of the NMHS and KRG staff.
9 – “Greggie” – AKA Greg Hill – the Curator of Indigenous Art at the National Gallery of Canada (NGC) who has conspired with Donald Robinson and KRG, in numerous documented ways, to promote their campaign to discredit, and destroy thousands of genuine Morrisseau paintings in the secondary market being sold by KRG’s business competitors, in the worst case of cultural genocide in Canadian history. Hill has, of course, made numerous false calls in defaming many genuine Morrisseau BDPs to please KRG.
He even helped KRG out by doctoring the National Gallery of Canada’s 2006 Morrisseau Retrospective Catalogue, obviously at Donald Robinson’s and/or Gabe Vadas’ behest, with a fraudulently fabricated entry for “1991” in his chronological time line, saying KRG was given a distribution contract that year by Morrisseau to combat a proliferation of fakes.
Which is a totally undocumented and utterly fraudulent claim. The evidence that does exist proves this as just another in a long list of documented frauds by this group.
Greg Hill should be fired for this fraudulent publication alon
(The chronology also clearly lists and hides other distortions and omissions that also show a KRG origin in its wanting to use the Retrospective and Catalogue to promote sales at its gallery.)
“1991 – Kinsman Robinson Galleries is declared the exclusive representative of Morrisseau’s work as a result of an increase in the number of forged artworks appearing in the marketplace.”
– quoted: p 179, “Norval Morrisseau: Shaman Artist” – National Gallery of Canada Retrospective Catalogue, 2006, Hill, Phillips, Ruffo
The collaborative falsehood, published by Greg Hill, a government functionary in cahoots with a small family-owned business operator, is forever frozen for the Ages, on page 179, of the National Gallery of Canada’s 2006 catalogue of “Norval Morrisseau Shaman Artist,” cagily salted into the chronological timeline of supposed “true” events in Norval’s life.
This clearly conspiratorial entry is patently NOT one of them.
Nor is this the only one which Hill maliciously, again as a favour to Robinson, entered. Here is another fraudulent entry for 2001.
And no, if you expected to see Donald Robinson, the Principal Morrisseau Dealer at the Retrospective of the artist that had brought millions of dollars to his family owned and operated gallery, you would not have seen him. He didn’t bother going, knowing that Norval, now for years a total TIBWAP, was long past being able to recognize anyone or respond to anyone. He hadn’t been able to speak intelligibly or communicate with anyone for several years.
Robinson’s behaviour is stunning proof of my allegation that the National Gallery of Canada committed the grossest act of Elder Abuse in Canadian history by parading what was only “the insentient body with a pulse” (TIBWAP) in its sordid attempt to try to save its sorry ass from 130 years of racist exclusion of Canada’s Aboriginal artists and voices.
Longtime Norval family members (Christian Morrisseau) and old friends (Gary Lamont), reported in 2005-2006 that Norval could no longer recognize either of them anymore.
Robinson’s callous behavior at not showing up at the NGC gala honouring his artist, who had enriched the Robinson family with millions, supports that. And underlines the truly execrable behaviour of the National Gallery of Canada. Parading an almost dead Indian to make itself look good. Donald Robinson clearly did not want to be “seen” as a party to that execrable example of elder abuse. Namely the revolting exploitation of Norval the TIBWAP, “the insentient body with a pulse,” for a National Gallery of Canada photo op.
And then it gets worse…
Robinson as the “Exclusive Representative” Canard/Fabrication/Falsehood
The National Gallery of Canada Hill/Robinson fabrication of Robinson as the “exclusive representative” is utterly fraudulently “trumped up” on these two words alone.
Over and over in the court testimony Robinson sought to ingrain this fraudulent claim into the court record and the mind of Judge Martial, hoping in this way to ennoble or elevate his status as a Morrisseau recognized “expert.”
Total and absolute crap.
Norval, I believe the documentary record clearly shows in overwhelming terms, was the most ethically and morally challenged artist in Canadian history. There was no ethical or moral boundary he did not cross, repeatedly, with relish.
To his dying day – if you believe the Will he signed in October 2007 – totally and absolutely abandoned, abused, and betrayed his Aboriginal wife and children, choosing to devote ALL his energies, and ALL his money to satisfy his own appetites, at their expense.
His betrayal of his “white suit” Toronto art dealers starting with Jack Pollock in 1962, the Albert Volpe mob in 1997, and after 1990 with Donald Robinson was just as total and determined. Norval never, ever gave either of them an “exclusive contract” in practice. In 1962 he told Jack Pollock “White man’s paper no fucking good” and ripped up an honest document of commitment Pollock was trying to give him.
Norval was steeped in Aboriginal lore and upbringing that forewarned and forearmed him with the knowledge that white men had ripped off Indians for centuries with false promises and fabricated documents they didn’t honour. To Norval Jack Pollock was such a white man; to Norval Donald Robinson was such a white man.
At no time in his entire art selling relationship with Norval Morrisseau was the Robinson family and KRG ever given actual “exclusive representation” by the artist Norval Morrisseau.
In his entire life Norval never honoured any “white man’s paper,” treating all his business contracts with disdain, as he satisfied his personal appetites for the moment, regardless of how much they betrayed or were in violation of whatever agreements he made with anyone.
With a passion; and without fear of consequences.
In fact Norval is one of the few guys who betrayed the “Mob” and lived to tell about it. In 1997 he agreed to paint exclusively for the Toronto Volpe mob, in return for “dollars, dicks, and dope,” at a house rented for him in Buckhorn, ON.
The local lore is clear: Norval almost immediately started to sell art he was supposed to send to the mob in Toronto, locally to whomever would give him a few bucks. Those paintings litter the Buckhorn area.
Who in their right mind would thumb his nose at the mob? Norval did. Hell they were white men! And no Indian owed loyalty to the people who had ripped off his own Aboriginal people for centuries.
In fact the mob supposedly sent a hit squad to Buckhorn and Norval’s rural residence to try and straighten him out. All explained in Jack Pollock’s book “Dear M.” Local lore says that the hit men’s Mercedes got stuck in the mud at the bottom of Norval’s drive…
Norval, finally took mob threats seriously and fled Buckhorn and Toronto in 1981 for Thunder Bay, Ontario, figuring he was far enough from the mob to be safe there.
Jack Pollock says Norval was totally unfaithful to him as an art dealer. The passionate dealer who made him famous and represented him for some 20 years.
Fast forward to 1990, when Robinson first became “a Morrisseau dealer” which Robinson has claimed was “exclusive Morrisseau dealer.”
Not true in any way at all as Norval aggressively – as was his lifelong habit – selling his art “out the back door” to anyone he could. The man who didn’t fear mob “hitmen” was certainly not cowed by a “suit” in far-off Toronto.
So Bryant Ross was selling Norval’s “direct-from-the artist” art, non-stop from 1989 on and still does in 2015. Numerous fine art galleries in Vancouver including Hill’s and Spirit Gallery were inviting Norval to their premises to paint and sell art all during the early 1990s when he was still able to do so. All during the period when Robinson claims he was the “exclusive ‘direct-from-the-artist’ dealer.” In Ontario other galleries were selling Norval’s “direct-from-the-artist” art including Steve Potosky in Thunder Bay.
The evidence is overwhelming that during the period Robinson claimed to be the “exclusive representative” for Norval Morrisseau “direct-from-the-artist” paintings, Norval was selling hundreds of his new paintings to other art galleries, dealers, and collectors all over Canada. And Robinson – unless he was suffering from his own brand of Dementia – very well knew that. Hell, everyone else did…
Shame on him, Greg Hill, and the National Gallery of Canada, for their fraudulent claim about Donald Robinson and KRG’S supposed “exclusive representation” in the NGC catalogue.
And then, of course, it gets worse yet… about the supposed first appearance or proliferation of the fakes being 1991, as the NGC fabrication fraudulently alleges.
In 1997 Norval is Totally Mum on So-called Fakes of Any Kind – In fact, far from 1991 being when so-called fakes were first “outed” – as the Hill/Robinson NGC fabricated entry claims – in any way publicly by anyone – Robinson included – it did not even happen six years later when Norval published his book “Travels to the House of Invention,” with Donald Robinson in 1997.
Norval – supposedly the source for ALL the “fakes” claims – said not a single word about fakes; not even one. When he had a huge opportunity to denounce the fakes as Aaron Milrad claimed he always did; as Robinson claimed he always did; as Sinclair claimed he always did.
Yet when given a huge chance and platform to do so in 1997, HE DID NOT DO IT...
Why not, if “the supposed proliferation of fakes” was supposedly important enough to get a couple of lines in the NGC Catalogue for 1991, as the total raison d’être for giving Robinson his exclusive distribution contract?
Tellingly, Norval himself stayed totally silent to a fault on the topic. He always did…
Confirming hugely, that he was mentally too far gone to care – not a great admission if you are still selling new paintings from him as KRG was. Or, as Wolf his brother and longtime business manager testified, Norval, far from hating copyists – if there were any – openly welcomed them as another way to promote his people, disseminate their stories, and their culture to the greater, ignorant, white world.
In fact, in the same 1997 book in his article in “Travels,” Robinson made only the briefest imaginable possible reference, with a couple of “throw away” lines to fakes, and nothing at all about the 1991 entry, or anything whatsoever about “thousands of fakes by umpteen forgers” he would claim to discover only in 2001…
If the Hill/Robinson NGC fabricated entry for 1991 was true***, then Robinson was clearly dishonest in not getting Norval to write about the so-called “proliferation of fakes” at length in “Travels to the House of Invention.”
Or to do it himself.
*** Remember I contend that it was a total fabrication attempt by Donald Robinson in 2006 to, retroactively, try to rewrite history about the so-called existence of “thousands of fakes by umpteen forgers,” in a way to benefit his son’s KRG gallery.
And then it gets even worse…
In fact, in 2005, four years after publicly proclaiming “thousands of fakes by umpteen forgers” Robinson, QUITE DELIBERATELY, STILL DID NOT PUBLISH THAT INFORMATION IN HIS REPRINT AND REEDITED “Return to the House of Invention.”
Robinson, I believe, knew something basic: articles in newspapers disappear after a few days; but books last. And he didn’t want his son’s gallery and inheritance beclouded by his fraudulent charges of “thousands of fakes by umpteen forgers” that he and Gabe Vadas had invented to disable the secondary art sold by their business competitors.
Donald Robinson was totally and absolutely dishonest in not writing at length about his so-called discovery of “thousands of fakes by umpteen forgers,” four years after he had journalists desecrate their careers and publications with the fraudulent infamies he fed them.
But tellingly and deliberately, he refused to desecrate Kinsman Robinson Galleries’ only two Morrisseau book publications – “Travels 1997” and “Return 2005” – with claims he knew were dishonest, and fraudulent, and totally made up. And would become public when the $#i*t would ultimately hit the fan.
Ludicrous as it may sound it’s something about saving your reputation and your son’s reputation for the Ages***, from a business scam that worked for a while and brought millions into the family treasury while it destroyed the businesses, finances, and personal lives of many of their Morrisseau competitors. And of course, involved massive cultural genocide against the art of Norval Morrisseau.
*** In fact as I have made clear from the documentary record, that as early as 1999, Paul Robinson was totally knowledgeable and fully complicit with all the machinations of his father Donald Robinson, who also implicated him in his court testimony.
But a few months later, in 2006, for the NGC Hill and Phillips authored NGC Catalogue, Robinson was, again, quite happy to dupe another witless proxy – this time Greg Hill – into publishing false, and fraudulent entries in the NGC catalogue, about all the fakes supposedly around in 1991. I know already what he’d say – I’ve seen him do it many times under oath on the stand – when someone pointed out a damning inconsistency in his testimony: “Well Greg wrote it; not me!”
And then it gets worse yet…
If any of the claim of the 2006 Hill/Robinson NGC fabricated quote was true in any way, about supposedly discovering the alleged fakes in 1991, why would Donald Robinson go on, nine long years later, from 1999-2000, to spend $54,000 on 31 so-called Morrisseau “fakes” and try to buy 60 more?
And go on to sell them at astronomic price markups, in one case of 708%.
Paintings he would only decide to call “fake” the next year, 2001. His credibility was further totally shot as an honest broker and Morrisseau authenticator, when it turned out that he never even returned a single so-called “fake” Morrisseau or asked for his money back from the Potter Auction where he had bought them. Or demand back his $54,000.
Who else do you know that can afford to blow away $54,000 on anything, without a peep of protest or demand of restitution from the so-called “rip-off” artist who supposedly has defrauded you?
And then it gets much worse…
Oh, but Donald Robinson did ask for his money back on a non-Morrisseau painting, by Haida artist Robert Davidson*** which he first believed was genuine, then, long after, claimed was “fake.” He then wanted a refund of $267.50, which the auction gave him back, though it was a full year and a half since the sale, an unheard of act of generosity by an auctioneer and an unprecedented auction or painting reimbursement in Canadian history.
***Disclosure: I’ve been to Robert’s house and studio in Massett, Queen Charlotte Islands, BC, on several occasions and would never make the “mistake” – if it was – made by Donald Robinson on Robert’s art.
Whatever the truth of the Robinson claims about the Potter Morrisseaus and the Davidson, one thing is certain: Robinson was a totally incompetent art authenticator, not only on Morrisseaus, but also on Robert Davidsons, according to his own documented actions in first calling one genuine, then changing his mind, calling it a fake and asking for his $267.50 back…
I can now think of the work of two artists that you buy at your peril at Kinsman Robinson Galleries.
When you consider that KRG only represents a dozen artists – unlike other galleries which commonly represent a hundred or more artists – that leaves a shrinking paltry few only, that KRG can hopefully be trusted to know anything about, if that.
Certainly NOT Morrisseau and certainly NOT Davidson.
Then consider this: out of the countless thousands of paintings sold by Randy Potter auction house, over many years, Donald Robinson is the only person in the history of its auctions who ever asked for his money back for any painting alleging it was a “fake.”
And DAMNINGLY AND TELLINGLY it was NOT for a so-called Morrisseau “fake.”
And DAMNINGLY AND TELLINGLY Robinson, who supposedly discovered fakes in 1991 – according to the Robinson/Hill 2006 NGC entry – never ever brought a single Morrisseau back to Potter demanding a refund or complaining that it was a fake. Not one… ever… And he had 31 so-called “fakes” to pick from for which he paid $54,000…
Now, who would you rather trust: an auctioneer like Randy Potter, with a spotless and stellar reputation like that – in fact unmatched by any other auction I know of; OR OTHER RETAILER FOR THAT MATTER – or a totally multiply-discredited Morrisseau and Davidson authenticator AKA Donald Robinson AKA Principal Morrisseau Dealer.
In fact by Donald Robinson’s utterly damning and suspicious auction behaviour, regarding the Robert Davidson painting, for which he paid $267.50, when supposedly it was a so-called “fake,” proves beyond a shadow of a doubt that he – and KRG – are as disastrous at Robert Davidson art authentication as they are utter failures as Morrisseau experts. They are multiply documented as absolute failures at being able to tell a real one from a fake of either artist.
It should at the very least make intelligent Canadians wonder: just what the hell do you get when you buy art at Toronto’s Kinsman Robinson Galleries?
Donald Robinson First Discovers the “thousands of fakes by umpteen forgers” in 2001.
To sum up, the documentary record is clear, that completely contrary to the Hill/Robinson NGC fabricated claim of 1991 as the so-called date for the discovery of the “proliferation of fakes,” Donald Robinson did not even “discover” or publish anything about his brand of so-called “fakes” for another full ten years…
In fact, not till 2001… and then not even in his own book…
This fraudulent attempt to rewrite history shows an unseemly relationship of a senior National Gallery Art executive with a thoroughly discredited Morrisseau (and Robert Davidson) private art dealer, Donald Robinson, and his KRG family gallery.
It must make concerned Canadians wonder, just how much is KRG paying Hill for his fraudulent fabrications in a government funded publication and making false calls on art to help KRG make money at the expense of its business competitors?
Is Hill paid by the word? Or is it a package deal? Is he paid as a private contractor? Or as an employee of the National Gallery of Canada? Is it a cash deal? Or are receipts given for Revenue Canada purposes?
Kickbacks are, of course, not unknown among civil servants. Many take sub-contract payments for work done for private contractors outside work hours.
In short, damningly and tellingly, despite the Robinson/Hill NGC 2006 entry – alleging a proliferation of fakes in 1991 – there is no record anywhere in the literature, either academic or media, of Robinson’s claim of “thousands of fakes by umpteen forgers” anywhere before he first makes it on May 18, 2001.***
So making a total mockery of the Robinson/Hill NGC entry they fraudulently collaborated to enter, into the timeline of the NGC Morrisseau Retrospective Catalogue in 2006, in an effort to falsely backdate events to dishonestly rewrite history for 1991. It is NOT accidental.
Paul Robinson & the Missing Link
***The Missing Link – On Apr. 19, 2015, the KRG blog inadvertently revealed the Missing Link for why KRG started to violently attack all secondary market BDPs – some 4,000 – as fakes in May 2001.
The blog revealed for the first time that after Norval – remember him; he’s a TIBWAP – was removed to terminal care, early in 2001, and out of the way. Subsequently, Paul Robinson had gone to British Columbia, to do an inventory on Norval’s art that had been stored presumably by Gabe Vadas, the self-appointed heir to Norval’s estate, and discovered – WOW! – a huge stash of Morrisseau paintings.
KRG’s mouth must have been slavering at the huge amounts of money it could make by selling them. Millions!
The Hoard was worth some $20 – $40 million dollars. Now what’s KRG’s 40% commission on that???
But obviously NOT if their value was diluted by several thousands of genuine secondary market Morrisseaus that were now flooding the Toronto area art auctions from northern Ontario where Norval had flogged his paintings from door to door, and on the streets to all and sundry, for fifty years.
Very Important Note: The flood of secondary market Morrisseau paintings – literally many hundreds, up to some 2,000 – were all genuine Morrisseaus from the 1960s, 1970s, and 1980s. I have seen and personally examined hundreds of them “in hand.” Seen up close, many – bespeaking their long and abused past, in garages, sheds, fishing shacks, and hunting cabins, all over northern Ontario – were filthy, abraded, cracked, and with multiple staple holes, and multiple old, framing creases, etc. Hundreds of the 1970s and 80s ones were BDPs, signed, titled, dated, and copyrighted in Norval huge hand, with black “drybrush” paint.
The Hoard of paintings Paul Robinson claims to have “discovered” in 2001 in Nanaimo, BC, WERE NOT AT ALL OF THIS TYPE OF GENUINE “HIGH PERIOD” MORRISSEAUS BUT WERE ALL RECENT 1990s BURROWSSEAUS. All of them.
And Donald Robinson testified in court, not a single solitary one was a BDP, signed on the back in black drybrush paint. They were all totally blank on the back. But then you would expect that from a TIBWAP bedeviled and disabled by Parkinson’s and Dementia, and who finds drawing a straight line or a signature an awful burden.
And not a single solitary one was from the 1960s, 70s, or 1980s. Not one.
For a lot of very good reasons. Norval never kept paintings; he painted them and priced them, to make immediate sales – which is why he was Canada’s only People’s artist, determined to put high quality original art into the homes of everyday Canadians. He painted for only two reasons: he loved the creative activity, and it gave him instant cash. As soon as he painted them the thrill of creation was over, and he wanted them gone for cash, food, lodging, a ride, booze, or sex. At home they were just clutter. Out they went with a ferocity of marketing turnover unknown to any other artist anywhere in the world.
Everyone was trying to capitalize from the National Gallery of Canada’s announced very first Retrospective of an Aboriginal artist in Canadian history in 2006, and the expected boost in his art evaluations. Norval’s death was expected at any moment, always another boost to an artist’s art valuations…
What could Kinsman Robinson Galleries possibly do, faced with such an assault by a flood of genuine Morrisseaus on the high prices they were charging their clients for their paintings? It’s not rocket science. The KRG clients would leave KRG and get their Morrisseaus from KRG’s competitors, some 41 Aboriginal art galleries across Canada who were, by KRG standards, selling their genuine Morrisseaus cheap. Or, by circumventing the high-priced art galleries, by going to the art auctions themselves.
Which is exactly how KRG found out about it all, when one of their clients, Matt Fountain, brought in cheap Morrisseaus from Potter Auctions for authentication.
Donald Robinson, now informed, by his son of where Morrisseau bargains were to be had, set his mouth watering, and he started going to the auction. And the rest they say, is… the beginning of the HOAX.
Clearly, in the National Gallery Morrisseau Catalogue, Hill collaborated with Robinson to publish a total lie, just to help out the Kinsman Robinson Galleries in its promotion of “the greatest fraud in Canadian art history.”
The Malicious Greg Hill Strikes Again at the SAW Gallery in 2014 – When an artist’s co-op gallery (Ottawa’s SAW Gallery) got a government grant to set up an “F IS FOR FAKES” art exhibit in 2014, in which the most prominent display and the central key exhibit were three genuine Morrisseau paintings being defamed as forgeries, Jason St-Laurent the Curator, told me in a private and documented conversation that he had consulted and been advised by the National Gallery of Canada’s Curator of Indigenous Art, Greg Hill on setting it all up.
Damningly, Hill very well knew for sure, that at least one of the defamed paintings “Wheel of Life 1979” was genuine,*** and had been ruled as such by two courts, art experts, forensic scientists, and Morrisseau family members.
***In fact Morrisseau research internet postings make it clear the other two SAW Gallery defamed Morrisseaus are genuine as well and have a traceable provenance proving them to be so. Hill claims to be a Morrisseau expert and would also have been aware of this.
If Hill were honest he would have told St-Laurent not to exhibit “Wheel” as a fake. But according to St-Laurent, he clearly did not do so. He was pursuing another agenda…
It’s called Cultural Genocide… All the more damning because Hill is himself First Nations.
Hill clearly knew that Donald Robinson wanted “Wheel” called a “fake,” so the groveling civil servant complied, and collaborated once more with the discredited Toronto art dealer who founded the Morrisseau HOAX for his own self-enrichment.
Thanks to St-Laurent’s disclosure to me, I know Hill was fully in the know, complicit, and a promoting partner in the scam, when Jason St-Laurent placed a genuine Morrisseau painting in a public gallery and deliberately, falsely, and maliciously slanged it before untold thousands of SAW Gallery visitors, as a fake.
It is a damning business conspiracy promoted by a leading member of the National Gallery of Canada. Hill, a civil servant in a high administrative position, has in many ways, and many times, worked hand in glove with the Robinson family of Toronto to promote “the greatest fraud in Canadian art history 2001-2015.” And committed cultural genocide on a grand scale against Canada’s Aboriginal art heritage.
Concerned Canadians may well ask: just what will it take before the National Gallery of Canada fires Greg Hill?
It must be a shock to Canadians to discover that their tax money is funding the depredations of the National Gallery of Canada as it positions itself as an activist in the forefront of the biggest act of cultural genocide against an aboriginal artist in Canadian history.
In fact one of the greatest in world history.
Norval was, in fact, the only “People’s Artist” Canada has ever produced, meaning both Aboriginal and non-Aboriginal peoples. No other Canadian artist – Aboriginal or non-Aboriginal – has ever managed to even come close to placing so many thousands of quality original works of art into so many thousands of working class and middle class homes across Canada. Norval priced his art to sell, and sell it did, like no other Canadian artist before or since.
Decades before Robert Bateman started to place his cheap autographed calendar art copies into Canadian homes, Norval gave thousands of Canadians genuine art at cheaper prices than Bateman was charging for his Xerox copies.
Norval also did what no other Canadian artist did, and what only a tiny handful of world class artists ever managed to do, like Picasso. Norval invented an entirely new, unique, and instantly identifiable language of painting, like nothing that had ever existed before.
His unique and original Anishinaabe School of Art has been echoed and interpreted wildly by many other Native artists, as Canada’s Aboriginal artists seek to express their own cultural values, thanks to Norval, in an artistic language entirely their own.
Another Type of Fake – Alas, the Anishinaabe School has attracted Indian Imposter/impersonators seeking to make a buck off First Nations people and their culture. Specifically white guys who have no Aboriginal ethnic or cultural background, and just trying to con consumers by making copycat, amateurish, and heartless pseudo-Indian copies.
(I call fake, copy-cat, illegitimate Indian art made by white men Indian impersonators/imposters, “Faux-nishinaabe art” (aka FART for short), as a fraudulent rip off of genuine “Anishinaabe art” as painted by Canadians of Aboriginal background, who have the DNA and the cultural history imprinted on their psyche.)
One such “fraud artist” is Ritchie Sinclair, who desperately makes public appearances in his Davy Crockett costume and neurotically flaunts his turkey feather, as he did when he tried to sell a piece of his own “Faux-nishinaabe” art on CBC’s Four Rooms on Apr. 9, 2014.
Not at all surprisingly, the four art experts immediately, out the gate, at the start of the show, before they even met Sinclair, dismissed Sinclair’s attempts as “amateurish,” and failures at Anishinaabe art, and as poor, and “amateur Morrisseau” art.
Said Derreck Martin of Sinclair’s desperate attempt to make Morrisseau look-alike art, “It looks like a bad Morrisseau.” And devastatingly, “I think Ritchie is attaching himself to Morrisseau to pull some value out of his work.”
Said CBC art expert, Jessica Lindsay Phillips, clearly taken aback by the overbearingly aggressive behaviour of the narcissistic Sinclair compulsively waving his turkey feather in her face: “You did not impress me at all. You kind of insulted me.” This has got to be a first in television broadcasting in informational programming, where a host snarks her open dislike for an invited guest. Clearly Sinclair gave her cause.
Clearly Sinclair never learned – more likely he didn’t give a damn – that no Aboriginal art collector wants Inuit art from Japan, nor Brazilian shrunken heads from Korea, or wants “Faux-nishinaabe Art from a white Indian imposter/impersonator living in his roommate’s apartment in downtown Toronto, no matter how long he grows his hair, and no matter how desperately he quills up and paints his buckskin jacket, or how furiously he waves his chicken feathers and beads about. Or talks pseudo-Indian mumbo jumbo. Doing Goofy Bear Dances doesn’t help fool the public either.
None of it will con collectors of genuine Aboriginal art into buying Faux-nishinaabe Art in preference to Anishinaabe Art.
Not these days, when authentic Aboriginal artists are developing a loyal following with genuine culturally authentic Anishinaabe art.
The CBC program also put the last nail in the coffin of the fraudulent allegations made by Donald Robinson and his KRG staff, by Ritchie Sinclair, and by lawyer Jonathan Sommer their associate in promoting the HOAX, that the Morrisseau fakes are simple and easy to fake and manufacture.
All four CBC art experts said the so-called self-declared Morrisseau protégé Ritchie Sinclair had hugely given it his best shot and failed miserably, unable to produce anything but a “bad Morrisseau” and an “amateur Morrisseau” that even the CBC art experts, with their limited exposure to the artist, immediately recognized as utter failures.
If Ritchie Sinclair was such a total and abject failure at being able to paint even a half decent Morrisseau look-alike, then how could a so-called incompetent syndicate of forgers (as characterized by Robinson, Sinclair, and their lawyer business associate Jonathan Sommer) supposedly paint literally hundreds of them good enough to fool Donald Robinson into buying 31 of them for $54,000 and trying to buy 60 more.
And supposedly not “discover” that he was “conned” till 2001, at a time he claimed to have been knowledgeably selling Morrisseaus for over 15 years and claimed to be the Principal Morrisseau Dealer and the world authority on Morrisseau – the man who wrote the book on the artist. All of which he told me, in person, at Potter Auctions, on Jan. 26, 2000. In fact he was the ravenous underbidder, trying to snag two Morrisseau BDP paintings on which I was the winning bidder.
And now, the National Gallery of Canada, founded in 1880, already contaminated by its execrable and racist 120 plus years record of defaming and discrediting Aboriginal art, apparently seconds a senior staff member to help a small family art gallery in Toronto to destroy the Anishinaabe art legacy – made possible only by Norval Morrisseau – by maliciously targeting thousands of Norval’s best high period paintings, his BDPs from the 1970s and early 1980s.
It’s unconscionable and wildly racist, today in 2015. But clearly deliberate.
But not at all out of character with the National Gallery of Canada’s past history of 120 plus years of excluding Aboriginal art as inferior and not fit for its gallery collections. The NGC marginalized it all as crappy tourist souvenir art fit only for display in artifact museums as an oddity of typical Indian souvenir buckskin, beads, and basket junk. Norval’s art was characterized by the Ottawa art snoberati as the trivial and curious detritus of a disappearing museum culture. Not as the living art of a vibrant culture and people, which it is.
The NGC bureaucrats would not buy Aboriginal art till the 21st century and not give their first Retrospective to an Aboriginal artist till they were publicly shamed into it in 2006, 126 years after the founding of the National Gallery of Canada.
When all they had left to display was an Aboriginal’s “insentient body with a pulse.”
When it was all much too damn late, for everybody, especially for Norval.
I am utterly convinced that the documentary record proves beyond a shadow of a doubt that Norval didn’t have a clue of where he was, or what was going on when he was shunted like a sack of potatoes before the Ottawa gala crowd in their silks and satins at the opening of his Retrospective on Feb. 1, 2006.
Long before, God and his grossly self-abusive lifestyle had reduced Norval to only an “insentient body with a pulse.” Now the National Gallery of Canada – like KRG had been doing for years – used Norval’s palpitating corpse, propped up in a wheelchair, as a shabby sales prop to try to make up for over a century of art gallery malfeasance and racist exclusion of Aboriginal art and artists from its galleries and its acquisition funding budgets.
All of it is, of course, a far worse scandal than a few dozen Senators ripping off the taxpayers for a few hundred thousand here and there.
This scandal targets artist of a Canadian minority and the art heritage of their peoples.
The NGC sponsored attacks have helped to destroy, by one estimate, some $100,000,000 – that’s a hundred million dollars – in valuation of Norval’s art, and untold hundreds of millions more in Aboriginal art by other native artists, which has also been hugely devalued because of the damaging ripple effect in destroyed consumer and collector confidence from the attacks on Norval’s genuine art.
In fact it’s the biggest act of cultural genocide against Aboriginal people by the Government of Canada since its agents, and their businessmen cronies and fellow conspirators, stole over 600 potlatch cultural artifacts from the Kwakwaka’wakw people of Alert Bay in 1921.*** And divided them up among numerous white government functionaries to keep for themselves, or to sell to museums and private collectors around the world for private profit. Conniving, conspiring white businessmen and civil servants collaborating in ripping art off helpless Indians for private profit…
Now where have we heard this before?
***Disclosure 1 – I have stood on the exact spot on the beach at Alert Bay, on British Columbia’s Vancouver Island, where, in 1921, the hundreds of potlatch art treasures were piled up before being shipped out for sale to white buyers. And in the U’mista Cultural Centre, seen scores of many of those very items that heavy lifting by Indian political groups, some seventy years later managed to repatriate from museums and private collections where they were dispersed.
Lamentably, as is the case with the malicious Morrisseau HOAX, cultural genocide can never be undone and so hundreds of the original Kwakwaka’wakw heritage items have disappeared and can never be returned to their rightful Kwakwaka’wakw owners.
It was the worst case of cultural genocide in Canadian history, till the Morrisseau HOAX reared its ugly head in 2001.***
***I have been sounding the warning of Cultural Genocide by people involved in promoting the Morrisseau HOAX for over two years now, since starting the blog on Jan 10, 2013.
It was not till, over two years later, that the term “cultural genocide” gained public currency when the Truth and Reconciliation Commission published its final report on June 2, 2015, and was first used by Commission Chair, Justice Murray Sinclair, to describe the past policies of the Government of Canada in trying to destroy Aboriginal peoples and their culture.
Chief Justice Beverley McLachlin also called it cultural genocide. They both lamented officialdom’s malicious past historic misdeeds against Canada’s Aboriginal people.
But the Morrisseau HOAX is not past history. It is occurring NOW. TODAY. Malicious people are committing egregious acts of cultural genocide against the art of Norval Morrisseau, and Canada’s First Nations people as we speak. It has got to be addressed and stamped out by people in authoritative positions NOW to stop the continuing damage being done to Canada’s Aboriginal art heritage.
And it is mindlessly aided and abetted by a lazy, witless, and gullible mainstream media.
People promoting the HOAX, like all the passengers on the wildy careening KRG & NMHS Wanker Line Cultural Genocide Express, should be fired, sued, or censured today.
Their names are already deservedly tarnished without hope of redemption, and disgraced for the Ages on Canada’s Art Heritage “Wall of Shame.”
Disclosure 2 – I was also one of the few non-Aboriginal people invited in to witness an ultra-rare and seldom seen traditional Potlach attended by hundreds of Kwakwaka’wakw people in a traditional cedar house, when it was given by Chief Don Svanvik of the Wannock family in 2005 at Alert Bay, BC.
Disclosure 3 – I was also invited by Chief Svanvik to another Whannock family religious commemoration ceremony, honouring his grandparents at the cemetery where about one hundred Kwakwaka’wakw people watched and helped as he raised a huge totem pole he had carved in their memory. I was also the only white man – there were a couple of white women – invited to watch the private religious ceremony.
As is often customary in private Indian religious ceremonies, non-Aboriginals are not usually invited. In this case, though Chief Svanvik had invited me to attend – he knew I was shooting a First Nations program on treaties which involved interviews with Aboriginal Chiefs and elders across Canada – the Chief made it clear I was NOT allowed to take any still or video pictures of the event, although all around me dozens of Aboriginal people were wildly snapping flash photos and taking videos all the time. There IS a double standard based on racial lines, about who is allowed to witness, participate in, or record genuine Aboriginal religious and cultural ceremonies as supervised by recognized tribal chiefs or religious shamans.
And now we present the Goofy Bear Dance – Seen against this background makes it clear why two white guys (Ritchie Sinclair and Gabe Vadas) doing a Goofy Bear Dance with a mentally and physically debilitated Norval Morrisseau on the public grounds of the McMichael Art Gallery in 1997 is such a total farce as a so-called Indian religious ceremony.
And why Jack Pollock scoffed loudly at such hocus pocus “pseudo-Indian rituals” like that which Norval had dreamed up as sales promotion hoopla to make him look more Indian and “religiously inspired” etc., to his exclusively “white people” buying clientele.
Selwyn Dewdney, a mentor and advisor to Norval when he started out as an artist, ceaselessly told him, “Play up the Indian to the hilt with your art. That’s what white people expect.”
It was all to play up his Indian background to make him look like a religious shaman in a way that fit the preconceived notions of gullible and ignorant white buyers, when, in reality, Norval was only a brash “showman” trying to hustle his art among the only people who bought it – white people.
Notice how, in the Goofy Bear Dance video at Kleinburg, involving two white guys – both former boyfriends of Norval’s – Sinclair and Vadas, both are dressing up in pseudo-Indian costumes (and in my Cultural Genocide Express bus cartoon.) Alas, their disguises, their phony Indian names, and their mumbo-jumbo incantations about Indian spiritualism, won’t hide the fact that both are complete imposters and are laughably failing as Indian impersonators in trying their hand at what Jack Pollock, decades ago, called “pseudo-Indian rituals” which Norval was fond of doing with his young boys.
Next week Vadas and Sinclair may very well appear all duded up as Elvis impersonators. They would probably be much more convincing trying to carry that off…
10 – The finger given to Canada’s principal, and most respected Morrisseau dealer, and seller of Norval’s art (and that of many other Aboriginal artists) since 1960, Joe McLeod. By 2014 KRG had succeeded in totally destroying his business, Maslak McLeod Gallery. The aggressively hostile attack was aided on the ground by Ritchie Sinclair who physically threatened the frail 82 year-old Joe McLeod many times, on the street, by his car, at his gallery, and at his private residence, once setting off the burglar alarm at 2 am.
On Dec. 18 , 2010, Toronto Police charged Sinclair with some seven counts of Criminal Harassment.
Sinclair was angry at McLeod for refusing to have his gallery represent Sinclair’s art. Joe just felt Sinclair wasn’t good enough as an artist. And besides, his native art style of painting was fraudulent because Sinclair was a white guy pretending to be an Indian. McLeod knew that no collector of Native Woodland Art wanted or would buy such bogus Indian art which Sinclair was fabricating so unsuccessfully. And that dressing up in a Davy Crockett costume and waving a turkey feather,*** and beads about, did not make the disguise any more believable.
***Genuine First Nations Medicine Men are allowed by law to use genuine eagle feathers for religious ceremonials. Sinclair, being a white man, trying to promote his pseudo-Indian art by dressing up in a Davy Crockett costume, brandishes a genuine turkey feather as a costume accessory and sales promotional affectation, because he knows that being non-native he is prohibited by Canadian law from using or possessing an eagle feather, which for him, as a non-Aboriginal, is a prohibited item under the CITES convention.
This is done in order to prevent eagles, a protected species, from being plucked to death by the hordes of white Indian Impersonator/imposters running about sporting Davy Crockett or Daniel Boone costumes, mumbling pseudo-Ojibway incantations, and doing Goofy Bear Dances.
11 – The eternal “Desperately wannabe something I’m not” bus passenger, Ritchie Sinclair, in his disguise, trying to clamber onto the KRG & NMHS Wanker Line Runaround bus. He is a leading practitioner of the totally discredited “Faux-nishinaabe style” of painting, the illegitimate copycat style of pseudo-Indian painting dabbled in by urban white artists trying to cash in on the popularity of genuine Anishinaabe art painted by Canadian Aboriginal artists like Norval Morrisseau and his offspring, Christian, David, and Eugene Morrisseau.
Never in the annals of Canadian art history has any personality so ruthlessly thrust himself into the public arena as an Art Terrorist, with his aggressive personality, maliciously and destructively flailing out at anyone and anything who got in his way and his wild and totally unsubstantiated, invented “opinions.” No one else I can recall has so ruthlessly, aggressively, and destructively attacked the art heritage of Norval Morrisseau and the collectors who prize his art.
Sinclair has violently thrust himself and his multi-fold malicious falsehoods blaringly into the public eye via:
– numerous fraudulent personal websites, wildly labeling 1,000 paintings he’s never seen as fakes, even though they were painted and sold by Norval Morrisseau long before Sinclair had even heard of the artist, and countless false, wildly distorted and fabricated “Morrisseau legal” pages
– countless blog postings,
– radio interviews,
– TV presentations,
– KRG gallery videos,
– Youtube & Google videos,
– Wikipedia manipulations and fabrications,
– countless media articles,
– media comment columns,
– gullible media journalists who fail to do Due Diligence and proper research
– art gallery exhibits,
– court appearances with Donald Robinson,
– numerous acts of cyber terrorism using both his real name and anonymous personnas,
– faked police reports,
– forged Plaintiff’s claims,
– multiple racist attacks against leading reputable Canadian Aboriginal artists,
– enforcer and intimidation visits to art galleries,
– physical assaults for some of which Toronto Police warned Sinclair, on Sep. 3, 2010. Because he persisted he was finally arrested and charged with seven counts of Criminal Harassment against principal KRG target 82 year-old Joe McLeod on Dec. 18, 2010.
All these are apparently condoned by Donald Robinson who has repeatedly appeared in tandem with him in courts, and whom Sinclair fawningly refers to as “My Mentor.”
Sinclair has tried, for many years, to get into the KRG NMHS bus for a seat among the other conspirators against Norval’s genuine art. In spite of trying to effect a First Nations disguise with his list of phony Indian names, his imitation Indian art, his phony Indian bio, with his faux buckskin Davy Crockett costume, and his turkey feather, nothing can change the fact that this lily white guy is not, never was, and never will be, a First Nations member of any kind, or a Morrisseau expert of any credibility or believability.
In fact, Norval Morrisseau lived thousands of miles away from Sinclair, in the far north and the far west of Canada, from 1982 till he died in 2007, during a period Sinclair falsely claimed to have worked closely and continuously with him. And damningly during a period in which Sinclair not once claimed such a working relationship with the artist at all, and was not mentioned as doing so in the literature or media articles of the time.
It was only after Norval was safely dead, in Dec 2007, that Sinclair decided to re-invent himself as an Indian imposter/impersonator and start to ride on Morrisseau’s coat tails as his supposed “protégé” in an effort to promote himself and resurrect his hopelessly floundering career as an artist trying to paint illegitimate “Faux-nishinaabe” art.
An angry Sinclair told Joe McLeod, Canada’s senior Morrisseau expert, who testified in court that in 2010 Sinclair told him he was angry that he (Sinclair) had not been asked to become a member of the NMHS (AKA “to have a seat on the KRG NMHS Wanker Line Cultural Genocide Express bus”). McLeod testified that he was astonished, as he had never even heard of Sinclair before and besides, the other members of the NMHS were leading and highly credentialed members of important organizations. (Sinclair has completed no education of any kind beyond high school.)
To McLeod Sinclair was just an unknown from nowhere, an Indian impersonator in a Davy Crockett costume and trying to make what McLeod called “ersatz” Indian art.
A few months later Sinclair changed his story and in an Affidavit he swore to Toronto Police on Apr. 9, 2010, he claimed to be a member of the NMHS. Wow! So that’s all it takes…
You won’t believe this but I’ll tell you anyway. In the same sworn 2010 police deposition Sinclair scorched me, John Goldi, a man he had never met, or talked to, with a paragraph describing me as being part of a “syndicate of people engaged in a criminal conspiracy” to “sell fraudulent art” and “harass Ritchie Sinclair.” (My blog was still three years away.)
And then it gets worse. In the same sworn police report Sinclair went on to name some eight other people as malicious fellow syndicate members, people I had never even met or talked to, ever! On anything!!! It would be many months later before I would do so. In one case it would not be till three years later.
Truth has never been a stumbling block for Ritchie Sinclair, Norval Morrisseau’s self-declared “protégé” and Toronto practitioner of “Faux-nishinaabe” art.
Sinclair clearly did not believe that his fraudulent private claim to Toronto Police, and the totally false and fabricated report, would ever be disclosed to anyone else and become public. But it was, exposing him as a deliberately calculating and malicious serial liar willing to victimize with utter falsehoods anyone who got in the way of his self-promotion.
Later on Sinclair went one better. In June 2014, he told Tam-Ca Vo-Van, the Director of Ottawa’s SAW Gallery that he was a member of the Norval Morrisseau Heritage Society, a claim she firmly tried to pass off to me as a truth when she gave me a personal tour of her gallery in which Sinclair had put up three genuine Morrisseaus as examples of forgeries in the gallery’s “F IS FOR FAKE” Exhibit (June to August 2014).
He also maliciously and knowingly set up the SAW Gallery, a small artist’s co-op in Ottawa, for a potential lawsuit when he provided them with the genuine Morrisseau painting “Wheel of Life 1979,” claiming – fraudulently – that his NMHS credentials, proved it was a fake. When, in fact two judges had ruled it was 100% authentic.
In fact they were deliberately and maliciously placed by Curator Jason St-Laurent to be the central focus of the entire FAKES exhibit. The three genuine Morrisseaus were by far, the largest paintings in the exhibit. They were the only originals on display; smaller works of other artists displayed were copies. The genuine Morrisseaus were also strategically placed at the focal point of the main room where visitors would immediately see them, hugely lit up and placed in close proximity to the huge “F IS FOR FAKE” lettering.
The deliberately fraudulently manipulating St-Laurent clearly wanted everyone in the world to regard the three genuine Morrisseaus as fakes, when in fact he very well knew or ought to have known, that they were all genuine and he was libeling and defaming them and their owners. Above all he was committing cultural genocide against the artist Norval Morrisseau and Canada’s Aboriginal art heritage.
One painting, “Wheel of Life 1979” had been confirmed as a genuine Morrisseau by both Deputy Judge Paul J Martial and by the Hon Madam Justice Mary Anne Sanderson in Ontario Appeal Court in 2013. The same two courts which dismissed Ritchie Sinclair as not having the credentials or expertise in Morrisseau art he claims to have, and even raised the issue of him having perjured himself. Sinclair knew all that, but his repeatedly displayed contempt for judges and Canadian courts made him overstep any moral or ethical constraints that he once may have had.
Thanks to my heads up and documentation of this false, libelous, and defamatory display, Artworld – which had won both the lawsuit and the Appeal on the authenticity of “Wheel” – threatened to sue Curator Jason St-Laurent and the SAW Gallery unless he immediately dismounted their fraudulent display of “Wheel of Life” as a fake, and publish a public apology in the Ottawa Citizen.
St-Laurent and the SAW Gallery immediately complied, dismounting “Wheel of Life,” and taking out a public apology in the Ottawa Citizen. Gallery Curator St-Laurent disingenuously blamed the fraud entirely on the malicious machinations of Ritchie Sinclair. When in fact, in personal disclosures he made to me, he knew all along exactly the fraud that was going on, and he was eager to give the finger to a reputable fine art gallery owner out of personal spite.
Sucker-Punched Again – It was one more time that Sinclair had sucker-punched a gullible victim. In 2009 he had conned Margaret Hatfield, a retired old lady schoolteacher, to launch a lawsuit at her expense of a painting “Wheel of Life 1979” he claimed was fake. Two courts told him he was utterly wrong in his claims – lying I would characterize it; perjury said the winning lawyer Brian Shiller, before Madam Justice Mary Anne Sanderson – and it cost the gullible old woman some $60,000 for an action Sinclair and his longtime associate, lawyer Jonathan Sommer launched in Small Claims Court. Sommer lost it spectacularly in that court. and then again, in Superior Court on the Appeal. Hatfield lost outrageous amounts of money paying for it all, because she had listened only to Sinclair, Robinson, and Sommer, instead of doing Due Diligence, and consulting the real Morrisseau experts involved, a failing noted by Judge Martial.
Sinclair clearly did not believe his totally fraudulent private claim to Tam-Ca would ever be disclosed to anyone else or become public.
And then it gets worse.
In another private conversation, the SAW Gallery boss and Curator, Jason St-Laurent aggressively held forth to me that Sinclair told him that he not only WAS a member of the NMHS but that Sinclair had actually founded the Norval Morrisseau Heritage Society.
Again, Sinclair clearly did not believe his totally fraudulent private claim to St-Laurent, would ever be disclosed to anyone else or become public. But it was, exposing him as a deliberately calculating and malicious serial liar willing to victimize with utter falsehoods anyone who got in the way of his extremist and uncontrolled self-promotion.
Something seems to echo in my head from Dr. Hare’s book. (See Below)
Poor Ritchie… Oh so desperate in trying to scramble onto the KRG and NMHS Wanker Line Cultural Genocide Express bus.
Sinclair, in fact, is merely a one-time Morrisseau hanger-on who was once briefly one of Norval Morrisseau’s many paid young male companions during Norval’s short stay-over in Toronto from 1979 to 1981, when the Volpe family brought the artist from Thunder Bay to paint exclusively for them. (Source: Morrisseau family members).
Jack Pollock, the man who knows better than anyone else what he’s talking about concerning Norval at this time, noted in his memoir that in exchange for his art, the Volpes paid Norval with “dollars, dicks, and dope” (p 172, Dear M, Jack Pollock).
Writing about Norval’s extreme longstanding homosexual indulgences Pollock noted:
“(c 1965) Norval arrived in Toronto on one of his famous drunken binges and brought with him a handsome young man, a ‘student’ he said. That was my first visible indication of his bisexuality. Much later he abandoned his wife and children***… and began an incredible journey into total sexual indulgence. I have often fantasized about his coterie of beautiful young men (all hustlers, all very well paid with thousands of dollars in cash which I provided from paintings sold), lots of drugs, and ritual pseudo-Indian ceremonies.” (“Dear M,” Jack Pollock, p 26)
***Norval had seven (7) Aboriginal children whom he abandoned early on to fend for themselves, and were raised by his in-laws the Kakegamics. Today, several Morrisseaus (Christian, David, Eugene, and Wolf) are noted artists in their own right, painting in the genuine Anishinaabe style thanks to their DNA and their cultural upbringing. Unlike the fake “Faux-nishinaabe style” hocked about by urban white Indian impostor/impersonators like Ritchie Sinclair.
Unlike Sinclair, Christian, David, Eugene, and Wolf Morrisseau are all successful Anishinaabe artists whose work can be found in prominent art galleries.
From his lair in his roommate’s downtown Toronto apartment Sinclair has launched malicious and vile racist attacks on them all – I believe out of spite for their success while his career flounders – calling them, in concert with Kinsman Robinson Galleries’ Donald Robinson, forgers and fakers. When in fact it is Sinclair, with his “Faux-nishinaabe style” art who is the faker, forger, of an art form that has no legitimacy, either in this world or the next…
(Sinclair has launched vile racist attacks on other leading Aboriginal artists, namely celebrated artists Don Ningewance and Deputy Grand Chief Dr. Goyce Kakegamic B.A., B.Ed. He’s probably irked that Goyce, a celebrated chief and academic. has multiple university degrees and honours, while the best Sinclair could manage was a few years of high school, before deciding to call his attempts at further self-improvement a bust.
Sinclair has testified in court that the Volpes hired him at this very time (the Volpe period c 1979-1981) when Norval was paid in “dollars, dicks, and dope” of which Pollock spoke, to accompany Norval for whatever…
So what could Sinclair’s possible appeal be to Norval, the world renowned artist at the peak of his fame and power at age 47? Sinclair was an aimless young community college dropout who has reported that he had not a clue about the much older man’s art or achievements.
Sinclair himself brashly told the court and reported in a radio interview, that when he first met Norval at this time that:
– he did not know who Norval Morrisseau was
– he did not know of Norval’s status as an artist
– he had never seen a painting by him
– he had not even seen a picture of a painting by Norval
– he had no idea even of the type of painting Canada’s top Aboriginal artist did
– he had no clue about the culture, history, whatever, etc. of Aboriginal people
Sinclair also told the court his art education was also abysmal and a failure, telling Judge Martial, under questioning by winning lawyer Brian Shiller, that he had only spent a few months trying to do an introductory course in art at George Brown Community College in 1979, before deciding to drop out without finishing and listed what it qualified him in:
“Q – Shiller: And were you given some designation as a result of that course?
A – Ritchie Sinclair: No; nor did I ever use such a thing such a designation.
Q – And what did that course qualify you to do?
A – Qualified me to do typeset; set-up; advertising; letter-set; very basic things that nobody uses any more.” (p 124, Court Transcripts/Hatfield v Artworld, Testimony of Ritchie Sinclair Feb 23, 2012)
It’s not surprising Sinclair dropped out. Hell he knew enough already for what he planned to do. Let fool doctors, teachers, judges, and lawyers waste away their lives trying to upgrade by spending years getting degrees, diplomas, and certificates. And it’s hard to argue with him. Why bother with Osgoode Hall?
Perry Mason Unleashed – I have seen him, in multiple courtrooms, vigorously directing credentialed lawyer, Jonathan Jerome Sommer in how to conduct his courtroom strategy and behaviour, and during breaks when judges were absent, bringing Sommer documents and aggressively point out which parts he wanted him to address next. In a case where he was NOT a litigant, neither a Plaintiff nor a Defendant. But clearly a manipulator with chutzpah to spare and then some.
Correction Please, Madam Justice – In Superior Court while The Hon Madam Justice Mary Anne Sanderson was in a brief aside with Defence Counsel Brian Shiller, Sinclair – who was sitting in the public gallery immediately beside my wife and me, barked at Sommer so loudly, the lawyer swung around, wide-eyed, to face us. Sinclair upbraided him for something he told Justice Sanderson, which he wanted corrected. Sommer waited while Sinclair gave directions to Margaret Hatfield, sitting between Sinclair and me, to scribble an instructional note. When she was finished Sinclair leaned forward and handed the paper along with verbal instructions, to Sommer who read it. He then immediately rose and informed Justice Sanderson that he had misspoken and would like to correct a false impression he made.
Perjury – This may account for the fact that Jonathan Sommer deliberately or accidentally perjured himself in Superior Court when he told Justice Sanderson that Ritchie Sinclair had been “acquitted” of seven instances of Criminal Harassment of 82 year old Joe McLeod, for which Toronto Police had arrested him. (on Dec. 18, 2010.) This was a patent falsehood. I was in the courtroom where that matter was addressed; Sommer was not. What he told Sanderson was a lie. Apparently the falsehood made the intended impact. Said Sanderson, “Oh I did not know that.”
Clearly, as a community college dropout and a totally ignorant white city boy, Sinclair had no attraction to Norval as being in any way useful as an artist, and was of course totally bereft of First Nations understanding, which was what Norval’s art was all about. Never in world art history have a famous artist and his young companion been so utterly mismatched as so-called “painting” associates.
This mystery of this totally unlikely professional association becomes clear when reading court transcripts of Wolf Morrisseau’s testimony before Judge Martial. (I was an investigative journalist seeing and listening to all this and saw and heard Wolf testify before Judge Martial some ten feet in front of me.)***
***In fact, unlike other journalists who cover court trials, who pop into courts only for short periods of time, I was there for every moment of every day that both the Trial and the subsequent Appeal lasted. In fact I was the only member of the Public Gallery to do so. The only other journalist who ever showed up was the Globe’s James Adams who “popped in” on a couple of occasions for brief periods of time. On most days, and for most of the time he was nowhere to be seen.
Also, unlike other journalists, I read ALL the trial transcripts, in fact, multiple times, to make sure I accurately reported and corroborated what I had personally seen and heard, even commissioning omitted transcripts that had not been transcribed or seen by anyone else. So I can say without hesitation that I am the only one – and that includes counsel from both sides, as well as litigants, who has read ALL the transcripts. Mainstream media journalists all write without ever seeing trial transcripts, which are never available until long after scribes like Adams, have filed their stories.
Wolf Morrisseau explained how his older brother, for whom he was a business manager for many years, met Ritchie Sinclair.
Sinclair claims he answered an ad by Norval for a “protégé” in a Toronto newspaper. Yet tellingly, but not surprisingly, Sinclair has never produced such an ad anywhere for anyone, as proof, in spite of the fact that the Toronto Star has wonderful archives of its publications from 1979. All just more utter unsubstantiated bumpf from Sinclair’s totally fabricated and invented past.
Had Norval advertised for a “protégé” in the 1970s, at the height of Toronto’s infamous bathhouse scandals, he would have been flooded by thousands of eager gay respondents looking to hook up with probably Canada’s most famous homosexual. How likely is any of that?
Wolf, Norval’s younger brother and his admitted procurer, says the truth is something quite different, which he explained under questioning by Defence Counsel Brian Shiller in Hatfield v Artworld, a case Mr. Shiller won both in court, and later on Appeal, because a judge and a justice, both, preferred the testimony of Wolf Morrisseau to that of Ritchie Sinclair. In fact Shiller, later even cited Sinclair for perjury in Superior Court.
“Q – Shiller – Now, there’s been a previous witness in this case named Ritchie Sinclair. Do you know who Ritchie Sinclair is?
A – Wolf Morrisseau – Yes I do.
Q – Do you see him in the courtroom today?
A – He’s sitting over there in the corner.
Q – Okay. How did you meet him?
A – I met him on the streets of Toronto.
Q – Can you tell us the full story of how you met him on the streets of Toronto?
A – I was living with my brother in Buckhorn, near Peterborough, and he made a request of me – he would send me to Toronto to go and buy groceries and whatever paints and supplies – and so he made a request of me that he wanted male companionship. And so I went out and I looked for male companionship for him and met Mr. Ritchie, Mr. Sinclair.
Q – …when you say ‘male companionship’ was he more specific?
A – Well….
Q – What do you mean by ‘male companionship’?
A – He, he wanted a lover.
Q – I see. And when you said you met Ritchie Sinclair where did you meet him?
A – I met him on the streets of Toronto. I, I asked him, I said, “Do you know anyone that would entertain an artist?” And he said, “Well, what’s he paying?” I said, “Well, that’s not for me to decide but you can decide that with him.” And he agreed and we got in the car and we went to see my brother.
Q – All right; and can you describe what your brother’s relationship was with Ritchie Sinclair?
A – I believe they were very close friends; I believe that they experience more than just two guys being friends. I think they had a sexual relationship. I didn’t see that; we did not partake of that because it is none of my business what my brother did in his life…” (Court Transcripts, Hatfield v Artworld, p 115, Feb 24, 2012)
Wolf’s story dovetails completely into the memoir recollections of Jack Pollock in his recounting of the Volpes supplying Norval with “dollars, dicks, and dope” during this exact time of which Wolf testified. Judge Martial would go on to say he believed Wolf as a trusted witness in all his testimony, quoting him more than any other witness of either side. Martial did not believe Sinclair on anything.
Pollock, who proudly flaunted his own prolific homosexual adventures, wrote in envious awe about Norval’s sexual appetite, and of the many “beautiful young boys” and men he constantly surrounded himself with, his “protégés.”***
*** Dr. Robert Hare, “Without Conscience: The Disturbing World of the Psychopaths Among Us” page 11. Dr. Hare gives the leading definition of “protégé” in his bible on Psychopathy. He says there are 300,000 psychopaths in Canada. Hare says to find out who they are, look around you, for the telltale signs of con artists, hustlers, and social predators, who lie and manipulate their way through life, people who are consumingly narcissistic, wildly delusional, utterly remorseless, without a conscience, megalomaniacal, without concern for the feelings of others, unconcerned about the harm and damage they do to others, totally unfettered by moral and ethical constraints that hamstring normal people, etc.
Dr. Hare is, of course, the University of British Columbia professor who is internationally acknowledged as the world leader in defining the mind and behaviour of psychopaths and sociopaths. His diagnostic “psychopath checklist” is used everywhere around the globe. A psychopath is one who stays in his room; he becomes a sociopath when he goes out into society to wreak havoc among normal people with a malicious path of anti-social destruction.
Wolf, who witnessed a lot of Norval’s wild sexcess over the years, said in court, Norval called all his young men his “protégés” which, of course, is prison parlance for the protected weaker partner under the control and “protection” of a dominant homosexual “male.”
He “protects” the weaker younger member of the couple from being sexually attacked by others, signaling, “stay away; he’s my protected one” my protégé. Sinclair is notorious for callously capitalizing on a short term boyfriend relationship with the artist he had in the latter part of 1979. Tellingly it was not till 2008 – that’s right, 27 years later – and only after Norval’s death, that Sinclair started to fabricate this fling into a bogus claim of being some kind of Morrisseau art expert, all and only, based on his so-called brief “relationship,” in his youth, as a sexual “protégé” of Norval Morrisseau.
Note: Another telling truth about how ludicrous allegations of Morrisseau forgeries are, is that the Volpes did not need to have Norval or anyone else, produce so-called “fakes.” For several years, from 1979-1981 they had the artist himself working non-stop for them producing genuine Morrisseaus, hundreds, thousands of them. In early 1982, afraid of a hit on him by the Volpe mob, for selling his paintings behind the Volpe’s back, Norval literally fled Toronto, leaving Sinclair and his other Toronto male lovers far behind forever, and returning only for short stays, many years apart, to attend a show or two.
Norval lived, for the next 25 years thousands of miles from Toronto and thousands of miles from Ritchie Sinclair, the man who, carefully waited, 26 years, until Norval was safely dead, before he began his notorious self-serving career as an Indian Imposter/impersonator and invented his so-called protégé connection to Morrisseau to advance his own disastrously floundering art career, as he told longtime Morrisseau blogger and researcher, Ugo Matulic, in private emails in 2008.
In October 2008, after his disastrously failing “Faux-nishinaabe art” show at the Scollard Gallery, Sinclair made a startling life career change, when he abruptly decided to become a secret business associate and enforcer for the Kinsman Robinson Galleries.
He took only a few days to post 1,000 low res images, gathered from all over the internet, on a libelous and defamatory website featuring images of genuine Morrisseau BDP paintings of the artist’s 1970s period, which were in the hands of the Robinson family’s business competitors, and which Donald Robinson wanted to denounce as fakes. Sinclair happily complied. Sinclair had quickly cribbed some 1,000 images from the internet of paintings he had never even seen. He included images of paintings from leading museums and art galleries in the US and Canada. He produced no evidence or proof whatsoever that even a single one, was a fake.
Truth or proof was never a stumbling block for the protégé pretender.
And then it gets worse.
Sinclair discredited five (5) paintings as fakes which Norval Morrisseau himself had selected to put as full page illustrations, into the KRG published book “Travels to the House of Invention” in 1997.
Robinson claimed Norval had chosen the images for his own book.
Clearly somebody here is nuts. Was Norval so mentally deteriorated by 1997, and Robinson so totally inept that neither could tell a Morrisseau fake from an authentic work by the artist? Hence the disastrous publication. There is enough documented evidence that both are guilty of that, multiple times, on multiple occasions.
Or is Sinclair just out to lunch? Again?
In fact Sinclair made very many, hugely obvious and hilarious mistakes on his website, like claiming a Richard Bedwash painting was an Authentic Morrisseau, and calling the same painting fake one day, and then genuine, or the other way around. Over and over again. And saying dozens of paintings, which he has never seen, are still fakes even though others who had, forensic scientists, other art experts, and multiple judges, declared them authentic with DNA certainty.
Many decades after Sinclair had last painted with Norval, KRG gladly recruited Sinclair, and his malicious, libelous, and defamatory website, and his muscle as an “enforcer,” coupled to his ability and willingness to physically threaten and intimidate multiple people, including the likes of 82 year-old Joe McLeod (Toronto Police Criminal Harassment charges v Sinclair Dec. 18, 2010.)
But tellingly, in the years they have been business associates, and a malicious tag team in various Canadian courts, in promoting the HOAX, KRG has never once, offered Sinclair a show for his “Faux-nishinaabe art” in his Yorkville art gallery. Just like the Liss Gallery, Artworld, and Maslak McLeod, KRG obviously found that Sinclair is just not a good enough artist to put on shows for, or to want to display his make believe “Native” art.
In 2014 when Sinclair showed up in his Davy Crockett costume and waving his turkey feather to showcase his “Faux-nishinaabe art” on CBC’s Four Rooms, its art experts openly sneered on national television, at his Morrisseau look-alike art, as poor, imitation, amateur, and examples of “bad Morrisseaus.” Not a good review from anyone for a white artist almost 60 years old trying to paint in the Aboriginal Woodland style and play dress-up Indian.
Sinclair told Judge Martial (who scorched Sinclair in his Hatfield v Sinclair Judgment Mar 2013) that the reason KRG has never represented him as an artist was because they saw him and his “Faux-nishinaabe art” as an equal to Canada’s top Aboriginal artist, Norval Morrisseau whom they represented, and they couldn’t show him because that would be unethical competition. And, after all, they had represented Norval for years. Two giants in competition, as it were: a giant talent and a giant imposter.
12 – Joyner Delisting & Desecration of “Nature as One 1977” – This painting was responsible for bringing to an end Joyner Canadian Fine Art Auction, which for years was a Canadian high end fine art auction house, founded by Geoffrey Joyner in 1985, but which closed its doors forever, within only a few weeks, after I published a scorching exposé showing devastating evidence of gross auction house malfeasance by Joyner staff, in ruining irretrievably, without just cause, the value of a consignor’s painting, a genuine Norval Morrisseau BDP work called “Nature as One 1977.” (I had examined the front and the back of the painting in person, and attended both the Joyner preview and the auction.)
Only seconds before the auction was to open, on Nov. 25, 2011, Rob Cowley, Joyner’s senior employee and longtime auctioneer, suddenly and unceremoniously, announced that Joyner’s had dumped the painting from its auction line up. Auction floor gossip was rampant that probably Joyner’s dumped the painting after a threat by someone at Kinsman Robinson Galleries, either Paul or Donald Robinson.
“That Damn Joe McLeod” – It was also a deliberate slap in the face by Joyner’s against Joe McLeod who was listed as the authority for “Nature as One.” Joe was the main business competitor in Morrisseaus of Kinsman Robinson Galleries and was a frequent target of the Robinsons and their enforcer Ritchie Sinclair for allegedly selling so-called “fakes”- with no proof of course, but with tons of malice and self-interest.
The Joyner delisting’s negative ripple effect was deliberate. One longtime Waddington’s employee whom I had talked to for years, at the auction, snarked to me: “Well, this should fix that damn Joe McLeod.” Joe was a minor client, compared to the Robinsons, and obviously considered expendable…
The threats and nastiness flung hither and yon by the Robinsons and their associates at honest and decent collectors of genuine Morrisseau paintings was well known in the industry. For one, Jessica Wilson told me in Nov. 2010, that Paul Robinson and several of his associates had loudly threatened the Elmwood Spa Gallery to delist gallery Morrisseau paintings KRG disapproved of, or else! Out of fear the Spa complied.
A couple of days later I saw KRG enforcer Ritchie Sinclair all duded up in his Davy Crockett costume, accompanied by his roomate Garth Cole, prowl her gallery to oversee Spa compliance with KRG directives.
This was the same month that Sinclair physically lunged at me, throwing me back on my heels in a courtroom foyer, and yelled at me. Standing beside him when he did it, completely out of the blue, and taking me aback, was a smiling Donald Robinson.
It was the first time I had ever seen Sinclair – and nine years since I had last met Robinson – and years before I started my blog. I was doing research on the Morrisseau HOAX and Sinclair was determined to intimidate me to scare me off.
Minutes after lunging at me physically outside Toronto’s Courtroom #300, he aggressively demanded inside, that Judge MD Godfrey (hearing Otavnik v Sinclair in a Trade Libel case) eject me from the public gallery, by falsely telling him I was a “witness.” I said I was not, and Judge Godfrey smiled and said I had every right to stay.
(In Nov. 2014, Sinclair would try the same fraudulent tactic against me, again, in another Toronto courtroom, this time telling Judge McKay (hearing White v Sinclair in another Trade Libel case) – again falsely – that I was a “witness” and demanding that he throw me out of the public gallery. Judge McKay smiled and said I could stay.)
This was all, only a few weeks before Toronto Police charged Ritchie Sinclair, on Dec. 18, 2010, with some seven counts of Criminal Harassment against the 82 year-old Joe McLeod.
A few months later, before witnesses in a Toronto court house Sinclair violently slapped my wife’s hand aside, knocking documents she was trying to hand him onto the floor.
Threats like these were also a topic of conversation I had at Sotheby’s some years ago, with David Silcox, long a senior and highly respected Canadian fine art expert and academic. He is Vice Chairman, Advisory Board, Sotheby’s Canada.
He said Sotheby’s was planning to totally refuse to accept any more Morrisseaus for sale. “With all the threats we get, it’s just not worth handling Morrisseaus anymore.”
NOTE: Like Joyner, Heffel too, had done exactly the same kind of unprincipled delisting (in 2006) of multiple Morrisseau paintings owned by longtime Morrisseau collector Joe Otavnik, after it received threats claiming Otavnik’s paintings were “fake.”
In what I believe is an international fine art first, on Apr. 16, 2007, Joe Otavnik successfully sued the artist and Gabe Vadas, his business manager, for libeling and defaming his genuine Morrisseau works to Heffel. Otavnik dared the duo to show up in court and try to prove it before a judge.
In his defence Vadas admitted and revealed inadvertently that he had been running all Norval’s financial, personal, business, painting, and legal affairs since appropriating Norval’s Power of Attorney on Apr. 24, 1990, sixteen years before… Norval had nothing to do with any of it since. Ever since then, Vadas had ruthlessly wielded his Power of Attorney against Canadian collectors to destroy the value of their paintings in order to enrich himself, as the self-designated heir to all Norval’s estate. As he told the CBC in 2004, “I’m deserved of it all.”
Vadas (and Morrisseau who was only months from death) knew they couldn’t go before a judge because they were perpetuating a business fraud, and begged Otavnik for an out-of-court settlement. Vadas and Morriseau paid Joe $11,000 to let the matter drop.
A truly landmark achievement when an art collector can make the artist himself yell uncle and pay him off for falsely slanging his own (secondary market) art just for a financial advantage in selling his new works.
After doing years of research on the Morrisseau HOAX, in which genuine paintings were being, without evidence, maliciously denounced as fakes and devalued in a business scam, I started publishing my blog “TheMorrisseauHoaxExposedBlog.com” for the first time on Jan 10, 2013.
As a longtime credentialed Canadian historian (since 1966) and a longtime investigative journalist, with a long list of national credits and accomplishments with several top television broadcasters and numerous Federal Government departments, I passionately follow all the rules that govern good historical research and writing, stringently adhere to all the required elements of “fair comment opinion,” and follow the “elements of responsible communication” for journalists, as outlined by Chief Justice Beverly McLachlin and the Supreme Court of Canada in 2009.
I blogged about the clear case of Joyner auction malfeasance in “The Bad and the Beautiful – Part 1” (Feb 27, 2013), scorching Abbot and Joyner’s inexcusable and unprofessional auction tactics in delisting, without cause, and defaming Morrisseau’s “Nature as One,” not only before the auction crowd but because of its widely distributed glossy catalogue and website internet postings of the auction to the world.
In my blog I sternly asked why, since Lydia Abbott, the so-called Joyner senior art expert, had had the painting for many months, why did she not dump it early on, “for cause,” instead of just irresponsibly dumping a painting she had found nothing wrong with, for many months, at the very ultimate, last moment?” Literally only seconds before Rob Cowley started to auction.
I knew that my accusatory article would raise hell at Joyner’s because I did not personally believe that Abbott, however lofty her title as an art expert was at Joyner’s (listed as Joyner Senior Canadian Fine Art Specialist) she probably did not agree to dump “Nature as One” so unceremoniously and without notifying the consignor first to register her concerns, if any. I am certain she did not.
I believed, that in fact, her boss, Geoffrey Joyner surreptitiously, likely made the decision, and let Abbott take the heat and fallout. His highhanded action, exposed in public by my blog, was not exactly a good bio addendum on Abbott’s career path as a professional fine art specialist.
In fact two weeks before the auction Abbott had kindly provided me with hi res photos of the back of the Morrisseau painting. Would she have done so if she thought it was fake?
On the day of the auction, fine art auctioneer Stephen Ranger, longtime fixture on the Canadian fine art scene, and who held a senior position at Waddington’s, told me, when I asked him who had decided to dump the painting so suddenly like that, “I don’t know, but Geoffrey Joyner makes all the decisions like that around here.”
And, presumably, that his staff had to like it or…
In my article I scorched Abbott, saying Joyner’s just screwed the consignor out of a sale without notifying her.*** And besides, Joyner’s committed a gross act of cultural genocide against the genuine art of Norval Morrisseau just to please their client Kinsman Robinson Galleries, with its long record as an art terrorist in threatening art galleries and auction houses. (Auction floor gossip and personal research.)
(***Disclosure: I found out the consignor’s name and confirmed all the details by talking to her in Nova Scotia.)
I believe, caught in an untenable professional situation, that Abbott just stewed angrily behind the scenes. Other prospective Joyner Waddington’s consignors also noticed my blog and talked… It could happen to you… You could be the next consignor to be screwed by Geoffrey Joyner, have your consignment dumped without cause, see your art and investment destroyed and rendered unsalable anywhere for any price, all just because Joyner was apparently quite willing to entertain allegations, and act arbitrarily to delist art consignments, based on malicious, unwarranted, and unsubstantiated claims flung about by a high spending auction client.
Tit for Tat – Robinson was a highly prized client at Joyner Waddington’s. He had bought numerous Morrisseaus there as the winning bidder, including “Animal Unity 1978” at Joyner the year before (2010) for $59,000. As of 2015 – and five years later – it’s still for sale at KRG for some $400,000.
It’s clear that former KRG clients are getting more and more annoyed with having to pay the outrageous KRG mark-up of 550 to 600% for paintings the Robinsons buy for ultra low prices at auction and from private buyers and then just mark up outrageous amounts. And “Animal Unity 1978” – marked up some 600% – has been featured for sale on several KRG Morrisseau retrospective shows.
There is also lots of documentary evidence of KRG just altering, fabricating, and inventing literally out of thin air, the “provenance” of numerous Morrisseau paintings to make them more appealing to buyers and calling them “direct from the artist” when the claim is demonstrably and provably false.
Thanks to KRG’s role in promoting the “greatest fraud in Canadian art history” clients are increasingly abandoning KRG. Long gone are the days when Robinson could boast that every Morrisseau show sold out on the first day, and the gallery was teeming with jostling patrons.
On opening day of their 2014 Norval Morrisseau Retrospective I, and others, noted with astonishment that the KRG staff and guest presenters, and snooping journalists present outnumbered the members of the buying public. And that various large paintings (Morrisseaus and Burrowsseaus) offered for sale on previous years, without success, were being posted again, and again, without finding a buyer. And that only a few cheap, small, and not very good paintings had red “Sold” stickers.***
***Note: “Salting the mine” is a common sales tactic in many art galleries to falsely sticker paintings with “Sold” tags, to make Show customers think “WOW, stuff is really selling at these high prices. I’d better get one before it’s too late.” Then watch what happens if you say “too bad that one’s gone. I would have bought that even at that high price.” Watch as, mysteriously, the “Sold” becomes “only on hold,” and then, “I just checked. Well he had a family emergency so had to pass. So Ma’am we are pleased to be able to offer it to you at the sticker price. This is your lucky day.”
I believe as clients become increasingly aware of KRG’s role in destroying the art heritage of Norval Morrisseau, people are just staying away and refusing to show up or buy. People are contacting me from near and far with angry complaints about KRG’s business practices.
On Apr 8, 2013 I received an ominous Cease and Desist notice from Joyner Waddington’s ordering me to remove the post and to apologize etc. I refused to comply.
To my mind, Geoffrey Joyner refused to “own up.” Abbot refused to speak up. I believe the internal festering intensified among Joyner’s headquarters staff.
On May 1, 2013 I received a further nasty and threatening lawyer’s warning from Joyner’s and Waddington’s banning me, my wife, and my dog, from their auctions and properties, in Toronto and other towns in Ontario – where I had been a very good customer of both Joyner’s and Waddington’s for over a dozen years.
It warned me with dire consequences if I did not remove my posted material on Joyner’s actions regarding “Nature as One” and my so-called “misogynist” comments on Lydia Abbott – the lawyer reported her as very upset by my comments.
(When, in fact, the lawyer should more properly have blamed Geoffrey Joyner for Abbott’s upset and predicament, for taking an unprincipled and high-handed action over the head of his senior art specialist, and letting her take the blame and the fallout, privately and publicly. And not just maliciously and facetiously target the investigative journalist who pointed out an auction house malfeasance that was sure to cause staff, as well as consignor upset.)
I, being totally in the right and backed up by infallible documentation, refused to comply to Joyner’s legal bullying, and did not. Truth is the ultimate defence in libel and defamation.
Someone at Joyner had dumped, desecrated and devalued a genuine Morrisseau painting without cause, and I demanded that someone be held responsible for the desecration and clear act of cultural genocide. Abbot sported the title at Joyner as Senior Art Specialist. Commonsensically, I targeted her and held her publicly accountable…
If it upset Abbott so be it. With titles come responsibility. Especially to my mind, with the handling of rare and valuable Canadian heritage art treasures.
Too damn many fine art auctioneers, in their fancy suits, and pomaded hair, treat Canadian heritage art as if it was just sausage on a conveyor belt.
I decided to up the ante…
Rather than submit to being intimidated by Joyner’s legal bullying, with a specious SLAPP suit, penned by a rude, insulting, and aggressive Joyner Waddington’s lawyer, I immediately put on more public pressure with two more postings, documenting further acts of gross auction malfeasance by the auction house. I calculated it would hugely upset Joyner Wadddington’s consignors.
On June 4, 2013 I published that Joyner Waddington’s had banned me, a longtime and loyal auction bidder, from any further bidding at any of their auctions in their properties across Ontario. I had been the underbidder*** hundreds of times at their auctions over the past 15 years or more.
***The underbidder – NOT the high bidder – is the most valuable asset any auction house AND THE CONSIGNOR can have. Smart auctioneers, and consignors, recognize the underbidder as the one who puts the money in their pockets because without his aggressive bidding to force up the bidding, the winning bidder would get everything for rock bottom dirt cheap prices. The underbidder forces the winner to empty his pockets at the auction. Over the years my aggressive underbidding had put hundreds of thousands of dollars into the coffers of Joyner Waddington’s and their consignors.
This is who Joyner Waddington’s were targeting. And consignors noted it…
On June 19, 2013 Joyner Waddington’s held their first auction since I was banned from bidding.
On June 19, I immediately published that by barring me from that Joyner Waddington’s auction, they had lost one of their consignors some $15,000 when they refused to let me bid on a set of 11 fabulous World War I Carruthers Gould toby jugs that I wanted.
(In fact I had been the winning bidder on the last such Toby jug sold by Waddington’s in 2003.)
So, I pointed out, the fabulous and rare tobies went ultra cheap, and another consignor (now the second one) lost a bundle of income. Entirely thanks to Joyner Waddington’s insisting on indulging in a petty personal peeve against a longtime loyal customer, a longtime aggressive underbidder, and also, a veteran whistle-blowing Canadian heritage investigative journalist, who, over the years, had made somewhat of an international reputation with his specialty of researching creeps, crooks, conmen, and the fakes, frauds, and forgeries that were desecrating and devaluing heritage art and historical memorabilia.
Increasing numbers of other consignors no doubt took notice of what could happen to their consignments if they gave them to Joyner Waddington’s. The brand was, again, being hugely tarnished by clearly documented acts of auction malfeasance, first against the art of Norval Morrisseau, then against an underbidder, then against another consignment given to them on trust.
Somebody got a hell of a deal on those ultra rare and fabulous World War 1 Carruthers Gould tobies, and it sure as hell wasn’t the trusting and sucker-punched consignor…
Consignor muttering no doubt grew. I believe consignments to Joyner-Waddington’s may very well have started to dry up.
I believe it was all too much for Joyner’s top two staff people, Lydia Abbott and Rob Cowley.
And for Waddington’s which had teamed up with Joyner’s in 2002, to form Joyner Waddington’s, at a time when the Joyner brand was considered, in some quarters, as a reputable brand in fine art. Waddington’s had even proudly prefixed the name Joyner ahead of its own on promotional signs, literature, and catalogues.
And paid to make a new corporate logo, which entwined a J and a W in loving embrace. Waddington’s had been mostly a second-hand house wares, books, low-end art, and used furniture auction up to then.
By adding the Joyner name the McLean boys (inheritors & owners of Waddington’s) hoped to add a little class and prestige to their family’s low end house-hold clearance auction house.
Rob Cowley, long a fixture at Waddington’s had come aboard as Client Services Administrator for Joyner Waddington’s and was promoted as Executive Assistant to Geoffrey Joyner himself. For years he was Chief Auctioneer. He had been a loyal and key employee for 12 years when I published my complaints about multiple acts of auction house malfeasance regarding “Nature as One,” my being banned as a bidder and underbidder, and the resulting Toby jug fiasco.
In June, only days after my third blog article scorched the auction house again, the Joyner-Waddington’s brand imploded.
Suddenly, and immediately after my last scorching post, Lydia Abbot, Joyner’s top art expert, whom I had roasted, a few months before, on Feb 27, 2013, as complicit and responsible for the cultural genocide against the art of Norval Morrisseau, and Rob Cowley, long Geoffrey Joyner’s executive assistant and auctioneer, both abruptly quit both Joyner’s and Waddington’s, thereby totally gutting Joyner Canadian Fine Art Auction of its top staff.
I believe both Abbott and Cowley had obviously felt tarnished by my Joyner auction malfeasance disclosures; both had been employees of Joyner Waddington’s for a long time. Their sudden and total departure, in June 2013, from their longtime former employers, was an earthquake development in the Canadian fine art auction world.
And coming, literally only a matter of days after my last scathing article, it was a startling example of the “power of the press,” and proof that if you know your stuff, stick to the truth, and document it clearly, that principled and informed writers and bloggers can expose malfeasance in Canadian business life and effect meaningful change that benefits society at large.
Clearly, neither Lydia Abbott, nor Rob Cowley, any longer wanted to take the heat for personal decisions made by Geoffrey Joyner, to overrule them and to delist the genuine Morrisseau just to please Donald Robinson just because KRG was a big Joyner Waddington’s spender and was promoting a HOAX involving so-called “fake” Morrisseaus.
They both wanted their own hand on the tiller, and no one else’s. And they would take the heat for their own decisions, not someone else’s.
I believe that Waddington’s, too, found that the Joyner name was increasingly a damaged brand in the art community.
For a week or two, a terribly lonely Geoffrey Joyner kept his company going, with his corporate masthead, which, for years, had featured three people – he, the smiling Abbott and Cowley – now sporting only his own sad-looking and dejected photo.
You ask, why wouldn’t Joyner just hire new employees and carry on?
Well I believe Geoffrey Joyner was in all likelihood also encouraged by Waddington’s to end the relationship, and its fear of also being similarly tarred, and abandoned, by consignors, with the stigma residually attached to Joyner’s auction behaviour as I posted regarding Morrisseau’s “Nature as One” etc.
So, co-terminally with the departure of Joyner’s two top people, Waddington’s also paid big bucks to unceremoniously strike the Joyner label, the brand name it had put ahead of its own for 11 years, from its own title, auction circulars, and web postings.
Waddington’s again paid to change its corporate logo, to remove the J from the loving embrace with the W, where it had been for 11 years.
Co-incidence you say? Not so fast.
Remember, there was nothing whatsoever to prevent Waddington’s from leaving the Joyner name in front of its Waddington’s brand ID where it had been for 11 years. After all Waddington’s bragged that Geoffrey Joyner would still continue to work with them as art advisor etc.
But clearly, the implication is obvious: Waddington’s wanted the Joyner name – presumably because of its association with acts of auction malfeasance – gone from its websites, signs, brochures, catalogues, and any identification linking it any longer to the McLean family auction name.
Instead Waddington’s parted company with Joyner Canadian Fine Art Auctions removing the Joyner name as a prefix to Waddington’s, which it had eagerly solicited and added when that brand was associated with reputable fine art behaviour in 2002.
Abandoned on all sides, Geoffrey Joyner apparently decided, that being faced with these devastating developments, pressure by the abrupt departure of all his top staff members, and his Joyner brand suffering hits in the eyes of Canadian consignors, by being involved in documented multiple acts of auction malfeasance***, to just totally shut down his fine art auction operation rather than trying to make a go of it separate from Waddington’s, with new employees. He must have realized what many others knew: the Joyner name no longer had legs. What a huge come-down from his glory days.
*** I had previously mercilessly lampooned Joyner for selling clearly fake Krieghoff paintings with the phony artist’s nameplate still attached*****, and for being one of several top fine art auctions selling fake bronzes for tens of thousands of dollars when they were only worth a couple of hundred and were brand new and lousy dupes that had nothing to do with the deceased original sculptor’s handiwork. FAKE BRONZE
*****Joyner sought to pass off these total fakes – I bought one oil for research – as “school of Krieghoff,” which is a typical Canadian auction conceit, designed to suck in gullible neophyte buyers, to make them believe they were paying for a genuine “whiff” of the artist. The clearly fake nameplate and the fake signature both, said “Cornelius Krieghoff,” not “school.” In truth there was no proof that Krieghoff or even “his school,” had anything to do with them, were even in the same room, province, or country when the forger painted them, or was even alive at the time.
It is to its eternal shame that Joyner’s insisted on selling this total and absolute forgery to its clients, and instead chose to dump unceremoniously, a genuine Morrisseau painting from its auction.
Is this surreal or not? To my mind, it was no way to run a fine art auction house.
It was my belief then, and it is my belief now, that Joyner’s should never have agreed to sell such a shoddy and utter fake, just to make a bit of money off the Krieghoff name. See if you agree. Go to FAKE KRIEGHOFF.
My consumer alert article, illustrated by many auction hall photos (taken at Joyner’s, Waddington’s, and Heffel’s) totally collapsed the market of these el cheapo repro bronzes and Joyner started to put up “No Photography” allowed signs for the first time.
At another auction a Joyner executive in a suit, no less, physically jostled me, and set me back on my heels, as he tried to grab a digital audio recorder I had in my shirt pocket. Clearly he didn’t want what I had recorded during an auction to become public knowledge…
Transparency is NOT AT ALL something that is prized at Canada’s leading fine art auction houses.
At the end of June, Geoffrey Joyner was now reduced to an auction operation of only one man, with only his own name left for credibility. It was probably something his ego could not cope with.
On July 3, less than two weeks since my last scorching article, and the abrupt departure of his two top people, faced with Waddington’s tepid support, and clearly seeing the writing on the wall, Geoffrey just closed the doors to his 28 year-old auction operation, climbed into his rusting Bentley, and drove into the sunset. It was a just end.
Geoffrey Joyner had founded the fine art auction in 1985; with his acts of auction malfeasance he brought it down to a truly ignominious end, in 2013, all by himself. I believe that no one really wanted to be associated, anymore, with his brand name: certainly not his senior staff, probably not Waddington’s, and certainly, more devastatingly, not his previous consignors, the thousands of Canadians who buy and sell fine art in Canada.
The name Joyner’s had become a pariah in the Canadian art world. And he had no one to blame but himself, and a passionate and fully informed Canadian heritage art and memorabilia blogger and crusading investigative journalist.
By July 2013, Joyner Canadian Fine Art Auctions had totally disappeared from the Canadian fine art world.
The Telltale Chronology – Feb – July 2013
Feb 27 – I scorch Joyner & Abbott over delisting “Nature as One” in the “Bad & the Beautiful”
Apr 8 – I receive a “Cease & Desist” letter from Joyner Waddington’s
May 1 – I am banned from Joyner Waddington’s
June 4 – I scorch Joyner Waddington’s for banning me from bidding
June 19 – Joyner Waddington’s first auction where I am banned
June 19 – I scorch Joyner Waddington’s for losing a consignor $15,000 by banning me
June – Abbott & Cowley quit both Joyner and Waddington’s
June – Waddington’s severs public ties with Joyner
July 3 – Joyner Canadian Fine Art Auctions closes after 28 years
I believe Geoffrey Joyner will rue, to his dying day that he ever decided to unceremoniously dump from his auction, and so desecrate and devalue, a genuine Morrisseau painting “Nature as One.”
And got run over by the KRG and NMHS Wanker Line bus…
There are no tears here for Geoffrey and the demise of his auction house operation.
The owner of “Nature as One” told me she was utterly distraught about what Joyner did with her art, without telling her, that she has been unable to sell the painting, anywhere, for any amount, because of the reprehensible tarring of her painting by Joyner staff at auction. She plaintively asked me if I would buy it?
Just one of countless decent Canadians from coast to coast, whom I have listened to, complaining of being run over by the ruthless and relentlessly destructive KRG & NMHS Wanker Line Cultural Genocide Express bus: elderly people who cannot sell the Morrisseaus they counted on to help them in their senior years; parents who cannot sell their Morrisseaus to help put their kids through college; retirees who invested their money in Morrisseau decades ago as a good investment only to find they own only unsalable art nobody wants. The list of defrauded collectors goes on across Canada.
13 – Wanker #1 – “Warriors in Circle of Life 1974” which suddenly was exposed to me, courtesy of an angry KRG art buyer, whom I shall call “Robbie.”
Robbie contacted me, a well-known and aggressive blogger who is exposing the Morrisseau HOAX, and deliberately sought me out, after he said he had spent several days reading my blog. He emailed me saying he was thunderstruck by what he found there. That he had “Wanker” information I would be interested in.
I immediately emailed back, making clear I was (obviously) interested in publishing what he had to say and show me: “Thanks very much for contacting me. You and your painting are an important part of this story. Do you have high res – non-blurry – photos of front and back you could send including close-ups of: Front, Overall back and close-ups of: the gallery labels, the title, and signature, any written material like invoices that came with the painting?
It’s all a very important part of the history of this story. Anything you could send would hugely help to clean up this HOAX.” (Email disclosure sent to Robbie itemizing my blogging “want” list.)”
Robbie immediately phoned me and breathlessly asked me if I could come over to his house “like right now?” that he was eager to show me his Wanker. Since I was more than keen to have a peek, I hung up the phone and went over immediately… He turned out to live only a few minutes away, in a bedroom community to the west of Toronto.
(Note: Other Morrisseau collectors from Montreal contacted me the same week saying they too had discovered my blog and were completely blown away by my detailed information which they said completely confirmed their own lengthy dealings with both the Norval Morrisseau Heritage Society and Toronto’s Kinsman Robinson Galleries. In detailed written depositions they left with me they documented their own totally unhappy relationships with both. They concluded both were totally untrustworthy and disreputable art and business organizations.)
In person Robbie confessed to me that his wife, whom I will call “Jane Brown”*** was damn mad, to find out that KRG was now calling fake a painting she bought from them in good faith on Mar. 11, 2000.
***Note: that any similarity between these names and persons living or dead, is of course, purely coincidental and conjectural.
After ushering me eagerly into his home, Robbie breathlessly showed me the painting, and the original KRG invoice,*** revealing to me and proving, that the painting the KRG bus had maliciously run over, was in fact, the very first Potter auction painting that Donald Robinson ever bought on Sep. 29, 1999, “Warriors in Circle of Life 1974.”
***Robbie allowed me to take all the photos I wanted of the front and back of the painting. But he refused to let me photograph the KRG invoice documenting the sale of the painting by KRG to his wife Jane Brown on Mar. 11, 2000. He clearly did not want that to become public. It was clearly not a concern Robbie had about photos of the painting, because it turned out he had sent his information and photos to some eight (8) other Morrisseau related people, including other bloggers, who I was able to substantiate, and probably many others. In fact he had obviously widely “published” them to multiple parties all over Canada, and since he claimed to work for most of the year in the Dominican Republic, broadcast them all over the world.
Robbie confessed he was trying to “leverage” his invoice and his now famous – thanks to me – Wanker #1, into a “fantastic deal,” and was actively involved in trying to sell it, and the painting, to the highest bidder, with his “negotiations” and potential buyers, including Ugo Matulic, Randy Potter, Donald Robinson and KRG, and me. He clearly believed he had – thanks to my blog – stumbled on a cash cow with his painting and invoice, and was now going to play one motivated buyer against the others in order to get the most for himself out of the deal.
He realized my blog had made his painting famous and very valuable and he was eager to capitalize on that.
(I informed him, as a professional journalist, I don’t pay for disclosures, etc. That it’s against all journalistic ethics to become involved in “pay for say.” Private deals and payments totally undermine truthful, honest, and credible commentary, which is exactly why Donald Robinson’s long and totally symbiotic relationship with Ritchie Sinclair, so completely discredits absolutely everything the tag-team duo have to say about Morrisseau, Morrisseau art, and Morrisseau “fakes.”)
It became clear that Robbie’s painting was none other than #1 of the infamous Wanker 31 Donald Robinson bought at Potter’s Auction. And is listed by name on the KRG invoice from that day.
You must remember all about them by now. You know the 31 genuine Morrisseau paintings he paid $54,000 for, called fakes a year later, but mysteriously and tellingly strange, to you and me, never ever returned a single one to the auction for a refund. Ever…
Wow! Can you conceive of a guy just breezily throwing away $54,000 just like that?
And NO – how utterly strange this is too – he didn’t even call to complain he had been massively duped by Potter into buying fake Morrisseaus, as he now claims, as you and I would certainly do if it happened to us, that is, if any of it were true… Potter says, neither Robinson nor any other KRG staff member ever said even a peep, about fakes or rip-off to him.
Which makes Potter’s Morrisseau auctioneering record truly amazing for any auctioneer in my experience. Especially when seen against the background of the several thousand antique and fine art auctions I have attended over the past 17 years, where only one noise is more common than the voice of the auctioneer – a disgruntled bidder claiming “You sold me a fake! I want my money back!” I have heard this plaintiff cry countless times both during and after auctions. It’s what every auctioneer tears his hair out about. Randy Potter didn’t need to do that, in not a single case with any of the hundreds of Morrisseaus he auctioned off…
Of some 200 Morrisseau collectors, dealers, and experts (including Robinson) who bought some 2,000 genuine Morrisseau paintings from Potter over a period of some ten (10) years after 1999, not a single one ever claimed they were sold a fake or returned one for a refund.
In fact, numerous paintings from his auction have since been forensically authenticated as absolutely authentic, by a variety of top Canadian forensic scientists and/or ruled authentic by a variety of judges. Without a single reject. A truly stunning auctioneering achievement for Randy Potter, and a truly stellar testimony to his honesty, that is unrivaled to my mind, in auctioneering history.
Especially in view of the fact that Robinson and Sinclair and their fellow KRG and NMHS collaborators say ALL Randy Potter’s genuine Morrisseaus were fakes. All of the slanging, of course, without offering a single iota of proof. Their claim is of course, hugely impugned by their own highly secretive, highly suspicious and highly compromising behaviour, and their hugely documented and proven record of making many spectacularly false calls at Morrisseau authentication and valuation as noted by judge, after judge, after judge, and by one forensic expert after another.
And, oh yeah, just to belabor the point and your patience, and remind you, because it is tellingly key: Robinson did bring back another non-Morrisseau painting he bought at the same time. You won’t believe this but a full year and a half after buying it he loudly snarked to Potter that his auction had ripped him off for a fake Davidson painting. And he wanted his $267.50 (that’s two hundred and sixty-seven dollars) back. Like right now…
A Gentleman and Then Some – Randy Potter, unlike many in the Canadian fine art world, being a gentleman and then some, and long after he had already paid his consignor off, Randy obliged, taking the money out of his own pocket, though he didn’t believe a word of what Robinson was saying. A refund like this, fifteen months after a sale, is something not a single other art or antique auctioneer or dealer would ever even have contemplated doing. From every other auctioneer or auction house – I’ve had experience with a great many – Robinson’s demand would have only received a few choice, unprintable words…
Now in April 2015, Robbie told me Jane had bought “Warriors in Circle of Life 1974” at Kinsman Robinson Galleries on Mar 11, 2001. Donald Robinson had bought it at Potters for $1,200 only a couple of months before and tagged it for sale at $8,500 as marked on the invoice and signed by none other than Paul Robinson.
Remember him? He’s the guy, Paul, whose father Donald Robinson coolly, under oath, told Judge Martial had the smarts – unlike his dad – and had first insistently alerted him not to buy the Wanker paintings as they were fakes. When in fact Wanker #1 is more proof, already documented elsewhere, with his signature, again, that Paul was the first at KRG to authenticate the so-called fakes, and was eagerly selling and authenticating Wankers as genuine, over and over again, as the years passed.
In fact Paul collected money from clients to authenticate Morrisseau BDPs for clients, many months after his father had told the National Post they were all fakes.
On October 30, 2001 Paul authenticated two Morrisseau BDPs of exactly the same type and source his father had publicly called all fakes, seven months before in the National Post. While father Robinson called them fakes in public and “not worth a cent” or “zero” as he was to tell Judge Martial, his son Paul was claiming to his client Jonas Plis that they each had a “Fair Market Replacement Value” of $7,500. (Source: KRG Fair Market Valuation to Jonas Plis, Oct. 30, 2001)
Of course, neither the father or the son, ever figured these compromising documents, of what the Robinsons do in private, would ever become publicly exposed.
Is it perjury if a father tries to cover like this for a son in court…?
And Paul was also ruthlessly selling them for huge markups.
That’s a KRG mark-up of a stunning 708%… They grandly gave Jane Brown a 20% reduction from its sticker price, KRG assuring its client it was passing on a substantial saving… and sold it to her for $6,500.
This is the same KRG whose Donald Robinson told Judge Martial, under oath, that his only interest in Morrisseau price increases was a modest 5% and 10%. And he further assured Judge Martial that KRG sold all its Wankers – like Wanker #1, “Warriors in Circle of Life 1974” – “for a modest profit.”
I personally saw and heard Robinson swear to that, under oath, not ten feet in front of me before Judge Martial. The court transcripts confirm I heard right.
Where in the world, is a 708% markup a modest profit?
Personally, I call it perjury… And highway robbery.
And then it gets worse.
I watched in court as Robinson lamely tried to allude to Judge Martial that, once he had decided that Wankers he had sold were actually “fakes” he had tried to make restitution to the hapless buyers and had even done so privately. Trying to play the moral ethical guy.
NOT SO at all, as proven by Wanker #1.
Kinsman Robinson Galleries HAD MADE NO ATTEMPT TO CONTACT “Jane Brown” who had bought Wanker #1.
They could have but did not. When “Jane Brown” went down to KRG to register a complaint – according to Robbie’s disclosure to me – KRG instantly brought up her name on their computer, as “Jane Brown” who had purchased “Warriors in Circle of Life” on Mar 11, 2000.
Proving Kinsman Robinson Galleries had known who she was, where she could be reached, but just coolly refused to contact her, and just deliberately sandbagged her, and left her ripped off with paying them $6,500 for a painting they were publicly slanging as an utter fake and worth “zero” “not a cent” as Robinson told Judge Martial.
So much for client services you can expect from the Toronto Robinson family and its Kinsman Robinson Galleries.
And so much for more of Donald Robinson’s testimony under oath before Judge Martial.
Just another, in a long list of fabrications, untruths, and self-serving lies told in Canadian courts, under oath, that I personally witnessed, and that I confirmed and is frozen for the Ages, in court transcripts I have read, as blithely committed by long-time business associates and collaborators, Donald Robinson and Ritchie Sinclair.
No wonder an endless stream of eminent Canadian judges and justices (Mogan 1996, Sexton 1999, Isaacs 1999, Lederer 2008, Godfrey 2011, Martial 2013, Lacavera 2013, Sanderson 2013) in a bewildering variety of courts (Small Claims, Superior Court, Criminal Court, Tax Court of Canada, Appeal Court of Canada) have scorched Robinson alone, or the duo as simply not trustworthy or believable, and rejected their wildly unreliable testimony, their dreamed up “expertise” and their fabricated “expert reports” about art, handwriting analysis, forensics, document examination, Morellian theory, and repeatedly false and distorted claims about the physical, mental, and artistic life of Norval Morrisseau and his art.
That their fakes allegations are not credible, being made without requisite credentials of any kind, and driven by an overweening self-serving and “hopeless conflict of interest” about everything they say and claim.
14 – Like “La Vache qui rit,” this cheesy Cultural Genocide Express bus belonging to the KRG NMHS Wanker Line is merrily lurching and laughing all the way to the bank… leaving a trail of destroyed lives, and countless debased and devalued genuine Morrisseau paintings in its wake…
So, if you’re going to buy art remember the consumer cautionary by Bonnie Czegledi, the Toronto-based international lawyer and art fakes sleuth extraordinaire:
“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)
Norval, long ago reduced to little more than “a body with a pulse,” died on Dec. 4, 2007, in Toronto, years after he could no longer even talk or communicate with anyone, and years after he could no longer even recognize or acknowledge close family or old friends.
But the KRG NMHS Wanker line bus still ran over him one more time, smashing his wheelchair to smithereens.
Norval died in Toronto where Gabe Vadas was still shunting about the “insentient body with a pulse” for photo ops.
Gabe notified Donald Robinson and KRG instantly when he died. Within an hour or two they all knew Norval was gone: the members of the NMHS, Aaron Milrad etc. All the white guys who had made millions off the Aboriginal artist.
The two white guys, Vadas and Robinson, apparently made preparations to cremate the “body without a pulse” in flagrant disregard of Aboriginal custom.
Were they, once again, trying to “burn” the DNA that might “expose” them, to prevent a medical examination showing that Norval had been mentally “gone” for years and so undermine their claim that Norval was talking and thinking clearly with great recall of his past art works right up to the moment he died?
What is reprehensible about this group of fiendish white business collaborators is that not a single one of them – not the Robinson family that made millions off Norval, nor his Power of Attorney Gabe Vadas, nor the man who publicly, repeatedly claimed to be “Norval’s lawyer” Aaron Milrad – called Norval’s numerous Aboriginal children to tell them their father had passed on.
After the Aboriginal artist’s death these manipulating collaborators, who had colluded to lock away and hide Norval from public view, and away from his Aboriginal children and their lawyers, in his final years, continued the malevolent practice with his corpse.
Norval’s Aboriginal children, living in remote Red Lake, would not receive word that their father had died, until two days after he had passed on…
And they were NOT given the word from Norval’s white business manipulators, joyfully riding the KRG NMHS Wanker Line bus over his wheelchair, but from a concerned Toronto art dealer, Jim White, who called Red Lake to offer his condolences and inquire about their plans for the funeral…
They were astonished to learn for the first time that their father, Norval, had died two days before and none of Norval’s so-called “friends” and “business associates” at Kinsman Robinson Galleries or the Norval Morrisseau Heritage Society, or his supposed lawyer Aaron Milrad, had called to let them know.
Not even as a basic courtesy.
Understandable though: the cash cow is dead. No more bucks in it for any of them anymore…
Racism, cultural genocide, and contempt for Aboriginals has long been the hallmark of many white men who have ripped of Canadian Aboriginal people of their art heritage.
And then it gets worse.
Norval’s children were broke and had no money to come to the funeral in Toronto.
Did Donald Robinson – the man who had made millions off Norval dip into his pocket to contribute, even a token amount, to pay for Norval’s children to come down to Toronto?
Did Aaron Milrad who had billed Norval for untold hundreds of thousands over the years, provide a nickel…?
Did Gabe Vadas, who had orchestrated a phony last will document, that totally disowned and excluded Norval’s Aboriginal children from sharing his estate, only a few weeks before Norval died, put in a dime…?
Did Ruth Phillips? Did Richard Baker? Did Greg Hill?
The answer to all the passengers on the KRG NMHS Wanker Line bus is a resounding NO, according to longtime Toronto art dealer, and long a friend and business associate of the (Aboriginal) Morrisseau family, Jim White.
He says it was he who paid to bring the family down from remote Red Lake, Ontario, to Toronto, out of his own pocket…
Proving not all white men are creeps. Some are actually caring human beings.
Just that Norval hung around with – or attracted – reprehensible, totally selfish, and self-centered parasites.
United by one thing more.
Collaborating to commit cultural genocide against Norval Morrisseau’s 1970s and early 1980s Black Drybrush Signed Paintings (BDPs.)