An 133 page Special Report: Daily Updates
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Look Who’s the April Fool Now!!!
Ritchie Sinclair, WTF are you Doing, and Saying…?
About Your Collaborators…?
With Your Sudden April Fool’s Day Takedown (“Fakedown”) of Morrisseau Paintings, Which You’ve Called “Fake” for Years, and Now Have Finally Admitted
Are No Longer “fakes” but Have Been Genuine All Along…
– SO, you have now finally admitted that you sucker-punched your longtime business associate, lawyer Jonathan J Sommer, with years of completely false allegations about paintings he then recklessly – the documentation is damning – turned into equally discredited Plaintiff’s Claims, all entirely based, only, on your totally fraudulent and completely unsubstantiated wild, vicious, and malicious distortions of the truth.
– SO, you have also finally admitted that you knowingly and maliciously royally ripped off a little old lady, “Maggie” Hatfield, by conning her into spending some $60,000 with your collaborating lawyer Jonathan J Sommer, getting him to launch, pursue, and publicly promote Plaintiff’s Claims and lawsuits which you clearly knew from the beginning were fraudulent all along and have now documented with your “Fakedown” as being so.
– SO, you have also finally clearly and totally discredited Toronto’s Kinsman Robinson Galleries (KRG) and Donald Robinson – the man you always called “My Mentor” – and his totally ludicrous fabricated $100,000 “faux-expert report” (six months work producing 89 pages) claiming that “Wheel” is a fake. Your Fakedown of “Wheel” – alone – makes it clear that at a minimum, Pop Robinson is dumber than a truckload of hammers, for starters. You have now totally destroyed and discredited the Robinson family, and completely impugned the integrity of the man, the art he sells, and Kinsman Robinson Galleries as a reputable place to buy art from.
– SO, you have also clearly and totally discredited the Norval Morrisseau Heritage Society and its academically challenged and KRG-toadying members who have worked hand-in-glove with the Robinson family to deliberately and maliciously destroy Canadian cultural property, for the past eleven years, by recklessly and fraudulently attacking “Wheel of Life” and similar 1970s style Morrisseau BDP paintings as “fakes.” (BDP – paintings signed in Black Drybrush Paint technique.)
– SO, you have also clearly and totally discredited the willfully gullible mainstream media journalists who have – for years, without even bothering to do basic Due Diligence before publishing, and without seeking any support evidence whatsoever – gleefully published all your fraudulent and racist claims about so-called fake paintings as if any of it were true in any way, so falsely establishing, in the public perception, that Morrisseau art is being faked – in the thousands – by numerous lowlife Aboriginal artists.
– SO, you can take full credit, that my exposing your vicious and malicious appearance on Canada AM, on Feb. 7, 2013, as an attack dog for a scam, and by making gullible witless, and trusting CTV producers and hosts a willing party in promoting your fraudulent claims and your racist anti-Aboriginal people’s website as a source for authentic information about Indigenous art and artists, overnight, instantly sank a 43 year old flagship broadcast show for Canada’s #1 news broadcaster into a deep dark sinkhole.
– SO, will you now issue a round of Public Apologies to all those you lied to and conned for years, especially to the little old lady you ripped off for a huge chunk of her retirement savings?
On April Fool’s Day, 2016, after many years of leaving the front 100 paintings of his racist, vicious, totally self-fabricated, and malicious anti-Aboriginal art and artist website untouched, and in the same order, they all mysteriously disappeared, many totally, from the website.
Just as suddenly, mysteriously, and massively, as they had first gone up on the internet in October, 2008.
The Astonishing Total & Complete About-Face of Ritchie Sinclair – Part 3
# Sinclair dismounts from his website numerous Morrisseau paintings he has called “fakes” for years, so admitting what everyone has said since 2008, that he was lying to help promote a fraud, and that they have been genuine from the start.
Historical Rewind to Sinclair & His Vicious, Malicious, and Racist Website
The “Pop,” the “Pup” & the “Pard” – Ritchie Sinclair’s vicious and malicious website has, from its beginning – a year AFTER Norval Morrisseau died in 2007 – been a major promotional tool used by Toronto’s Robinson family, specifically “Pop” Donald, and his son, Paul, the “Pup” Robinson, and his “Pard” John MacGregor Newman.
The Robinsons had started their fraudulent claim about Morrisseau “fakes” on May 18, 2001, by easily planting a completely unsubstantiated and fraudulent story about fakes with gullible, witless, Due Diligence “shy,” arts journalist Murray Whyte in the National Post. Whyte made the capital sin of a journalist, in NOT checking or confirming allegations with the source,*** much preferring to just idiotically and recklessly rush into print, instead. And so journalistically legitimizing the forgery fraud in the eyes of the public.
*** The Most Debilitated Mind and Body of Any Leading Canadian in History – At this very time – within weeks – Robinson’s attributed “source” reference to Whyte – Norval Morrisseau – was so physically and mentally degraded that he had just been consigned to a terminal care facility by Robinson’s longtime business partner, Gabe Vadas, because Norval could no more control his brush or brain, anymore than his bowels or bladder.
Had Whyte followed his journalist’s nose to demand an interview with Norval, he would have discovered all that, namely that Norval’s mind was so far gone from advanced Dementia that he couldn’t possibly be the source anymore, for anything except clouds of gas.
Then what was left of Norval finally died in December 2007.
It is only after that, that a total unknown, and a notorious starving Faux-nishinaabe artist, who goes by the name of Ritchie Sinclair, then suddenly makes his appearance on Norval Morrisseau related websites.
No…, not at all the Ritchie Sinclair you know, but an entirely different Ritchie Sinclair.
This “early” Sinclair, in those many months after Norval dies, was then effusively praising ALL Norval Morrisseau 1970s BDP*** paintings, over and over, on multiple “Comment” sections he made to other people’s websites. And signing himself solely as “Ritchie Sinclair.”
*** BDP is short for Black Drybrush Paintings referring to Norval Morrisseau’s unique way of signing his high period 1970s and early 80s paintings with an over-size, “black paint” signature, title, date, and copyright symbol, angled across the back corner of his canvases, in drybrush technique, pinching off most of the paint from the brush so the writing would dry quicker on the canvas, so allowing stacking of the finished art.
This early Sinclair also hugely praised Ugo Matulic – a longtime Morrisseau blogger (since 2007) and Morrisseau collector – for his promotional work of 1970s Morrisseau BDPs and for honouring and ennobling the artist, and his paintings, with his blogging posts.
Not once, in those many months of effusively praising such 1970s Morrisseau-signed BDP art, did Sinclair even suggest that a single Morrisseau was a fake, or that any fakes of any kind even existed… NOT ONCE.
The glaring omission is far, far more profound than that.
In fact in the 29 years (that’s 29 years folks) since Sinclair had first, briefly, “gone to work for Norval” in late 1979, NOT ONCE did Sinclair ever allege a single Morrisseau fake.
No, nothing unusual there at all because in the entire painting life of Norval Morrisseau, from 1950 to 2000 – fifty years, there is NO mention in the academic literature or in the media archives, a single example or allegation of a Norval “fake” by Norval or anyone else. Let alone the blizzard of “thousands of fakes by umpteen forgers” the Robinson family suddenly announced they would – quite magically – later claim to have discovered in 2001.
And another thing: in fact, in the entire Morrisseau written record from this 29 year period, there is not even a single mention of Ritchie Sinclair even once. And in the same 29 year period there is NOT ONE photo or video showing Sinclair in any kind of painting relationship with Norval. NOT ONE.
And now – you won’t believe this – in the many months after Norval’s death, far from suddenly announcing “fakes,” Sinclair kept up his unvarnished, total, over-the-top praise of 1970s Morrisseau BDPs for almost a full year. And in fact, for years after the Robinsons and their fellow conspirators on the NMHS had first started calling them all fakes…
Sinclair, in view of documented postings he made to other people’s websites, did not agree, with either the Robinsons or the Norval Morrisseau Heritage Society who were, in a collaboratively destructive synergy, recklessly slanging 1970s style Morrisseau BDPs at the time…
Sinclair on “Water Spirits” Part 1 – Sinclair’s later malicious outbursts and incompetence as a “Morrisseau expert” are hugely underlined and exposed by the fact that on Dec 27, 2007 he tellingly and glowingly described – on the Ugo Matulic blog – the 1970s Morrisseau BDP “Water Spirits 1979” – “And a beautiful Morrisseau it is – so embued (sic) with Vision!”
The Astonishing Total and Complete About-Face of Bryant Ross of Coghlan Art (BC)
# How Bryant Ross, a collaborator with the Robinsons, since hosting Donald Robinson in 1989, at his Aldergrove Studio (location of the “Aldergrove Conspiracy Summit” in British Columbia) where they devised their Morrisseau “price-fixing” plan, just denounced Morrisseaus he couldn’t sell – after years of trying to market these “direct-from-the-artist” paintings – as “fakes.”
The same “Water Spirits” which Sinclair effusively praised, was being offered, at the time, for sale for $12,500 by Bryant Ross and his Coghlan Art Studio in Aldergrove, British Columbia. Yes, the very same painting that Ross had been advertising, for years, on the Coghlan Art website, as a “Genuine Direct-from-the-Artist Morrisseau.”
Fast Forward Fraud – This was exactly the same notorious “Water Spirits” that Bryant Ross of Coghlan Art, an early co-conspirator with the Robinsons, would publicly deface as a “fake” before TV cameras in Vancouver, on Jan 27, 2010, with a big red “X,” after he had failed to find a buyer, for his “direct-from-the-artist” Morrisseau BDP, after many years of trying, on his corporate website, on ebay, and on Seahawk Auctions (Burnaby, BC).
And this is the same painting before which Sinclair would also proudly pose in the SAW Gallery F IS FOR FAKE exhibit, in 2014, where he and Ross conspired to display it as a Morrisseau “fake,” alongside Hatfield’s “Wheel of Life.”
Meanwhile, in the fall of 2008, personal disaster struck Sinclair and his chosen, but utterly misguided, and destructive career as a Faux-nishinaabe artist.
The Astonishing Total and Complete About-Face of Ritchie Sinclair – Part 1
# How Ritchie Sinclair, a failing white artist, suddenly decides to do a personal make-over and try his hand at becoming a Cross-dresser and parading as an “Indian” impostor/impersonator.
The Failing Faux-nishinaabe Artist – Ritchie Sinclair, a starving artist, and a white man, produces “Faux-nishinaabe” art, a self-invented, imitation of genuine Indigenous art, which is completely unauthentic, and merely lowlife knock-offs of genuine Anishinaabe art.
Anishinaabe art is a highly original art form, totally unique in the world history of art expression, that was invented by Norval Morrisseau. It is an art form which must be totally culturally and DNA derivative to be authentic, both qualifications lacking among the white opportunist copycat artists like Sinclair.
Faux-nishinaabe art is not only artistic crap because it is clearly intended to fool, even defraud, art collectors, looking for legitimate Indigenous art, that is both authentically rooted in First Nations Anishinaabe culture and also DNA derivative.
On the other hand, Faux-nishinaabe art is intended to seditiously undermine legitimate Indigenous art and artists by targeting gullible and witless art collectors with phony worthless ersatz art, so maliciously despoiling, debasing, devaluing, and desecrating the legitimate Indigenous art it is using as a cover to hide behind.
Anishinaabe art, which had for some 100 years been targeted by the Government of Canada under its official and deliberate “Kill the Indian in the child” doctrine – along with residential schools etc. – was only very recently allowed into Canada’s National Gallery of Art, from which it had been deliberately, racially excluded, for some 120 years, as not worthy to be displayed beside, or as being the equal of, white people’s art.
People who buy Anishinaabe art today, do so because they admire First Nations people and culture, including their art, and resent the opportunist non-Indigenous Faux-nishinaabe con artists, and the cultural genocide which has defaced, debased and devalued genuine and legitimate Indigenous art and artists.
The Universal Shunning of Sinclair’s Fraudulent Faux-nishinaabe Art – So it’s no wonder that in 2008, multiple galleries refused to show or promote Sinclair’s Faux-nishinaabe art, including Kinsman Robinson Galleries, Liss Gallery, Artworld of Sherway Gallery, and Maslak McLeod Galleries.
These galleries all know collectors of Indigenous art don’t want lowlife, illegitimate knock-offs by white opportunists trying to ride the coat-tails of art and artists whose background and culture they know nothing about. Sinclair’s one show at the Scollard Gallery – a clear act of desperation by a failing gallery – in the fall of 2008, was predictably, disastrous, and ended prematurely, just before the gallery itself went bankrupt.
The Lane Gallery on Cumberland in Yorkville, featured Sinclair’s Faux-nishinaabe art for a short period before it too disappeared. When, before it closed, I asked the owner about Sinclair’s bio, he personally assured me that “Sinclair was of Aboriginal background.”
Which proves two things: Sinclair had lied to the owner about his pure lily white background, just to con him into selling his Faux-nishinaabe art, and secondly he knew that Anishinaabe art had to have cultural and DNA relevance to be valuable and credible. So to make his Faux-nishinaabe art salable Sinclair deliberately and quite fraudulently duded himself up with a phony bio, phony claim about his DNA, bedecked himself with an assortment of turkey and chicken feathers, assorted Davy Crockett costumes, and bestowed on himself an assortment of phony “Indian” names.
Sinclair’s phony Indian imposter/impersonations may have fooled the Lane Gallery for a short time but Sinclair and his art were unanimously laughed out of the CBC “Four Doors” television show when he showed up there all duded up as some Indian prince waving a turkey feather. His Faux-nishinaabe art was roundly scorched as “poor imitation Morrisseau art” by the four art experts.
In court Sinclair tried to carry on the deception as well when he openly lied to Judge Godfrey with his blatant false opening line in giving testimony in 2010, telling him: “I am a native artist, and a graduate of George Brown College.” Two total lies in a short sentence the very first time he addressed a Judge under oath in court.
(Sinclair figured he could get away with his blatant falsehoods because he believed no one was really listening, would ever read the transcripts, or publish any of it. Unfortunately for him I was, took notice, and published.)
(Go Directly to Jail in Alaska: In Alaska it is illegal and considered fraudulent to sell such lowlife fake Indian art made by non-Aboriginals, as it undermines the culture, the art, and the livelihood of Indigenous artists and people.)
In short, Sinclair’s Faux-nishinaabe art career was going nowhere fast.
In fact in 2004, his Faux-nishinaabe art in a storage locker had been seized for non-payment of fees, and auctioned off at Potter’s Auction in Port Hope. Sinclair, a fiftyish starving artist was there in the auction hall, contemplating what a sorry way his art career had ended, the night when his large acrylic panels only got around $40 and $50 apiece from people who thought it was suitable for covering holes in the wallboard of their furnace rooms.
At the same auction, numerous 1970s Morrisseau BDPs were fetching $2,000 to $3,000. As Auction director Donna Shea would later testify, Sinclair marveled to her about the “wonderful Morrisseaus” and told her wistfully and mournfully, that he would never be able to afford to own one. It all could make a starving artist bitter, especially about Morrisseau, whose equal Sinclair considered himself to be. (Court testimony.)
Now, clearly driven to desperation, in 2008, Sinclair announced by email to Ugo Matulic, a dramatic and sudden total personal and persona make-over. He began to call himself a “protégé” of Norval Morrisseau, saying he was hoping to re-invigorate his failing art career by using Norval’s name to propel himself to fame and fortune. “I am capitalizing on Morrisseau’s name and fame to promote my career” (email Aug 26, 2008)
Oh, And You Paint Too…? – Sinclair did have a legitimate relationship to Norval Morrisseau, thanks only to Wolf Morrisseau, Norval’s younger brother. And only because, in the fall of 1979, Norval sent Wolf to big, bad Toronto to find, hire, and bring back a paid “lover” to Norval’s “love shack” in remote Buckhorn, ON.
Wolf told Judge Martial (it’s all in the court transcripts) that he hired Sinclair off the streets of Toronto to become a paid lover of Norval’s, drove him to remote Buckhorn, Ontario, and delivered him into Norval’s arms in his love shack. The Morrisseau family confirms Sinclair’s tie to Morrisseau, saying indeed, Sinclair was one of many “short-term boyfriends” of Norval’s circa 1980.
So Sinclair does have a legitimate “tie” to Norval; it just doesn’t have anything to do with art. In fact Sinclair was only one, of many scores of young male lovers Norval notoriously recruited, over the years, in one way or another, to fuel his carnal appetites.
Wolf testified in court, that Norval called them all his “protégés” – which is of course prison parlance for how dominant males in a same sex relationship refer to their younger underlings. As the ones they “protect” from sexual advances by other aggressively amorous males.*** See “Without Conscience” Hare p 11
Norval of course had a huge and ribald – make that filthy – sense of humour. By calling them all his “protégés” was his way of denigrating all the many young “apprentices” who were lowlife hangers on, and parasitizing and living off his money, his talent, his fame, and riding on his coattails. James Stevens has well documented how Norval despised not only his slavering, fawning, and toadying apprentices, but other artists as well. But Norval wanted a stable of ready, willing, and available “boy toys”*** around him at all times. (*** A phrase used by Norval to refer to Ritchie Sinclair, according to a Wolf Morrisseau letter)
Required Reading List – For anyone seriously interested in trying to understand the Morrisseau HOAX you must read:
– Dr. Robert D. Hare’s “Without Conscience: the Disturbing World of the Psychopaths Among Us.” Hare is a Canadian academic, and universally considered the premier researcher and world authority in the field of criminal psychology.
– Dr. Paul Babiak & Dr. Robert D. Hare “Snakes in Suits: When Psychopaths Go to Work” – Babiak is a frequent collaborator with Hare.
– James R Stevens “A Picasso in the North Country” – Stevens has a wealth of anecdotes that illuminate the real Norval Morrisseau – warts and all. Stevens though a great chronicler of the Norval he remembers, is a gross failure when it comes to writing about the post-Morrisseau world when he cadges a lot of rubbish together about “fakes” for which he has no proof whatsoever.
His book would have had much more credibility if he had left his totally spurious and unsubstantiated references to “fakes” out completely. As a credible historian he is in way, way over his head.
Jack Pollock “Dear M: Letters from a Gentleman of Excess.” If you read only one book that chronicles the very period that Ritchie Sinclair briefly went to “work” for Norval this is it. Jack Pollock was Norval’s longest and most successful dealer from 1962 to c 1982 and gave him the most shows during his “high period” when the artist was awarded the Order of Canada.
Pollock documented his – and Norval’s – huge homosexual excesses during the notorious 1970s Toronto “bathhouse period.” He ruefully chronicled that he was no match for Norval in homosexual excess and envied all the young boys the artist always surrounded himself with. Pollock’s 20 year long business partnership with Norval ended when the Albert Volpe crime family undermined him and took over Norval’s art business c 1978-79.
Ritchie Sinclair himself has acknowledged, in court testimony, that he, indeed, went to work for the Volpe organized crime family in Toronto, during this very short time period which Jack Pollock described in his 1989 “Dear M” personal memoir, as “the dollars, dicks, and dope” period (“Dear M,” Jack Pollock, p 172). It started after the Volpes brought Norval from Thunder Bay and provided him with all the cash, male hookers, and drugs he wanted as a reward for getting an exclusive dealership for all his paintings.
The Case of the Bleating Lawyer – “Dear M” became, quite unexpectedly, a reason for a lengthy plaint before the Hon. Madam Justice Mary Anne Sanderson, on Dec. 7, 2013, by lawyer Jonathan J Sommer, and one reason he wanted a new trial. He said that Brian Shiller, without warning, ambushed him with this book at trial and before he had even become aware of its existence.
I hear him literally bleat at length to his objections to it all as a patently unfair attack to his case. Until a Shiller witness brought the book up he had never even heard of it. And he said, it was also long out of print…
Sanderson would hear none of it telling Sommer that elementary lawyering could have solved Sommer’s objection during cross-examination. “Show it it me” she said he could have challenged the Defence. And if they couldn’t well… Sommer continued to object. Sanderson insisted that elementary cross-examination gave him ample opportunity to deal with his objection during trial. That since he refused to challenge with his objection at trial she made it abundantly clear to all in court that it was Sommer’s fault, not Brian Shiller’s or his witness, or the rareness of the book.
Not in the Contract – To me, Sommer’s plaint stretched incredulity to new levels. How could a lawyer who had been preparing a case on Morrisseau art fraud, for years, not have read the most important book – and one of only a tiny handful on the subject – on Morrisseau? So what the hell DID Sommer read to prepare his case for his client? Sommer had published his billings of some $40,000 for his services. Researching and reading the number one book on the subject did not seem to be included.
Amazing as it may be, Sommer clearly went to trial not knowledgeable and not forearmed with the wealth of information that this book contained that directly and hugely impacted the allegations his Plaintiff’s Claim and his own witnesses were making.
Totally incredulous – as an investigative journalist on the subject – I had, of course, like all students of the life of Norval Morrisseau, his art, and latterly the HOAX, read the book years ago. And was totally taken aback by Sommer’s claim to Sanderson that he had never heard of this “rare book.” And his complaint that it was “out of print” and hard to come by…
When I returned home I turned to the Toronto Public Library for help. And discovered within seconds on the internet that it had several copies of “Dear M” ready to ship out with one day service to whoever wanted one. Sommer could have had them all at his house within 24 hours.
I also checked the main source for people who read books – ABE Books – and within seconds, discovered that there were 42 copies for sale, all amazingly cheap, and available for instant delivery to anyone who asked.
The Faux-nishinaabe Artist in Free-fall
Now, in late 2008, with Sinclair’s own art career failing and falling all around him, this self-styled “protégé of Norval Morrisseau” made another career change and decided to go to work for the Robinsons. Emails sent by Sinclair to Matulic confirm the Robinsons had been trying to recruit Sinclair for a considerable period of time to join the passengers aboard their “fraud” bus – the notorious “KRG–NMHS Wanker Line Express” – to assist in denouncing 1970s Morrisseau BDPs, and help support and promote their phony claim that there were “thousands of fakes by umpteen forgers.
Sinclair would, in later court testimony, refer to Donald Robinson, the man he now decided to go to work for, as “My Mentor.” I would say he couldn’t have picked a worse role model if he tried.
Robinson would establish himself on the world stage, as the worst art authenticator in art history***, by making scores – at a bare minimum – of utterly false calls, on many documented genuine Morrisseau paintings. His false calls on genuine Morrisseau paintings could well be tallied in the thousands. It is a record of gross incompetence at art valuation which will NEVER be eclipsed by anyone, except possibly by his son Paul “the Pup” Robinson.
***By comparison, the world’s previous record holder of this disgraceful title was Werner Spies, who authenticated five (that’s five only, folks) Max Ernst forgeries as genuine when they were all Wolfgang Beltracchi fakes. In 2013 the High Court in Nanterre, France ordered Spies to pay a client $968,051 dollars (Canadian) for misleading him.
It is an interesting question: how many millions of dollars in lawsuits have Donald Robinson and his son Paul, and their Kinsman Robinson Galleries, made themselves vulnerable to with their aggressive long, reckless, false, and malicious promotion of Morrisseau “fakes,” not a single one of which they have ever managed to produce for any judge in any Canadian court or to any forensic expert?
Their mutually embracing incompetency freezes Sinclair and the Robinsons in a deathly embrace, for the Ages, as the two most discredited names in Canadian art history.
The Astonishing Total & Complete About-Face of the Robinson Family – 2001
# When desperate people do desperate things, to make a buck…
The Robinson Family clique***, exactly like its recruited art fraud collaborator, Ritchie Sinclair, had also done an equally stunningly total and absolute about-face, regarding 1970s Morrisseau BDPs. But they had done it seven (that’s seven folks) years before Sinclair also saw the light… of opportunity…
***Correction – Please note, Donald Robinson has, from the beginning of launching his “fakes” fraud in early 2001, worked desperately to attempt to take the heat personally for all his fraudulent manipulations in the courts and in the media. He has deliberately done this to try to keep his son Paul’s name clear and clean of controversy so that his inheritance – Kinsman Robinson Galleries – will not be damaged by all his father’s public vicious, malicious, and racist attacks on the art of Norval Morrisseau and the members of the Morrisseau family.
In fact Paul “the Pup” Robinson has been personally and deeply involved in promoting the fraudulent allegations about Morrisseau “fakes” from the beginning. The documentary record shows that it is Paul Robinson who turned his father “Pop” Robinson on to the Randy Potter bonanza of original Morrisseau art in September 1999. It is Paul Robinson whose name is on the Plis and Mountain “Certificates of Authenticity” of 1999 and 2001. It is Paul Robinson who sold Wanker #1 to Jane Brown of Toronto on Mar. 11, 2000.
And Jessica Wilson, Curator of the Elmwood Spa Gallery, told me it was Paul Robinson who aggressively threatened her on the phone in November 2010 if she did not dismount numerous genuine Morrisseau paintings from the Elmwood Spa Gallery show, and cancel her Morrisseau book launch. It was Paul Robinson who sent Ritchie Sinclair and his roommate Garth Cole to police compliance with his demands at the Spa – I watched them as they did it. Wilson and her boss Sherry Brydson – routinely called Canada’s richest woman – were so damn scared they did exactly as Paul Robinson and his enforcers demanded. We could go on…
I certainly do blame Wilson and Brydson both, big time, for NOT being people of principle and standing their ground behind their collection and the art of Norval Morrisseau, and giving in to a crass business manipulator’s strong arm tactics, instead of standing up for the integrity of the art of Canada’s Indigenous people.
NOTE: Wilson and Brydson are hardly alone among those with insufficient fine art knowledge, dabbling about in the Canadian fine art world. The Heffel boys (they own Heffel Fine Art Auction House, Vancouver) when similarly threatened with allegations of Morrisseau “fakes,” on Sep. 12, 2006, also just lamely and unprofessionally buckled and trashed six genuine Morrisseaus from their auction as well, so discrediting – with the Heffel imprimatur of approval – the genuine art of Norval Morrisseau and also aiding and abetting a fraud. For two reasons: as Walmart auctioneers of art they had not sufficient art knowledge to know they were being sucker punched by fraudsters. And they had no loyalty to Morrisseau, his art, Canada’s Indigenous artists, or to Canada’s art heritage. Hell they had thousands more paintings by hundreds of other white artists to make a buck on… So who gives a damn, if by doing what they did they aided and abetted cultural genocide against Canada’s Indigenous art and artists?
Geoffrey Joyner (of recently deceased Joyner Canadian Fine Art) was guilty of exactly the same unprofessional auctioneering malfeasance regarding his unprincipled delisting of a genuine Morrisseau painting “Nature as One 1977” within only seconds of an auction starting on Nov. 25, 2011. I believe he responded so suddenly in this unprofessional way after getting a threatening phone call, probably from Paul Robinson. Like Brydson and Wilson, like the Heffel boys, he too folded like a dirty shirt and, and like them, dumped and desecrated a genuine work by Norval Morrisseau.
The hell I raised as a result on this blog led to a staff blow-up which brought the auction house crashing down to an ignominious end only weeks later, as Joyner’s top employees I scorched quit, leaving Geoffrey sitting alone in the parking lot, in his rusting Bentley. And no doubt musing, if only he had developed a little knowledge about the art he was selling…
In short, the documentary record is clear and incontrovertible, that the activist guilty culprits at KRG have always been – NOT one deluded old man “Pop” Robinson – but the entire Robinson Family Compact of “Mom” Robinson, the “Pop,” the “Pup,” and the “Pard,” who own and operate Kinsman Robinson Galleries.
Blame the National Gallery of Canada – It all began in the late 1990s, when the National Gallery of Canada announced it had now decided it would honour Norval with the first Retrospective ever for a Canadian Indigenous artist. And ending its 120 year long racist exclusion of Canadian Indigenous art and artists from the premier art gallery of the nation.
And not a moment too soon. Norval, who, at the time, had by far the worst debilitated mind and body of any notable Canadian in history, was expected to die at any moment…
Which is, of course, happily and universally considered “great” for art prices…
A Great Time to Buy – In fact during this time, while attending Empire Auctions in Toronto, on multiple occasions, I heard the auctioneer promoting sales of his Morrisseau paintings by pointing out that now was a very good time to buy Morrisseau art as the artists was “not well,” and known to be very sick and in seriously declining health. And that his paintings were therefore good investments bound to increase in value… And, wouldn’t you know it, the bidding would start again…
The Flood of Original Morrisseau BDPs Begins – With all this good news – that Norval’s death rattle was weakening – thousands of cheaply purchased originals which Norval had littered, for next-to-nothing prices, across the Ontario northland, for fifty years, were eagerly scooped up by calculating dealers who saw the math in sending hundreds of large acrylics they had bought for $30 or $40, to Toronto auctions where ravenous collectors would pay one or two thousand dollars apiece.
A colossal profit margin unmatched by any other investment, in this world or the next. (Only stealing offers a better return – if you don’t get caught!)
Collectors, and top art dealers, including the Robinsons – the Pop, the Pup, and the Pard – eagerly clamoured for these Morrisseau BDPs and bought up some 2,000 over the years at Randy Potter Auction in Pickering and Port Hope, ON. Some 200 of Canada’s top art dealers and collectors swarmed to Potter’s auctions, and then returned, over and over, to buy them all up.
Donald Robinson himself – he sent no gallery flunkey to do this quality buying – styling himself as the world’s top Morrisseau expert, bid on at least 90 (that’s 90 folks) 1970s Morrisseau BDPs, and was successful at getting 31 of them for KRG, for a total of $54,000.
Was he happy? You bet. Look at the Kinsman Robinson Galleries math for a typical Randy Potter bought Morrisseau BDP.
Robinson knew the math, even at one or two thousand each, was still good for him. His gallery tagged one he bought for $1,200 at auction – the notorious Wanker #1 – “Warriors in Circle of Life 1974” – for sale at his KRG Gallery for $8,500 – a jump of 708% – and he sold it!!! No wonder Robinson went back – himself – for more of the 1970s Morrisseau BDPs, again, and again. Pop Robinson clearly knew a good thing when he saw it. And couldn’t get enough.
And NO, the Robinsons did not get “suspicious” as they later claimed. Donald Robinson himself went back five times, and kept bidding on countless 1970s Morrisseau BDPs like a fanatic… Hey, a 708% profit can do that to a person…
Trouble was there were just too damn many. He was repeatedly beaten out by other dealers and collectors, including by me, who snagged two of the best away from him: SOMA 1976 and FISH 1976. Both would become famous landmark 1970s Morrisseau BDPs, that have played key roles at uncovering and proving the vicious and malicious HOAX against Norval’s art.
Robinson personally told me, on Jan. 26, 2000, that he was the under bidder on both of them, and what “wonderful Morrisseaus” they were. Well, obviously… He told me I could count on his word – that he was the world’s top Morrisseau expert. (on Jan. 26, 2000)
And then it gets worse.
Other dealers, not being so outrageously greedy as the Robinsons, would sell their own auction-bought 1970s Morrisseau BDPs far below the 600% to 700% mark-up the Robinsons routinely jumped up all their gallery prices.
Reality Check: This is NOT AT ALL what Robinson told Judge Martial, under oath, when he said KRG operated on wanting to increase prices of Morrisseau paintings by a “modest amount” – “perhaps 5 or 10%.”
On a related matter he told Judge Martial he had sold the Wanker15 for a “modest profit.” In fact Robinson lied under oath – again. He damn well knew – and documentation I have uncovered proves – Pop and Pup Robinson had marked up one of those Wankers, “Warriors in Circle of Life 1974,” a huge 708% – NOT 5 OR 10% – and sold it to Jane Brown of Toronto, after giving her a small discount on Mar. 11, 2000.
Clearly either Robinson’s slide rule is out of whack or his memory is wonkers… or…
Even the Robinson’s own KRG clients – like Matt Fountain and Jonas Plis – were now buying exactly the same product elsewhere, and much cheaper, from KRG’s competitors. KRG’s hugely overpriced Morrisseaus went unsold. Robinson Pop and Robinson Pup must have been some upset when these clients brought in paintings they bought elsewhere cheap for authentication and valuation at KRG, knowing that Paul Robinson would give them high valuations so as not to undermine its own gallery art.
Clearly, drastic and desperate measures were called for. And in the basement at KRG, the Pop, the Pup, and the Pard, must have held a desperate council of war… “WTF are we gonna do now?”
How about “Let’s just call all the 1970s Morrisseau BDPs ‘fakes?’”
A Hate Crime – And just like that, with a snap of the finger, the Robinson household sucker punched their business competitors who were selling Morrisseaus, with a deliberate act of cultural genocide, which, over the next dozen years would destroy the art valuations of Morrisseau art – according to one estimate – by 100 million dollars.
The Robinsons were only able to accomplish this because they found it easy to sucker punch the mainstream media with fraudulent stories of “fakes” they planted among its host of lazy, gullible, witless, and compliant “journalists.” And among a media that had no qualms about recklessly publishing and promoting – without a single solitary piece of evidence – outrageously racist accusations against Canada’s Indigenous art and artists.
Lawsuits & Court Cases Denounce the Fraud: By 2016 I have logged some 22 Morrisseau fake-related court cases and lawsuits. Not a single Morrisseau “fake” has been found or denounced by any court. And ALL the libelled paintings involved have ALL been authenticated as 100% genuine by multiple judges, multiple forensic experts, and reputable Morrisseau evaluators.
Robinson has claimed for years there are “thousands of fakes by umpteen forgers” out there. Yet he and his cabal of cronies have spectacularly failed to prove even a single one to any judge in fifteen years of trying. In the process, losing not only their fraudulent allegations against different works of art, but ending up repeatedly having their credibility, their expertise, their very honesty, and their trustworthiness – while under oath – impugned by multiple judges.
The Damning Robinson “Faux-Expert” Reports – Equally damned, by multiple judges and lawyers acting in lawsuits – my count is at least seven discredits – have been Donald Robinson’s infamous and fraudulently inflated “faux-expert reports”*** purporting to prove the authenticity of his Morrisseau “valuations,” or that a number of 1970s Morrisseau BDPs were “fake.”
ALL his reports were totally rejected by judges as not credible, as untrustworthy, and as fabricated by a person with no authenticating credentials of any kind and someone who is – in the words of a succession of judges “hopelessly” conflicted and compromised by self-serving motives. ALL the subject paintings Robinson panned as “fakes” were also forensically authenticated by independent handwriting experts and forensic scientists as genuine Morrisseaus.
*** By my count there are five totally spurious and fraudulent Robinson “faux-expert reports” of Norval Morrisseau art (rejected by seven involved lawsuit evaluators) that I have been able to discover, that he, either, personally fabricated himself, or paid and manipulated others into mocking up for his nefarious purposes, over the last twenty years. They are as follows:
– 1996 – Justice Mogan denounces the Robinson “faux-expert report #1” valuations
– 1999 – Justices Sexton & Isaac concur in denouncing the Robinson valuations
– 2009 – Globe trashes Robinson “faux-expert report #2” on “Father and Son”
– 2009 – Robinson pays and cons Prof. Wang to fabricate a “fakes computer model #3”
Wang later denounces the KRG use of his “model” to tell fakes from authentic art
– 2009 – Judge Godfrey rejects Robinson’s “faux-expert report #4″ claiming”Jesuit Preist” is fake
– 2013 – Judge Martial rejects Robinson’s “faux-expert report #5” claiming “Wheel of Life” is fake
– 2013 – Justice Sanderson concurs in Martial’s trashing of “faux-expert report #5” claiming “Wheel” is fake
– ??? Hearn “faux-expert report #6”
– ??? McDermott “faux-expert report #7”
I have not found, anywhere in the world historical record, a so-called art expert, who has produced so many utterly discredited and rejected “expert reports” on art valuation and authentication.
Hearn Hooey? – I suspect that Robinson may also have prepared another “faux-expert report” denouncing the Kevin Hearn painting as a fake. Which would be his “faux-expert report #6.” Pop Robinson had done one, “Jesuit Preist,” free for Sinclair before. He had done another one (“Wheel”) for Hatfield, Sinclair, and Sommer – they may have billed the old lady for this one. I think it’s totally conceivable that Robinson would have prepared another one for Sinclair and Sommer declaring Kevin Hearn’s painting a “fake.”
But the Robinsons with their well-known, judge-given reputation for being sneaky and furtive and concealing about what they do in the KRG basement – like hiding their Wankers, and notoriously fabricating “provenance” for their paintings – have not to my knowledge, made this known.
McDermott Malarkey? – I am certain Robinson did NOT prepare a “faux-expert report #7” for the McDermott “fake,” because that Plaintiff’s Claim was only “alive” for three days before I believe McDermott himself crumpled it up and trashed it. And not even Robinson, however clever and devious he has proven himself to be, can write up a “faux-expert fake report” that fast…
Fakes, Did You Say? – Oh, and did I mention? The Robinsons not once brought back a single alleged Morrisseau “fake” to Randy Potter, to demand their money back, for any of their 31 “fake” paintings – the notorious Wanker31.
This I hasten to add is hardly unusual; in fact it’s the norm for Randy Potter auction sold paintings. Of some 2,000 Morrisseaus he sold over the years to some 200 of Canada’s top dealers and collectors, not a single one was ever brought back for a refund claiming it was a fake. NOT ONE.
And Randy sold many, many thousands of other works of art by leading Canadian artists over the years – a number of which I have also bought. None of these, either, were ever brought back as supposed fakes. Except for one. And that was by Donald Robinson who claimed – 15 months after he bought it for $200 – that it was a fake. And it was NOT a Morrisseau.
Any other auctioneer, dealer, art gallery or merchant, under the circumstances would have told Robinson to GFY. Not Randy who believed in his art, and without a word gave Robinson back his 200 bucks. If that is not integrity beyond the call I don’t know what is…
Tellingly Robinson kept ALL his Potter bought Morrisseaus.
The difference with all Randy’s buyers is that of them all, only one, Donald Robinson, ever denounced the Morrisseau paintings he sold as fakes. And STILL Robinson didn’t ask for a refund…
How many of you can afford to just blithely take a bath on $54,000, without returning the Lexus to the dealer, after you decide it was a fake fabricated by a forger in Thunder Bay?
And Just to Belabour the Point – If ever paintings SHOULD MERIT having been returned for a refund – by the Robinsons’ own say so – these were them… The Wanker31 are the first and the worst of the alleged Robinson “fakes.”
Remember, these are the notorious template “fakes,” that Robinson gave to the NMHS to use as guides to use in selecting which Morrisseau paintings he wanted them to denounce, devalue, and to burn, and destroy. Half of them, the Wanker15, had apparently been sold by KRG to art collecting “dupes/dopes” for the usual KRG 600% to 700% profit; the remaining Wanker16 were given to the NMHS.
Echo – You would be right if you thought you heard an echo! This is exactly what Bryant Ross did with Water Spirits, after he failed to sell it even as a direct-from-the-artist work. Ross then did his own complete 180 and loudly and publicly desecrated it as a fake to the media. Both men clearly believed that if a painting can’t make a profit for their own gallery, then it can still be used to destroy the art in their business competitor’s galleries. (Robinson and Ross – as Norval’s longtime business advisor – have been business associates since 1989 when they met for the first time at the founding meeting of the Aldergrove “Price-fixing” Conspiracy, held in Ross’ own Coghlan Art studio and gallery there.
If he honestly believed they were “fakes,” then why wouldn’t Robinson have quickly taken them back for a refund to get his $54,000 back?
Because as “fakes” they were a far better investment. He could make millions for his gallery by destroying the valuations of all the similar Morrisseau BDPs his competitors were selling, by just calling theirs all “fakes.” And later, with chutzpah, saying thousands of them were “fakes.”
But then, why, you have every right to ask, were no Wanker fakes ever put up on Sinclair’s website? And in 2016, not a single one of the worst alleged “fakes” of all time – the Wanker31 – is up on Sinclair’s website? When some 1,000 lesser “fakes” are… (The Damning Answer is below.)
Once Sinclair went to work for the Robinsons, as their chief “fakes enforcer” for the fraud, he also went to work with a passion.
The Astonishing Total and Complete About-Face of Ritchie Sinclair – Part 2
# Ritchie Sinclair decides, rather than promoting Morrisseau and Indigenous art and artists, he will attack, discredit, and denounce them and their work, and become a hatchet man and fraud enforcer going to work as a business associate of Kinsman Robinson Galleries.
Sinclair’s About-face on “Water Spirits” Part 2 – First Sinclair tried to expunge the record of his effusive, year-long praise of 1970s Morrisseau BDPs. The Robinsons found these public comments by Sinclair obviously “unhelpful” to the story line about fakes they were planting with the media whenever and wherever they could.
On Aug 26, 2008, a desperate Sinclair would literally beg, his then-friend, and longtime Morrisseau blogger Ugo Matulic “Would you do me a favour and remove this comment I made on your blog.” (ed: on Water Spirits) Sinclair bleated to his friend that his publicly posted comment was causing him problems…
“It’s the meat grinder for you, Ugo!” – Matulic refused, believing that to do so – remove an honestly expressed encomium for a work of art by Sinclair – was to falsify history. So Matulic won Sinclair’s instant enmity. Matulic would shortly become the target of an anonymous “Meat Grinder Death Threat” email that was traced back to the C-drive of Ritchie Sinclair’s own computer by Matulic’s sitemeter. Matulic logged the Death Threat and the documentation with the Calgary Police.
Sinclair had made numerous other equally incompetent and ludicrous miscalls of Morrisseau paintings, notoriously calling many “Masterpieces,” then, months later, totally reversing himself, and calling them fakes. In one laughable miscall he pronounced a Richard Bedwash painting a “Morrisseau Masterpiece” before someone, months later, kindly pointed out what an idiot Sinclair was, and he took it down.
Steadfast and True – To his credit the blogger Ugo Matulic – viciously and maliciously attacked by Sinclair and Kinsman Robinson Galleries, who even racially denigrated him on its corporate website – has, UNLIKE HIS DISCREDITED TORMENTORS, never reversed himself in any way from praising and featuring countless 1970s Morrisseau BDPs.
While Matulic’s discredited tormentors did cartwheels of idiocy and reversed themselves a full 180 on hundreds if not thousands of paintings, and calling them “fake,” Matulic did something smarter. He went to external and independent forensic experts.
All the paintings he sent for analysis, including key paintings the Robinson cabal called “fakes,” ALL came back as authentic Morrisseaus, with DNA certainty, and without a single failing. In nine years of research he has publicly documented what I call the worst HOAX in Canadian history.
In 2016, these forensically and/or judicially authenticated paintings number near 70.
The number of alleged “Fake” paintings “found” by forensic experts, or judges, number NOT ONE SINGLE PAINTING, though the Robinson cabal swore there were “thousands of fakes by umpteen forgers” out there. They haven’t even been able to find a single one in 15 years of trying… Even though they were given their choice of paintings, their choice of witnesses, and their choice of proof…
It is, of course, a huge indictment of the members of the Canadian fine art community that they have let this racist anti-Indigenous art and artist scandal to go on for so long without stepping in to clean up this sordid stain on their industry.
Instead of passively standing by and so aiding and abetting the worst act of cultural genocide in Canadian history.
How could any Canadian art collector and buyer, seeing such a sordid record of turning a blind eye to clear and documented multiple acts of corporate malfeasance, possibly walk into any art gallery with even minimum trust, and not wonder – and worry with good cause – just what the hell kind of ethics the proprietor has – if any?
One thing seems incontrovertible. Enter at your own risk, with an abundance of caution. And watch your purse…
In fact it is the decent and respectable members of the Canadian art gallery community that have been targeted and paid the biggest penalty, after being subjected to totally fabricated and fraudulent accusations of consumer and art malfeasance by the worst actual practitioners of this lowlife business scam.
Ritchie Sinclair’s Fraudulent, Vicious, Malicious and Racist Anti-Aboriginal Website Goes Up
So it was, that on October 13, 2008 Sinclair launched Canada’s most vicious, malicious, and racist anti-Aboriginal website – EVER – with the express purpose – as he had once warned Joe McLeod – to “take down the whole Morrisseau market,” presumably in partnership with Toronto’s Kinsman Robinson Galleries. (McLeod court testimony)
Sinclair also did it out of pure hate: hate against galleries that had turned down his demands they show his Faux-nishinaabe art, and out of malice and jealousy against Norval Morrisseau who he implied, in court testimony was his chief rival – and opponent – for public recognition as a Great Canadian Artist.
With that sociopathic destructive purpose in mind, Sinclair immediately stole the “Morrisseau” family name for his website, because he was driven in his viciousness and maliciousness to target not only the art of the man identified with that name, but all his relatives whom Sinclair and Robinson both viscerally – I heard them personally – called liars and forgers during various court testimonies.
Within only a few days Sinclair scrounged countless hundreds of low res images off Canadian museum, art gallery, and educational websites and posted some 1,000 of them as “fakes,” “forgeries,” and “Inferior Counterfeits.” Even though he had never seen 99.9% of them in hand…
He took six of mine off my internationally-praised “First Peoples of Canada” website,*** and slanged them as “fakes” though he hadn’t seen a single one in hand.
***“What a fantastic, fantastic web site! I’ve learned more in 15 minutes than in years of schooling. I have always struggled with understanding the real differences between First Nations and Métis culture – – I knew the technical definitions, but struggled to understand how that led to cultural differences. In the past few years I have made the acquaintance of a Métis friend, and so my lack of understanding has bothered me all the more. So, here I am plucking away at the iPad as I wind down in a Friday night, and wow! My eyes are being opened. Thank you thank you thank you!” (Jun 26, 2015 name withheld; one of hundreds of similar encomiums from educators, students, and surfers from all over Canada and the US)
From Day 1, Sinclair’s website became, deliberately and overtly, racist and anti-First Nations, not only because a starving white artist was deliberately targeting a genuine Anishinaabe artist and his art, but was attacking many other respected Indigenous artists and community leaders as “forgers,” creeps, crooks, and liars.
Sinclair’s website “morrissseau.com” did the Kinsman Robinson Galleries’ work by both racially targeting not only an Indigenous art form but numerous reputable and decent Indigenous people as well.
Under oath, but protected from libel charges because it was court testimony, Robinson, clearly echoing Sinclair – or was it the other way around? – personally called all the members of the Morrisseau families complete liars, “absolutely.” (Court testimony.) Sinclair calls Robinson “My Mentor,” so the origin of the racism seems clear in Sinclair’s mind.
Pop Robinson’s Memory – Watching and hearing Pop Robinson testify on multiple days on the stand I noticed that his memory was razor sharp whenever its recall helped his KRG gallery’s claim. But his memory was truly god-awful when it undermined his allegations.
For example he blustered that Norval told him who the “forgers” were by name. When Judge Martial eagerly leaned forward and said “Who,” Robinson folded like a dirty shirt, stuttering that he couldn’t remember now, he had misplaced the paper where he wrote it down etc. Everyone in the court got the message: “blatant self-serving slanging without evidence.”
I saw and heard Robinson do it on the stand for hours… and days. Many times I wondered, as did many others, why Judge Martial was letting Robinson go on and on this way?
Judge Martial was smarter than the rest of us. He was wisely paying out the rope by which Robinson would hang himself.
Below is one especially delicious example from courtroom testimony in 2011, regarding Robinson’s longtime business associate and KRG fraud enforcer, Ritchie Sinclair.
Sinclair Fittingly Appears as an “Expert” in a Notorious “Faux-expert Report” – In 2009, Robinson had entered Sinclair’s name in one of his discredited “faux-expert reports” as having some expertise on Morrisseau.
It is truly landmark, because it is the very first mention of the name Ritchie Sinclair ever recorded in any literature of any kind, by anyone, dealing with Norval Morrisseau in the entire 30 year period since Sinclair had a brief “relationship” with the artist in 1979 – 1980.
Raising the eyebrows on why Robinson would have done it then? And in 2009, be the very first one in history to do so, when he himself had tellingly, failed to do it in 1997, in “Travels to the House of Invention” – a book published on Morrisseau’s art by KRG in collaboration with Morrisseau – and again failed to do it in 2005, in “Return to the House of Invention”? Was Robinson’s mind gone then, or now? Or was something else afoot?
The self-serving, and selective amnesia for an “expert witness” is mind-boggling at best… and was starkly put on public display by lawyer Brian Shiller in cross-examining Robinson under oath:
“Brian Shiller: Okay. Now, you wrote two books on Mr. Morrisseau; correct?
Donald Robinson: Yes.
Brian Shiller: Is Ritchie Sinclair mentioned in either of those books?
Donald Robinson: I’m sorry; did he….
Brian Shiller: Is Ritchie Sinclair mentioned in either of those books?
Donald Robinson: I don’t remember. I don’t; I mean, certainly not in a major way; perhaps not at all; I, I don’t remember; perhaps in the acknowledgements; probably not at all.
Brian Shiller: Probably not at all?
Donald Robinson: I don’t remember it. They were written several years ago.
Brian Shiller: One is in ’89 (sic: 97); one is in ’05; correct?
Donald Robinson: Probably, yes.” (Trial Transcripts, Hatfield v Artworld, Sep 2011)
One is left open-mouthed wondering if he can’t even remember mentioning Sinclair or not – it’s my firm belief, and I believe also the belief of everyone else in the courtroom that day that Robinsonvery well knew he was lying on the stand – just what could he possibly rememeb about the so-called expertise etc. of Sinclair about Morrisseau?
Luckily you don’t have to guess.
Only a few months later, the transcripts of the Otavnik v Sinclair trial before Judge Godfrey give you the goods in dramatic detail.
Sinclair had brought his longtime business associate, Donald Robinson, to the stand to testify on his behalf and be a personal, professional, and artistic expert character witness for him.
I still remember the moment when the pompositing Sinclair asked Donald Robinson to inform Judge Godfrey of his (Sinclair’s) many accomplishments in art and Morrisseau expertise.
“Mr. Sinclair: Could you tell the court a little bit about who I am, Mr. Robinson, and what you know of who I am and my relationship with Norval Morrisseau?”
Sinclair delivered this question with impressive and overbearing bombast, and I recall, as he finished the last word he strode back to his seat as if he would sit to hear an expected never-ending torrent of laudatory encomiums from the notoriously long-winded Robinson whom Sinclair fawningly referred to as “My Mentor.”
I expected to be bored to death for ages as Robinson rose to answer the question from the Faux-nishinaabe artist who had for over two years now been loyally working with him as a fraud enforcer.
Here from the trial transcripts is Robinson’s response – in its entirety – as he details Sinclair’s bio and accomplishments for Judge Godfrey:
“Don Robinson: Well, I understand that you were, you were once, but you knew Norval Morrisseau a number of years, and that you were painting with him. I am not sure what else I can say.”
Sinclair, I could see, was as taken aback as I was by this tepid and curt brush-off of a bio, which was more of a slap in the face than anything I thought. A clearly disappointed and desperate Sinclair now tried with another question. He saw his bio needed a desperate boost.
“Ritchie Sinclair: Do you remember the first time that you and I met with Norval Morrisseau at your gallery? Um, I walked in and you said, ‘Who is this Mr. Sinclair?’ In 1989, ’90, maybe ’91?
“Don Robinson: I don’t remember that…” (Trial Transcripts Otavnik v Sinclair p 129, 2010)
If Sinclair himself can’t remember – since he routinely just makes up false stuff on the spot – perhaps we can excuse Robinson for also not remembering.
But it does hugely underline that both Robinson’s “faux-expert reports” on “Jesuit Preist” and “Wheel” which he wrote during this time, and which were discredited by multiple judges in their claims about fake paintings, are also totally unreliable in the “Acknowledgements” where Robinson lists Sinclair as an “expert.”
These trial transcripts show Robinson’s knowledge about Sinclair is less than threadbare, in fact non-existent, and that he just fabricated it out of thin air like everything else he wrote in the reports.
Fabricating – out of thin air – has long been his and KRG’s practice, regarding the manufacturing of provenance for multiple Morrisseau paintings that I have documented, including: deliberately expunging important data about Morrisseau paintings, altering names, fabricating new names, fabricating new dates, or altering the subject matter or the painting material characterization. None of which originated with Norval, the artist; all originating with the KRG provenance altering business. And all done to prevent internet tracking by sleuths, collectors, and KRG clients trying to track down the genuine provenance and life history of their specific KRG bought “Morrisseau’ paintings.
With a documented and proven gallery practice like this, if your “Morrisseau” has a provenance that includes a stay in the KRG basement, you have no credible assurance or trustworthy provenance about the authenticity of what the hell you have bought.
The “Pop, the Pup and the Pard” – As soon as he mounted his racist website, Sinclair began to work hand-in-glove with Donald “Pop” Robinson, his son Paul “Pup” Robinson, and John “the Pard” MacGregor Newman***, and their gallery, both inside and outside of court, to spread the vicious and malicious assault on Canada’s Indigenous art and artists through the media.
*** Newman, a longtime partner of Paul Robinson’s and Associate Director of KRG, has been in on the ground floor perpetuating the “fakes” HOAX from the beginning. He was documented as being hands-on, alongside Ritchie Sinclair with discrediting “Jesuit Priest” in Richard Baker’s office in early July 2009; he was documented as involved in desecrating five (that’s five) of Matulic’s Morrisseaus in the notorious Red Lake “Fraudulent Fakes” Fiasco.***
***In 2008 three NMHS and KRG big city big shots conspired to maliciously cow a small town curator Michele Alderton*** of Red Lake, ON, into calling “fakes” five genuine Morrisseau paintings belonging to Ugo Matulic, that she had already had printed up in a massive catalogue, and was ready to display in a major Morrisseau art show. The NMHS and KRG were targeting Ugo Matulic, a blogger celebrating 1970s Morrisseau BDPs, and exposing a KRG business scam, with allegations they all knew were fraudulent. To “get at” Matulic this malicious consortium of fraudsters was willing to devalue, and destroy the integrity of five genuine Morrisseau works of art.
*** Alderton probably knew more people who had bought art from Norval directly in the town where he got his start, and has seen more of his genuine original art, than all the members of the Norval Morrisseau Heritage Society, Kinsman Robinson Galleries, and the National Gallery of Canada COMBINED. She knew her Morrisseaus, but she feared if she didn’t comply with the Ottawa and Toronto snoberati diktats her gallery would suffer blowback from vengeful NGC bureaucrats.
Under pressure from the browbeating big city big shots, Alderton burned all the catalogues, delisted the Matulic paintings from the catalogue and exhibition, and issued a new catalogue. Alderton privately issued an apology to Matulic; Matulic later got an independent forensic scientist to prove the paintings were signed by Morrisseau. And so exposed another vicious, malicious, and seditious twist in the conspiracy at the heart of the NMHS and KRG collaboration.
A photo clearly shows Newman being an eager pupil, taking art instruction from Sinclair inside KRG. He is documented as an aggressive blogger using pseudonyms that sitemeters tracked back to him personally. I have personally heard him railing loudly, inside KRG, to gallery customers on how he can easily spot a “fake” Morrisseau a mile away.
However “Pard” Newman has never answered the question, that everyone – including Justice Sanderson asked herself: then why did his boss – Pop Robinson, who claimed he was the world expert – bid on 90 and buy 31 “lousy fakes” for $54,000…? After personally seeing, examining them, and personally fondling them, up close… And than never ever brought even a single “fake” back for a refund…
KRG Proudly Promotes a Documented Racist anti-Aboriginal Fraud Artist
Sinclair soon became the honoured guest at KRG, being allowed to take tours through the gallery, being allowed to tape videos inside, and allowed to conduct TV interviews there. All were clearly designed to enhance Sinclair’s status as a so-called “Morrisseau expert,” which Donald Robinson had created for him in his “faux-expert report.” It is a status the Morrisseau family has denied, and something which no one else had ever documented in print, with photos, or with video, over the past 29 years…
It’s just another, of an endless series of totally fraudulent fictions, created by the Robinson family.
And then it gets worse.
In fact Kinsman Robinson Galleries even gave Sinclair’s vicious, malicious, and racist anti-Aboriginal website a feature promotional link on its own KRG corporate website, which they only abandoned and deleted after they were sued by Joe Otavnik for promoting the racist imposter this way.
It is not known what financial penalty KRG paid to Otavnik to be removed from a lawsuit, which Otavnik then continued against Sinclair alone.
But it underlined why KRG was more than pleased that the malicious Sinclair, after much cajoling and bribing, agreed to work for them, as a foil and a vicious fraud “enforcer.” This ensured that, since he was acting as a buffering middle-man for the fraud, KRG could escape lawsuit ripple effects from his aggressive and malicious activities.
How smart KRG is! Sinclair, unleashed, takes all the heat; KRG sits back and smiles, and gets all the financial benefits from his attacks, with no loss and no risk to its gallery.
For sure KRG never wanted Sinclair’s damn Faux-nishinaabe art. In all the years he has faithfully worked for them to promote the HOAX, they have never once, given this Faux-nishinaabe artist his own show in their gallery. Clearly they didn’t want their gallery tainted with his phony Faux-nishinaabe art.
Sinclair says the reason KRG shunned him as a professional artist, is exactly the opposite, that his art is too good for KRG to display. That his Faux-nishinaabe art is dangerous competition for Canada’s top Indigenous artist.
And from the trial transcripts, lawyer Brian Shiller in cross-examination:
“Brian Shiller – Have they (KRG) ever offered to represent you?
Ritchie Sinclair – They’ve never offered.
Brian Shiller – And they’ve never put on a show of your art, have they?
Ritchie Sinclair – No.
Brian Shiller – Kinsman Robinson Gallery, they represent you ever?
Ritchie Sinclair – No, they never represented me.
Brian Shiller – Why not?
Ritchie Sinclair – They represent Norval Morrisseau.
Brian Shiller – But why not you?
Ritchie Sinclair – Well in a sense there’s a, there’s a competition; I mean, their show, they have a show every year for Norval Morrisseau.” (Trial Transcripts, 2012, Hatfield v Artworld p126)
Sinclair’s overweening ego was often put on display by clever questioning by Brian Shiller. When he asked Sinclair if he ever contacted the Smithsonian Institution in Washington DC, and tell them that they had a so-called “fake” Morrisseau on display on Sinclair’s website, Sinclair replied curtly and dismissively: “No! They know where they can find me!”
The fallout from the malicious Robinson and Sinclair anti-Indigenous art and artist campaign would cause a huge decline in Morrisseau art valuations, in time making it virtually impossible to sell a genuine Morrisseau painting for any money anywhere.
Art auctions refused to handle Morrisseaus and art galleries refused to accept Morrisseaus on consignment. Art dealers stopped handling Morrisseaus. David Silcox of Sotheby’s told me it was just not worth handling Morrisseaus anymore considering “all the threats” they were being subjected to.
The Canadian Art Community Strikes Back! – Well, Jim White did…
Immediately after Sinclair launched his racist website, five major dealers struck back, launching a multi-dealer lawsuit seeking an interim injunction against Sinclair and his destructive, libelous, and malicious website. It was heard before the Hon. Justice Thomas R Lederer, who offered scorching observations about Sinclair and the claims on his website.
That lawsuit evolved into White v Sinclair and was eventually heard over several days before Deputy Judge CW Kilian in a Toronto court in 2014 and 2015.
On Aug 5, 2015 the damning Judgment from Judge Kilian specifically targeted Sinclair’s malicious website, and fined and penalized him with the maximum allowed by law in Small Claims Court, for his “reckless false allegations disseminated on a world-wide media.”
Judge Kilian found that the evidence against Sinclair and his claims was mountainous and credible. That Sinclair had no evidence for what he claimed about paintings being “fake,” and that what he said was libelous, malicious, and not credible.
Judge Kilian ordered Sinclair to pay $28,750 (the maximum) to Jim White, and thundered from the bench that if it had been in his power he would have fined Sinclair another $10,000 more for punitive damages.
So what does that say about Sinclair’s longtime collaborators who had supported the fraud they had started, and spread, using Sinclair’s vicious, malicious, seditious, and meretricious website?
Is this judicial decision the reason for the April Fools Fakedown?
Now, suddenly, after years of no change to the front 100 of targeted “fakes,” Sinclair has done a complete takedown of them all, with a few then scattered to back pages of his vile and libelous website.
WTF is going on?
Let’s look at the story behind the biggest Fakedown of all…
The Long Sad, Sorry, and Squalid Saga of Margaret Hatfield’s “Wheel of Life 1979”
“It’s GONE, GONE, GONE… GONE, GONE, GONE… Cryin’ won’t bring it back…”
Sure, we could be talking about “Maggie”*** Hatfield’s $60,000 which she was snookered into squandering on a phony and totally unmeritorious lawsuit, claiming her 1970s Morrisseau BDP painting was “fake.”
*** The Kiss of Death – Sinclair and Sommer, both, affectionately called her “Maggie.” I once – seven feet in front of me – saw Sinclair grab Maggie by the shoulders and plant a big kiss on top of her head. I would suppose there must be some affection, as opposed to affectation, when someone puts scores of thousands of dollars of income into your (or a fellow collaborator’s) pocket.
But we’re actually talking about her painting, “Wheel of Life 1979,” which we can’t find anywhere…
What the hell happened to the most famous/infamous painting on Ritchie Sinclair’s malicious website, Margaret Hatfield’s “Wheel of Life 1979” which he has posted as his #20 “fake” for many years?
And whose broadcast and promotion by Bell Media Inc. (CTV), as a supposed authentic “fake” template, it recommended that its viewers and consumers use, as a reliable tool for telling authentic from “fake” Morrisseaus. Bell Media Inc. (CTV) thereby deliberately desecrated and devalued thousands of similar paintings by Canada’s top Indigenous artist.
Before a morning prime time audience of one million, Bell Media Inc. (CTV) promoted Ritchie Sinclair as having art expertise and experience he doesn’t have, promoted this school-dropout to instant “art expert” status, and eagerly and openly recommended his vicious and malicious racist anti-Aboriginal website to its viewers and consumers.
Bell Media endorsed this totally multiply-judicially discredited art fraudster with Bell Media Inc. (CTV)’s own in-house produced vicious and malicious materials bearing the CTV logo and imprimatur to use as he wanted to attack Canada’s Indigenous art and artists.
It resulted in multiple lawsuits against Bell Media Inc. (CTV) and a hurried take-down of its own racist, and defamatory materials which its own employees created and published without even bothering to do minimal Due Diligence…
The implication of the “Wheel of Life 1979” Fakedown, is clear, the conclusions inescapable, and devastating to Sinclair, and his collaborators, Toronto’s Robinson family, and their longtime collaborating – both inside and outside court – lawyer Jonathan J Sommer.
And not least, devastating to Bell Media Inc. (CTV) and its vicious, malicious, and racist broadcast and internet promotions it has publicized continuously from Feb. 7, 2014 to 2016. It is guilty of the worst act of broadcast malfeasance of the 21st century, with its fraudulent and racist claims targeting the art and artists of Canada’s Indigenous people.
Here’s why. Let’s look at Sinclair’s most prominent takedown, the most notorious Morrisseau painting in history, Margaret Hatfield’s multiply-authenticated “Wheel of Life 1979.”
The Infamous Life History of an Alleged “Fake”
A Retired School Marm is Cunningly Set Up for a Disastrous Fall – on her dime…
Margaret Hatfield, a retired school teacher bought this classic 1970s Morrisseau BDP, in 2005, for some $10,000, a sum Ms. Hatfield said she could hardly afford, from Artworld, a highly-reputable Toronto region art gallery. Artworld had provided two Certificates of Evaluation and Authenticity from two independent and leading Canadian art and Morrisseau experts and appraisers.
Hatfield was totally in love with her genuine 1970s Morrisseau BDP for years… until…
Browne & Sinclair Appear – Hatfield came across a malicious website posting, attacking another genuine 1970s Morrisseau BDP as a “fake,” put up by the notorious art collecting neophyte, Ottawa’s Dr. Jonathan Browne. After she contacted him, he eagerly delivered her into Sinclair’s welcoming arms, in 2009.
Sinclair – remember, he’s now the “fakes enforcer” for Kinsman Robinson Galleries – immediately convinced the gullible, little old lady, and retired school teacher, that “Wheel” was a “fake” and that she should sue Artworld. (All from Hatfield’s own testimony.)
All on her dime, of course… Sinclair was all bravura to get her to spend her money. He had not a nickel he could offer; hell, to survive this starving Faux-nishinaabe artist was bunking in with “my roommate,” an employed City of Toronto worker, Garth Cole, to make ends meet…
Sommer Comes from Montreal – Sinclair then got Ms. Hatfield to hire a Montreal-based lawyer, Jonathan J Sommer, to handle the lawsuit.
Sommer first came on the Morrisseau scene when he was called to defend Sinclair’s longtime previous lawyer Zak Muscovitch, who was sued by Joe Otavnik for being complicit in aiding and abetting the fraudulent Morrisseau “fakes” campaign. Zak then, probably fearing that, as a lawyer, he was treading on dangerous ground, acting for Sinclair and his cabal of cronies, apparently headed for the hills, ending a ten year relationship with Sinclair.
Sommer would henceforth – from 2009 forward, and for many years to come – become Sinclair’s closest working associate at publicizing and promoting the fake “fakes” allegations both inside and outside court, against anyone who opposed them and dared to say that what the duo were claiming and doing was fraudulent. And that neither had a smidgen of evidence to back up the crap they were funneling to and planting with the gullible and witless media.
Pop Robinson – Sinclair then got Pop Robinson to write one of his infamous and totally discredited “faux-expert reports”*** purporting to prove “Wheel” was “fake,” and then even got him to testify to that – if you can believe under oath, no less – on the stand before Deputy Judge Paul J Martial.
*** This would be Pop Robinson’s fifth fraudulent “faux-expert report.” (All five would be judicially or expertly discredited in one way or another over the years.)
That led to the longest fine art trial in Canadian history, with the conniving members of the cabal doing their damndest to prove their claim of “thousands of fakes by umpteen forgers” by giving it their best shot in making an example of a single painting – and one of their very own choosing – “Wheel of Life 1979.”
So it should be easy? Right? A done deal?
Not on your life! In fact the total opposite…
Judge Martial Totally Scorches the Plaintiff’s Claim & Witnesses
In the end, and after the longest fine art trial in Canadian history, Judge Martial totally scorched the Plaintiff’s claims of “Wheel” as being “fake.” Martial seared Hatfield herself, for wrong-headedly refusing to do Due Diligence with proper experts. And he totally discredited her only two witnesses, Robinson and Sinclair, both, as lacking expertise, and being uncredentialed and unreliable for what they were claiming.
Martial resoundingly discredited every part of her Plaintiff’s Claim, ruling that “Wheel of Life” was 100% authentic not only on the front, but also on the back. He found that the BDP signature (large Black Drybrush Painting sign-off on the back) there was real and that there was “overwhelming evidence” that Norval signed his authentic paintings this way thousands of times.
The judge reprimanded the Plaintiff’s lawyer, Jonathan J Sommer, for failing to provide important witnesses the Court expected to see and hear in a case making such a serious allegation. (Sommer had only two (that’s two folks) witnesses, both provided by Ritchie Sinclair. The judge clearly expected better of Sommer, as a lawyer, to bring other more credible witnesses before the court. That he did not do so, clearly underlined to those in the know on the background to the HOAX, that no credible witnesses were available to him.)
Among key people I would have expected to see, but knew they would never dare to show, in a million years, were “heart of the fraud facilitators,” Norval’s self-declared heir, Gabe Vadas and his wife Michele. Both were master manipulators of Norval – committing blatant elder abuse – in his final years, directing his personal, financial, business, art, and legal affairs, and aggressively wielding his Power of Attorney.
And mercilessly and heartlessly carting about Norval’s insentient body for display in art shows and KRG sales. But perhaps Norval liked being dragged off his deathbed, flown across Canada, and to be put on public display in front of hundreds of incredulously staring gawkers…
Both Vadases had taken leading roles at threatening Artworld by phone, by letter, and by lawyer.
I would also have liked to see lawyer Aaron Milrad on the stand to defend his role in advancing the HOAX. He played a leading and active part (court testimony) in assisting Gabe and Michele Vadas who were trying to strong-arm and threaten Artworld into dumping not only “Wheel” but many other genuine Morrisseau paintings it was marketing as well, and to try to force it to start buying its Morrisseaus only from the Vadas’ “studio” stable of Norval’s little helpers.
Clever eh? The plotters had managed to mount the longest fine art court case in Canadian history, with their spurious claims of “fake,” but spent NOT A DIME to pay for it, or to promote the fraud. But they had managed to cost their multiple victims a fortune.
A little old schoolmarm, who found the $10,000 she spent for her painting, really beyond her means, was now – thanks to Sinclair, the Robinsons, and Sommer – saddled with bills of another some $40,000 in legal fees on top of that…
(By the end of 2013 that amount had climbed to over $60,000 Hatfield had laid out for a painting I believe she had, by now, come to hate with a passion…)
And the Defendant, Artworld, had probably lost over $100,000 in having to defend itself against totally false, vicious, malicious, and completely unsubstantiated accusations.
Still, in spite of the best efforts by the fraudsters, Judge Martial had ruled with resounding finality, leaving not so much as a sliver of doubt in anyone’s mind, that the charges of “Morrisseau fakes” were totally bogus.
Nine months later, the Hon. Madam Justice Mary Anne Sanderson, made exactly this point: that Judge Martial had deliberately gone beyond what his job and the law demanded of him, just to try to assure Hatfield that indeed, her painting was completely genuine in all respects. The law only demands a judge rule “on the balance of probabilities” which is equivalent to DNA certainty in a court of law, and Martial had already done that. Then he went beyond that to assure the Plaintiff that she should be under no illusion – her painting was 100% authentic. The longest fine art trial in Canadian history had proved it. He expected her to be happy about that finding.
And that should have been that… end of story. About the Morrisseau “fakes.”
But far from it…
The Truly Shocking Fallout from the Landmark Martial Judgment
Jonathan J Sommer’s Extra-Judicial Campaign Against the “Wheel” Judgment
Jonathan J Sommer Launches A Totally Inexcusable Media Attack on the Martial Judgment
Jacquie Miller, Dopey Dupe – Almost immediately after the Martial Judgment came out, the Ottawa Citizen’s Jacquie Miller had been first off the mark by writing a fairly balanced article with the headline that the Martial Judgment would now help the Morrisseau market recover and Morrisseau prices begin to rise again. It was the hope of many Canadian art collectors and especially those who had paid scores of thousands of dollars to get a judicial ruling on the utterly bogus allegations of “fakes.” Which Judge Martial had provided in stentorian terms.
On April 3, 2013 Miller headlined “Market for Norval Morrisseau art work may pick up after court ruling.” (Ottawa Citizen, Jacquie Miller, Apr. 8, 2013)
I can only surmise, that on reading it, Jonathan J Sommer must have gone apoplectic; it obviously was not good news for his “fakes” allegations recruiting business.
He must have immediately called Miller up to complain so aggressively that only a few days later, Miller published her notorious April 8, 2013 rant by Sommer that was so aggressive it even made the headline: “Art lovers beware: Norval Morrisseau fakes are still on the market, says lawyer’” which, of course, completely undermined Miller’s previous thesis, of only five days before.
The new headline rant showcased for all the world to see lawyer Jonathan J Sommer’s clear intention to try to destroy the public’s trust in the earlier article, but also to deliberately attack and undermine the Martial Judgment with the totally false and deliberately denigrating Sommer snort that it was “a single statement about a single painting made by a single small-claims courts judge.”
I had sat immediately behind Sommer during the entire trial. I read ALL the trial transcripts, multiple times, and the judgment. I know that statement is a total lie on many levels. I know Sommer knows it too.
Unbelievably, barely two weeks after the devastating Martial judgment had totally and without a caveat, completely discredited his Claim, his case, his evidence, and his witnesses, Jonathan J Sommer, the losing lawyer, instead of just common-sensically folding his tent and disappearing with his bogus Morrisseau claim and materials, chose to do a national pout on the pages of the Ottawa Citizen, with a headline-grabbing interview full of jaw-dropping comments that totally distorted and falsified the Martial Judgment, and the existence of “fake” Morrisseaus. And impugned the Canadian judicial process.
Whoa Hoss! – In a really astonishing interview Sommer deliberately decided to aggressively ramp up a publicity campaign to manipulate the media into helping him overrule the judge, the judgment, and in my eyes, the very legitimacy of the Canadian judicial process, in the eyes of Canadians, especially consumers of Morrisseau art.
Just after a landmark judgment, that should have, once and for all, closed the matter of Morrisseau “fakes” forever, Sommer snorted to the press that despite what one judge, in one little court said, there were still thousands of Morrisseau “fakes” out there. That the judge and the judgment were really irrelevant to that, if not downright wrong, and shouldn’t be heeded.
Seen against the long trial and the stentorian Martial judgment, I believed that Sommer’s public outburst was unprofessional and made a complete mockery of the entire Canadian judicial process (which is the source of his income) saying in a headline grabbing rant that whatever finding the judge made, Canadians should just ignore him, his court, and his judgment, because the truth was NOT what the judge said, but what he (Sommer) said, that there were still thousands of Morrisseau fakes out there.
How the hell could Sommer possibly know that?
“Just the facts, ma’am” – When, the facts were, that in the longest fine art trial in Canadian history, Sommer had just utterly and spectacularly failed to prove the existence of even a single Morrisseau “fake,” and had seen all his purported “evidence” totally dismissed, by a discerning judge, as not credible.
And then it gets worse.
Remember, lawyer Jonathan J Sommer had had his chance to choose the “very best pick” among “thousands of fakes by umpteen forgers” to put before the judge. He had taken “Wheel” as his “best possible fake example” to prove his claim, and had had three years to prepare “his best possible case,” and pick his “best possible witnesses and experts.” And had five long days – the longest fine art trial in Canadian history – to put it all before an independent judge.
AND SOMMER HAD TOTALLY, DISASTROUSLY, AND SPECTACULARLY FAILED ON ALL FRONTS… BY EVERY CONCEIVABLE MEASURE OF CREDIBILITY.
Worse yet, both of Sommer’s witnesses, including his “faux-expert,” Donald Robinson, and Ritchie Sinclair, had been totally and mercilessly discredited, by the judge, on every imaginable level: no expertise, no requisite credentials, being “hopelessly” self-serving, offering no evidence, not being credible or trustworthy.
“OUCH!” – I estimate the litigants had spent close to $200,000 in all, just to get a definitive judicial ruling from a Canadian court. Because that’s the way we do it, in Canada.
Only to wake up the next day to find the losing litigating lawyer in the national media, was in effect saying that, “Too bad, the joke’s on you; none of it means anything; you wasted your money.”
In my blog I denounced Sommer’s blast – by a losing lawyer – against the judge and the judgment in the national media, in my view, as inexcusable and unprofessional.
Fall-out – After I scorched Sommer for doing that, and accused him of putting up what I called a crass job ad, just designed to attract future Morrisseau “fakes” work for himself, that Ottawa Citizen article totally disappeared from ALL Postmedia archives, and from all the re-publishing websites on the internet where I had seen it before. Not a trace of it remained, anywhere…
I have no knowledge of who would go to such extraordinary lengths to expunge and root out from the world-wide web, every vestige of what I consider an important historical document. Luckily a number of people have preserved screen grabs from the day it was published. In the digital age, you can run; but you can’t hide… You can DELETE but you cannot DESTROY.
It’s actually worse than that.
I have not the slightest doubt that the article “Art lovers beware… says lawyer” which I hugely and publicly complained about, disappeared because of my blog outburst, and explains why it so suddenly disappeared without a trace.
I believe this article holds the world record for the shortest time that an article has ever remained published in Canadian history before every trace of it was yanked and expunged from the public record.
KRG’s Total & Sudden SLAPP Suit Abandonment v Blogger Ugo Matulic
After the Martial ruling, anyone with a minimum of common sense, or with a single digit IQ, would have protested that, hey, the judge ruled overwhelmingly against the Plaintiff, her case, her witnesses, and her so-called proof and evidence, and found so resoundingly in favour of the Defendant, her witnesses and the probity of her actions, that any reasonable person would say, that’s it, we quit. Continuing with such a totally discredited Plaintiff’s Claim is lunacy…!
Somebody clearly agreed with that and decided to act…
Pop and Pup Robinson See the Light – None other than Jonathan Sommer’s own “expert witness,” Donald Robinson, clearly believed it was lunacy to go on. He and his cabal had given it their best shot, and they failed miserably in every way, on every level. Robinson had been on the stand far, far longer than any other witness on both sides in the Hatfield v Artworld trial, only to end up being totally and absolutely scorched and discredited by Judge Martial, leaving him exposed on the stand without a shred of raiment left to cover his “modesty” with.
Clearly, Robinson Pop and Pup, both, clearly got the message. And only weeks later dropped entirely, without penalties or preconditions, Kinsman Robinson Galleries’ infamous Million Dollar Libel and Defamation Lawsuit – a SLAPP suit – they had launched in 2010, against longtime Morrisseau blogger Ugo Matulic.
A strategic lawsuit against public participation (SLAPP) is a lawsuit that is intended to censor, intimidate, and silence critics by burdening them with the cost of a legal defense until they abandon their criticism or opposition.” (WIK)
The Robinsons very well knew – especially after their lawyer had seen the mountain of documentary evidence Matulic displayed on Day 1 of Discovery (Feb. 27, 2013) – that the jig was up, that no judge would look on them, even marginally favourably, after that. They faced certain massive financial penalties from an angry judge, and would inevitably lose their case, if they pursued it to trial.
On the advice of their lawyer, they chose not to take that chance. And just totally abandoned their vicious and malicious SLAPP suit against Matulic without demanding a single precondition or prohibition or penalty against him of any kind.
Matulic could keep up ALL his past posts; he would not have to remove any words or language that denigrated Kinsman Robinson Galleries; he was free to go on to say what he had been saying for years: including that KRG and Sinclair were in a conspiracy to devalue genuine Morrisseau art.
Clearly the Robinsons did not want to financially risk Kinsman Robinson Galleries, which was Pup Robinson’s inheritance from Pop Robinson. Better just to cut and run, and skulk back to the KRG basement and return to their “provenance manufacturing” business.
The Martial Judgment, which totally discredited Pop Robinson was just the coup de grâce to that spurious 2 ½ year long KRG SLAPP lawsuit against Matulic.
Suspicion Confirmed #1: In fact, months later when the Appeal of the Martial Judgment was heard in Superior court, and “everyone” was there, Robinson – aka the expert “star witness” in the Hatfield trial – was a total “no-show,” obviously hugely wanting to avoid being further embarrassed in another public court.
Robinson was prescient; he would have been hugely embarrassed because his name and his fraudulent testimony later became a topic of discussion in the Appeal. Lawyer Brian Shiller said the evidence was incontrovertible, that Robinson was involved in a scam.
Tellingly, the only quote Justice Sanderson put into her scorching Judgment was one by Robinson that for her, clearly exposed the extreme nature of the scam. Her quote, “Never once have I seen it,” – referring to Morrisseau signing the back of his paintings in BDP style – is as close to sarcasm I’ve ever seen expressed in a judicial opinion. It was in her reference to the same point, where Judge Martial said there was “overwhelming evidence” that Norval had, in fact, done it – signed the back in BDP style – thousands of times…
Bad Eyesight, or… – In a related comment Sanderson specifically referred to Robinson’s multiple purchases – better make that 90 bids and 31 individual purchases – of exactly these kinds of Morrisseau BDP signed paintings for $54,000. And this at the very time Pop Robinson had been styling and referring to himself as the world’s top Morrisseau expert and the “Principal Morrisseau Dealer” for a decade.
Suspicion Confirmed #2: But the Robinsons were more than happy to drop their SLAPP suit against Matulic without penalties. Because for two-and-a-half long years, for 24/7 they had been able to slang Matulic as a creep, before all their clients and anyone visiting their corporate websites and blogs, and slanging him as a lowlife art forger of Morrisseau “fakes” who said false and libelous things about them, and whom they planned to pin to the mat and utterly destroy with a Million Dollar Lawsuit, in a court before a judge.
All, out the gate, now shown to be total lies of course.
KRG even made racist taunts against Matulic, asking what the hell does a Croatian immigrant possibly have of value to say about Canadian art? Thanks to the falsehoods and malicious lies they had put in their Plaintiff’s Claim they could recycle their invented infamies, to their heart’s content, citing court rules privilege, and smear Matulic with any lie and racist taunt they dreamed up in the basement of KRG.
From then on, the Robinsons allowed their KRG “fraud enforcer,” Ritchie Sinclair, and his associate Appeal lawyer Jonathan J Sommer to carry the ball…
But clearly Sommer should have learned a lesson from the Robinsons; why did he refuse – like they did – to read the obvious writing on the wall, when it was so easily seen by the very people he had been intimately involved in collaborating with, in the Hatfield trial, for four and a half long years…?
KRG’s Total & Sudden SLAPP Suit Threat v Blogger John Goldi
Immediately after launching my hugely documented and detailed coverage of the worst and most malicious HOAX in Canadian history – in “TheMorrisseauHoaxExposedBlog.com” – in January 2013, and only three months before Martial issued his judgment, I became the subject of a cyber attack by Kinsman Robinson Galleries, seeking to dismount my website.
I had publicly predicted Martial – who remained totally inscrutable during the entire trial – would find solidly against the Defendant, and that “Wheel of Life” was real.
KRG was – within three hours – joined, by the same kind of site take-down attempt, by lawyer Aaron Milrad. So the proof couldn’t be clearer that they were obviously collaborating together to stop the information flow from my blog to the public.
This cyber attack was followed by a legal KRG SLAPP suit threat to Cease and Desist writing my blog.
Why would the Robinsons do that? Why would they not want me to expose what Robinson himself told Judge Martial was the “greatest fraud in Canadian art history?”
And worse yet – why would a lawyer attempt to do it? Who was paying him? Who was he acting for? And why?
I ignored both vicious and malicious attacks on my right to inform the public on an issue of public importance. And aggressively continued to publish, and scorch the fraud, the fraudsters, and KRG and the Robinsons for what they had done and were doing.
Then, in March 2013, Martial thundered from the bench.
And KRG took the hint and totally aborted continuing both their SLAPP suits against Ugo Matulic, and their threats against John Goldi.
I never heard from a Robinson lawyer again…
Once Bit; Twice Shy – A Guide for Ethical Lawyering
“Little Green Men in a Space Ship” Defence – A teenage girl trying to explain her unexpected pregnancy to her angry father, by saying some little green men landed in a space ship and took her captive etc., might convince “Pop” once… OK, admittedly, he’d have to be a really super dumb Dad…
So, likewise, a lawyer may be allowed to “play the dumb card” once,*** to claim that he only took a case and wrote up a Plaintiff’s Claim because the client honestly believed her grievance to be true and that it was founded on demonstrable evidence, and was not malicious and based on fraudulent hearsay by conniving fraudsters and scammers.
*** This is NOT my belief, because based on the education lawyers are supposed to have, and the grotesque amounts of money they charge for their “services,” they are NOT allowed, in my books, to “play dumb” even once. But the Law Society of Upper Canada apparently allows them this loophole, as an OUT, for lawyers with single digit IQs, who clearly ought to have known that they are acting for a fraud or fraudsters or both. And went ahead anyway.
Hey, it’s a living… hell, it’s a GOOD living…
BUT, once is all…
So, when a judge – as Martial did – not only rules so totally and absolutely against every fact and claim in the Plaintiff’s Claim, but then goes on to also totally discredit ALL the witnesses a lawyer serves up, and upbraids him for failing to produce witnesses he should have produced, then a sensible lawyer has no more options but to quit litigating on the subject, and find a new client, a more informed and credible client, a more credible “theory,” and one supported by more honest witnesses. And he should unceremoniously just dump the totally judicially-discredited Claim in the garbage…
NOT keep wrong-headedly bashing his head at it, when all the evidence in the judgment placed in front of his nose by a judge, is so utterly damning of everything he put on display over five court days before an independent member of the judiciary.
Because, if he persists, the next time out, that lawyer is clearly no longer able to plead ignorance, and claim to be only “an honest lawyer representing an honest client with a believable case, supported by good evidence.”
Surely at some point it has to become obvious to any lawyer possessed of even minimum common sense that he is clearly fronting for a fraud, something forbidden by the Law Society of Upper Canada in its Rules of Conduct and Ethics for Lawyers.
Dishonesty, Fraud, etc. by Client or Others
3.2-7A lawyer shall not knowingly assist in or encourage any dishonesty, fraud, crime, or illegal conduct or instruct a client or any other person on how to violate the law and avoid punishment.
A lawyer shall not act or do anything or omit to do anything in circumstances where he or she ought to know that, by acting, doing the thing or omitting to do the thing, he or she is being used by a client, by a person associated with a client or by any other person to facilitate dishonesty, fraud, crime or illegal conduct.” (Quoted Law Society of UC)
“C’mon Hoss. I Said Whoa!” – Nothing could be clearer than that Sommer should have abandoned the whole sordid mess as exposed in no uncertain terms by Judge Martial. That certainly was the message Judge Paul J Martial passed on to everyone who watched the trial, as I did, or read the transcripts, as I did – all 950 pages of them. That there was nothing credible, for anyone possessed of even minimum common sense, to go on with.
Ontario lawyer Jonathan J Sommer begged to differ. Perhaps he doesn’t read; or bother overly with thinking about his actions.
I would suggest that Jonathan J Sommer seriously look at what he has been continuing to do on behalf of, and in concert with proven fraudsters.
A lot of people have had their assets hugely devalued because of this fraud. It is only a matter of time before a whole lot of angry people report him to the Law Society of Upper Canada for professional malfeasance or sue him personally.
The first time a lawyer is drawn into a fraudulent situation, he can plead ignorance. The second time he does it, he is making yourself a huge part of the problem, and is actively aiding and abetting a proven fraud.
And then it gets worse.
Jonathan J Sommer: How Can You #1? Form a Business Promo Partnership with Ritchie Sinclair
In Canadian history there is only one name that is more notorious for publishing denigrating racist trash about a minority than Ritchie Sinclair, and that is Ernst Zundel, who was jailed for committing a hate crime with his racist website, and then deported from Canada.
Multiple judges have discredited Sinclair in “judge speak” as completely untruthful, and malicious. Countless times I have seen him lie on the stand, just as easily as other people breathe. His performance, for Jonathan J Sommer before Judge Martial was classic, and was totally and dismissively scorched by the Martial judgment.
There is no one I know of who has been more discredited as a witness by multiple judges in Canadian history.
In Sommer’s own Appeal hearing (Dec 6, 2013) I saw and heard Brian Shiller point out to Justice Sanderson that Sinclair had clearly committed perjury during the trial. I personally saw her nod in agreement as she was going through her notes, to which Shiller replied, “I see you’ve read this part of the transcript.”
Everybody in court heard it. Sommer was sitting right in front of me. He heard it. So did Hatfield and Sinclair, who sat immediately beside me.
(In 2015 Sinclair would be hugely scorched by still another judge – Kilian – and fined the maximum for Libel and Slander.)
Yet over and over again Sommer openly collaborated with Sinclair, a school dropout and discredited fraudster… Why? Was it because Sinclair, had, after all, given Sommer the very lucrative job of representing Hatfield in her fraudulent lawsuit?
The close collaboration was clearly visible, multiple times, during the Hatfield trial, with Sommer, the lawyer of record, taking Sinclair’s legal advice, and planning strategy, etc., as I watched the duo actively interacting on multiple days, only seven or eight feet in front of me. Sinclair would hand Sommer documents and point out their significance, etc. during breaks in the trial; or make recommendations where improvements in Sommer’s courtroom presentation could be made.
However obviously embarrassing this was for a lawyer, I believe this is, it’s perfectly permissible. Even though Sinclair was NOT the Plaintiff, was NOT a Defendant, was NOT paying Sommer, was NOT his employer, and was NOT his client. But the school dropout would prove to be a longtime business associate and legal advisor to the lawyer.
Sommer also collaborated with Sinclair on two major acts of courtroom malfeasance:
Sommer knowingly left Sinclair in the courtroom during Day 1 of testimony, so he could hear it all, in spite of the fact that Sommer, having known full well, from the beginning, that Sinclair would testify as a witness, and that the practice in Canadian courtrooms is that witnesses must be excluded from proceedings and must sit outside the courtroom.
(This was the practice scrupulously adhered to by the Defendant Artworld’s witnesses who sat for days outside court waiting to give testimony, so it would not be tainted by hearing other witnesses when they gave their testimony.)
Secondly, Sommer asked Judge Martial – clearly at Sinclair’s behest – that Joe Otavnik be excluded from the public galleries of the courtroom out of a claimed “safety” concern for his witness, Ritchie Sinclair, who had an ongoing Criminal Harassment trial against Otavnik.
(This is a common Sinclair tactic, to try to hide from the public what he and his collaborators are doing to advance the fraud. In fact twice, before different judges, Sinclair tried to have me – an investigative journalist – similarly evicted from the public galleries in courts where he was testifying. In both cases the judges (Godfrey and Kilian) just smiled, and ruled I could stay. But with lawyer Sommer’s help in the Hatfield case Sinclair succeeded in getting a prohibition barring Otavnik from the public galleries.)
In fact Sinclair’s charges against Otavnik – and the case Regina v Otavnik, were all based on the fraudulent claims made by Sinclair to Toronto Police against Otavnik, for which the Hon. Justice Alphonse T Lacavera, would scorch Sinclair in May 2013, finding Otavnik “not guilty” of all charges, and scoffed that all Sinclair’s actions clearly showed that he believed the total opposite of what he claimed on the stand. That Sinclair clearly did not, at any time, demonstrate either “fear” of Otavnik, or a concern for his “safety” in his presence.
Toronto Police records noted that Sinclair told them he was a member of the Norval Morrisseau Historical Society (sic).
Sinclair’s Ponzi Scheme Bio: This was clearly a police typo for the Norval Morrisseau Heritage Society (NMHS) which Sinclair had been desperate to become a member of. So he just told Police he already was, to enhance his bio in their eyes. Sinclair clearly figured this claim – in a bio already a fake pyramid of ponzi scheme proportions – would never see the light of day outside Toronto police headquarters. But it did.
Sinclair made this same fraudulent claim to others privately, telling SAW Gallery Director Tam-Co Vo-Van in early 2014 that he was a member of the NMHS. Gallery Curator Jason St-Laurent told me firmly that Sinclair was a “FOUNDER” of the NMHS. Now where would he get that idea? Certainly NOT from research.
The resulting trial exposed another example of Sinclair lying to Toronto police saying I – John Goldi – was part of a criminal conspiracy of fraudsters involved in promoting and forging Morrisseau fakes. At the time I had never met, talked to, or communicated with the Faux-nishinaabe artist and cross-dressing Indian imposter/impersonator.
Sinclair also lied to police saying Otavnik criminally breached the security provisions of his apartment building to “get at” and Criminally Harass Sinclair, making him fear for his safety. When I went to the building to check out these security precautions I found both doors to the building propped wide open, with no one about, clearly a normal practice to allow the summer breeze to cool the place down. And allow any transient or Fuller Brush Man totally free access to every apartment in the complex… And so allow Otavnik easy legal access to serve his court papers on Sinclair, which as Justice Lacavera pointed out was his right by law.
But the malicious and unwarranted Otavnik “exclusion” from the Hatfield trial, showed how Sommer clearly collaborated with Sinclair to manipulate the court system against accepted court protocols and against a member of the public just because that was what Sinclair wanted.
Historical Correction: In fact it is Sinclair who has a documented penchant for physical intimidation and violence.
On Mar. 29, 2009 Ritchie Sinclair sent an anonymous “Meat grinder” death threat to Ugo Maulic. Matulic reported it to Calgary police along with his site meter document tracing it to the “Stardreamer” C-drive on Sinclair’s computer.
On Sep. 3, 2010 Toronto Police warned Sinclair to stop physically threatening the 82 year old Joe McLeod, an art gallery operator who had refused to give Sinclair a show for his Faux-nishinaabe art.
On Nov. 16, 2010, the first time I ever encountered Sinclair, in a courtroom foyer, he literally shouted and lunged at me throwing me back on my heels.
On Dec. 18, 2010, because his physical intimidation did not stop, Toronto Police charged Sinclair with multiple acts of Criminal Harassment of elderly Joe McLeod, in the street, at his car, at his place of business, and at his home where he set off the burglar alarm at 2 a:m.
On Sept. 1, 2011 Sinclair slaps documents out of Joan Goldi’s hands.
In 2013 a witness, previously threatened by Sinclair in multiple ways, refuses to appear on my behalf, in a court case saying he literally fears being in the physical proximity of Sinclair.
And then it gets worse.
On May 9, 2013 lawyer Jonathan J Sommer employed Ritchie Sinclair to act as a “pointer” in the downtown Toronto courthouse, to indicate Joan Goldi to a process server who did not know her, but who then handed her legal papers from Sommer. I do not know how much Sommer paid the process server, or to Sinclair, for their legal services on behalf of his business on this occasion.
On March 7, 2014 lawyer Jonathan J Sommer employed both Ritchie Sinclair and his roommate, Garth Cole, to work together to serve legal documents on Joan Goldi in the corridor outside a Brampton court room. As Joan Goldi and her witness Joe Otavnik, their arms full of boxes, exited the courtroom, they were both loudly verbally and physically attacked by both Sinclair and Cole. While the shouting Cole literally threw packages of documents at both Otavnik and Joan Goldi, Sinclair took photos of the outrage – probably to prove to Sommer that his documents had been served. As onlookers looked on with mouth agape, Cole, while literally throwing a packet of documents at Joan Goldi’s back (they turned out to be from lawyer Jonathan J Sommer) shouted loudly “Take that you fucking bitch!”
I had court security, which quickly came to the scene of the loud assault, to order Sinclair to remove his photos and watched as the cop directed Sinclair to delete his illegal images. (Justice Lacavera, in a Toronto court, had previously also scorched Sinclair for taking illegal photos of Otavnik in court rooms on multiple occasions, in spite of the fact that Sinclair had been expressly forbidden by court security from transgressing this courtroom prohibition.)
(I note for the record that neither Joe Otavnik, nor Joan Goldi (or Goldi Productions Ltd.) who were the target of that courtroom foyer assault, have any responsibility of any kind whatsoever for what I personally write as a credentialed investigative journalist on my internet publications exposing the Morrisseau HOAX.)
Again, I do not know how much lawyer Jonathan J Sommer paid Sinclair or his roommate Garth Cole, to act as document servers on behalf of his “fakes promotion” legal business. Or whether he directed them to pull out all stops to launch such an aggressively loud and vicious attack on two people in the corridor of a Canadian courtroom.
But clearly, if Sommer feels weak, out of his depth, feels he has a poor knowledge base, or feels at a decided disadvantage with a case against a far superior lawyer – like Brian Shiller – he’s entitled to ask for help from any quarter, or throw a lifeline to anyone, no matter how discredited the source.
Once… But only once!
Certainly not twice, for a lawyer bound by the Rules of Conduct of the Law Society of Upper Canada.
Dishonesty, Fraud, etc. by Client or Others
3.2-7A lawyer shall not knowingly assist in or encourage any dishonesty, fraud, crime, or illegal conduct or instruct a client or any other person on how to violate the law and avoid punishment.
A lawyer shall not act or do anything or omit to do anything in circumstances where he or she ought to know that, by acting, doing the thing or omitting to do the thing, he or she is being used by a client, by a person associated with a client or by any other person to facilitate dishonesty, fraud, crime or illegal conduct.” (Quoted Law Society of UC)
Jonathan J Sommer: How Can You #2? Launch an Appeal, after Judge Martial totally discredits both your witnesses, Ritchie Sinclair, and Donald Robinson, his longtime “Mentor” and business associate.
After the Martial Judgment, Jonathan J Sommer could not have allowed himself the delusion that Ritchie Sinclair was anything other than a con man, a fraud artist, a totally discredited liar on the stand. And obviously a noted and a documented perjurer.
Everyone else in the courtroom knew it. Everyone who read the transcripts knew it. Everyone who read the Mar. 25, 2013 Martial Judgment knew it. So should Jonathan J Sommer have. Hell he had a front row seat through it all; and he sat with Sinclair’s inner circle, both inside and outside the courtroom.
Why did he not take decisive action after Mar. 25, 2013 – the day Martial issued his judgment – to cut any and all ties to Ritchie Sinclair, as nothing less than a clear threat to his Ontario law license and opening him up, to – at least – a reprimand from the Law Society of Upper Canada for consorting with a proven racist fraudster and collaborating with him to promote a fraud, or a “scam… a scam… a scam” as Brian Shiller would call it before Madam Justice Sanderson.
With Shiller’s claim that the fakes allegations are all a clear and transparent “scam” he has won every legal outing against Sommer and his collaborators – by my count four times. It’s 5 and O, for Shiller against Sommer and or his witness and collaborator Ritchie Sinclair: (v Hatfield, trial 2013, v Hatfield, appeal 2013, v McDermott 2014, v SAW Gallery 2014, v Sinclair 2015).
Jonathan J Sommer: How Can You #3? Bait the Law Society of Upper Canada
But unforgivably, rather than doing what any sensible person would have, to cut and run, Sommer did exactly the opposite, closing ranks with Sinclair and relying on him even more as a legal advisor. Astonishingly, as he had during the Hatfield trial, in the middle of the Hatfield Appeal hearing, Sinclair was directing Sommer in what to say and do, before the Hon. Madam Justice Mary Anne Sanderson.
Ritchie Sinclair: Legal Advisor – I had a front row seat to this astonishing interaction of a completely discredited school-dropout dictating to a university-trained lawyer, because I sat right beside Margaret Hatfield, and Ritchie Sinclair, and immediately behind Jonathon J Sommer, in the very small Osgoode Law courtroom. For the many hours the Appeal hearing lasted.
On one occasion Sinclair was obviously angry at something Sommer had just said in agreement with Madam Justice Sanderson. Sinclair, beside me, made a loud “shush” that spun Sommer around, wide-eyed, in his chair. As Sommer looked on with mouth agape, Sinclair animatedly had Hatfield madly scribble a note on her knee, which Sinclair then passed forward, along with verbal instructions, to Sommer. Sommer read it and then rose, to inform Justice Sanderson that he had misspoken, and wanted to correct the record.
On another occasion before Justice Sanderson Sommer tried to tidy up Ritchie Sinclair’s image, because he had been charged by Toronto Police for multiple acts of Criminal Harassment of an 82 year old man. Sommer stood and told Justice Sanderson that Sinclair had been “acquitted” of those charges, intimating of course that a trial was held, the charges examined, and he was found “not guilty.”
“Oh, I did not know that.” responded a somewhat taken aback Justice Sanderson.
Sommer’s claim was, of course, unless he is weak on legal terminology, a total and utter lie. I was in the court and Sommer was NOT, where that matter was dealt with. Sinclair was NOT acquitted. The charges were “dismissed” at the urging of Michael Callaghan, the same attorney who had idiotically launched his totally predictable still-born sex assault charges against Jian Ghomeshi. The Sinclair case was never heard; neither the Plaintiff nor his representative, or his witnesses, were in the court; their claims were never heard or examined. In what I consider an egregious act of legal malfeasance Callaghan engineered, in a jovial manner, the dismissal of the charges with Sinclair’s lawyer, in the absence of the victim, the Plaintiff and the police representative. (MORE on this to come.)
Sommer’s only defence, for what he falsely told Justice Sanderson, was that Sinclair lied to him about it all. Which is of course a very good defence for Sommer.
And remember: Sinclair was NOT Sommer’s client, Sinclair was NOT a Defendant in the case, and Sinclair was NOT a Plaintiff. He had only been a witness in Hatfield v Artworld. But he was a collaborating partner helping Sommer promote his business of representing the “fake” Morrisseau HOAX from which Sommer was making a good income. (To retired schoolmarm Margaret Hatfield alone, Sommer sent personal billings of some $40,000. He probably got some $10,000 from McDermott. What Hearn has so far laid out must be considerably more.)
And then it gets worse.
Far from cutting ties to the discredited Sinclair, Sommer would expand his collaboration with him.
In the months after it was issued, the duo clearly collaborated on attacking the Martial Judgment, with Sinclair – a school-dropout – on his website, publishing 35 judicial mistakes he said the judge made. (I believe Sommer, being a lawyer, must have come up with a couple of dozen of those for his uneducated collaborator.)
During that same time period the duo clearly collaborated on creating the McDermott v McLeod Plaintiff’s claim, which contained utterly false information, which can be totally documented that Jonathan Sommer could have gotten from nowhere else other than from the discredited Sinclair, who had made it all up in the first place.
It is a heinous anomaly of the Canadian judicial system that lawyers can fill their Plaintiff’s Claims with any lies and garbage that they want to sling on behalf of a client against some hapless target. For no other purpose than to scare the living daylights out of a victim, aka “Defendant” hoping he will either settle or go away.
And suffer no penalties of any kind for doing so.
The Piling on Effect – Sommer was now filling his Plaintiff’s Claim from a source he damn well knew was a liar and a perjurer, and one who never had any evidence – multiple judges have said that – for what he said.
Jonathan J Sommer: How Can You #4? After Justice Lacavera further totally discredits your witness and business associate Ritchie Sinclair…
In fact during this exact time frame (May 17, 2013) another outspoken judge, the Hon. Justice Alphonse T Lacavera issued his Judgment which also mercilessly scorched Sinclair as one whose every action proved the total opposite of what he claimed was the case, under oath, on the stand. And Sommer was damn well aware of it. He just chose, I believe, to just thumb his nose one more time at the Law Society of Upper Canada’s Rules of Conduct for Lawyers.
Justice Lacavera wrote that all the evidence he saw supported Otavnik’s claims and was against what Sinclair and his witness (friend and former Sinclair lawyer Zak Muscovitch) claimed on the stand: “I have referred to and looked at the evidence of James White, Randy Potter, and Joseph McLeod, and basically their evidence tends to the theory of the accused (Joseph Otavnik) that the complainant (Ritchie Sinclair) was improperly alleging forgeries and fraud.”
Lacavera also discredited Sinclair’s previous lawyer Zak Muscovitch noting drily that “the lawyer said that he did not act for the complainant in the Small Claims Court case because the accused called him a fucking asshole. I note Mr. Muscovitch said he went, even though he was called a fucking asshole, to Small Claims Court and even though he was not representing the complainant.”
Sommer, who was already clearly warned by the Martial judgment about his dangerous and untrustworthy collaborator, Ritchie Sinclair, was now doubly-warned by an even higher level judge in a higher court, of the dangerous game he was playing, collaborating with and providing a patina of legal cover for a multiply-judicially proven fraudster and liar.
Yet Sommer continued to work closely with Sinclair – the documentary evidence is foolproof – for the rest of 2013 and on into 2014.
And then it gets worse.
Jonathan J Sommer: How Can You #5? Concoct the Hearn v McLeod Plaintiff’s Claim
By Dec. 2013, having hugely lost in spectacular fashion, both court decisions, the Martial Judgment and then also having seen his Appeal unceremoniously dismissed in embarrassing record time by the Hon. Madam Justice Mary Anne Sanderson in Superior Court, Jonathan J Sommer went back to his Plan B, which he had kept simmering on the back burner.
A year and a half earlier, only four days after the last day of trial in the Hatfield v Artworld case before Judge Martial, Sommer filed (on June 8, 2012) the ¨Plaintiff’s Claim for the Hearn v McLeod case. Some unidentified person had convinced the celebrity ivory tickler Kevin Hearn, that he had been sold a fake Morrisseau by McLeod’s Maslak McLeod Gallery. And so he was demanding some $100,000 in penalties.
Sommer was clearly hoping to use the momentum of the ending of the Martial trial phase to try to ramp up interest in Kevin Hearn to also launch a lawsuit and also hoping to wring a ton of money in penalties out of McLeod. Like Sommer was demanding from Artworld for Hatfield. Did Sommer or Sinclair, or both, eagerly talk up their coming judicial victory, and a big pay-out to the naïve and wide-eyed Barenaked Ladies keyboard player?
There the Hearn v McLeod lawsuit sat for nine long months, as everyone waited for the Martial Judgment. When it came, on Mar. 25, 2013, it should have shocked Hearn as much as everyone else. If he saw it or read it?
But then how much reading do musicians do? Mostly sheet music, I can vouch from experience, having been an accomplished folk musician (banjo, fiddle, guitar, harmonica, etc.) for over fifty years. Still, Judge Martial was loud, total, and final. His was no “on the fence sitting,” and no “he said; she said” finding. Even a tone deaf musician should have heard the noise.
Martial thundered, that the painting “Wheel of Life” was NO fake; it was 100% genuine. He was utterly firm that McLeod was no creep or crook, but was described as a completely trusted and reliable witness; that there was “overwhelming evidence” for all that.
While, in stark contrast, Martial totally discredited and dismissed, in every way possible, Sommer’s own witnesses, and his own “evidence” as not credible on any level.
Martial couldn’t have been clearer – he totally endorsed the “McLeod team” and their claims, and utterly scorched the “Sommer team” and his Claim and witnesses.
So what does a panic-stricken ivory tickler do, staring into the abyss?
Jonathan J Sommer: How Can You #6? Not dump Hearn instantly?
If he had an ounce of common sense, Kevin Hearn, should have holus bolus, abandoned his own lawsuit right there and then. A stark reminder that common sense, is not all that commonly found, especially among celebrity musicians, two of whom gullibly allowed themselves to be sucker punched into fronting for a scam and a totally fraudulent HOAX. And were inveigled into spending their own money to do it.
Losing tens of thousands of dollars in the process, as well as considerable loss of reputation, with no gains at all.
How can Hearn possibly pursue a suit against – you won’t believe this – one of the very witnesses, Joe McLeod, whom Judge Martial had praised for his knowledge and credibility as a Morrisseau expert on the stand. He praised him for being a thoughtful, believable and knowledgeable witness on the subject of Norval Morrisseau, his life and his art. To underline McLeod’s credibility Martial quoted him in his judgment more than any other witness.
So Hearn was clearly facing a totally uphill battle against a judicially-respected Canadian art elder statesman, with some fifty years in evaluating, authenticating, showcasing, and selling, Canadian Indigenous art.
And then it gets worse…
Because I believe Sommer intended to put on the stand, against the highly-regarded McLeod, again, the very same two witnesses of his (Robinson and Sinclair) of whom Judge Martial was so utterly and totally scathingly dismissive.
Does continuing this lawsuit make sense in any way? Does Kevin Hearn have no reasoning power, no common sense? Does he have an IQ in the lower single digits? Or does he just have way too damn much money, so he can easily fritter away tens of thousands of dollars on pursuing insanities?
That do, however, destroy other people’s lives. Not to mention Canada’s art heritage.
Apparently he does.
No wonder, immediately after the Martial Judgment scorched the Plaintiff’s Claim, which lawyer Jonathan J Sommer had put before him, this losing lawyer immediately rushed to get the Ottawa Citizen to publish his ludicrous Apr 8, 2013 article in which he rants about lots of fake Morrisseaus still being out there. I believe he did it because he was clearly terrified of losing his high profile celebrity client, Kevin Hearn, with the sudden and devastating publishing of the Martial judgment.
By using a high profile celebrity to promote his “fakes” allegations in the media Sommer knew he could impress countless more members of the public that there was some kind of merit in Hearn’s Claim and the totally judicially-discredited allegations he was making.
To make things even more difficult for Sommer was KRG’s sudden silence about, and its total abandonment of a Libel case against blogger Ugo Matulic, with which it had aggressively trumpeted for two years, that it would pound Matulic into submission. Matulic had accused KRG of purposely creating a fraud based on non-existed Morrisseau “fakes” and backed it up with solid documentation.
The Robinsons apparently concluded it was nothing short of idiotic to go on…
Better to skulk into the KRG basement to lick their wounds and try to hide their shame and embarrassment.
But not Jonathan J Sommer. Nothing will stop this lawyer; neither lack of evidence or lack of credible or honest witnesses… Or fear of the Law Society of Upper Canada… Or multiple judicial judgments which warned him to “stop it.” Unless, of course, he just doesn’t read much…
And then, just when you think things can’t get more preposterous, they do.
Jonathan J Sommer: How Can You #7? Concoct the McDermott v McLeod Plaintiff’s Claim
Astonishingly, in October 2013, only a few weeks before the Appeal hearing of Hatfield v Artworld, lawyer Jonathan J Sommer launched another totally inexcusable lawsuit with a new gullible celebrity victim, Canadian celebrity-singer John McDermott, another Morrisseau art collecting neophyte.
Sommer seemed determined to use – make that recycle – the same (discredited) evidence, the same (discredited) claims, and the same (discredited) “experts,” one more time. His McDermott Claim demanded some $70,000 in penalties and damages.
And his target? Why the same highly judicially-acclaimed Morrisseau expert, Joe McLeod…
It’s all every bit as ludicrous as it all sounds. And the fallout was instantaneous and damning.
I believe this became the shortest lawsuit ever launched in Canadian history.
Jonathan J Sommer: How Can You #8? Fast track a malicious Claim to a Globe journalist
Professional Malfeasance – Sommer was so totally unprofessional and hasty with his malice he apparently actually delivered the malicious Plaintiff’s Claim to James Adams of the Globe BEFORE he served a copy to the Plaintiff’s lawyer, Brian Shiller.
When journalist Adams called lawyer Brian Shiller – acting for McLeod – asking him to respond to the Plaintiff’s Claim, Shiller expressed his surprise, since “I have not seen the Claim, and I have not had the chance to talk to Joe (McLeod his client) about it at all.” (Globe, Oct. 25, 2013)
Sommer had served his Plaintiff’s Claim, to Joe McLeod on October 24, and whipped it off – probably by email – to the gullible and witless James Adams of the Globe, probably within minutes, if not before, because Adams published a long article, containing fraudulent allegations from the Plaintiff’s Claim, literally within a matter of only a few hours, on October 25, 2013.
In a sloppy article, in which Adams admits he failed to reach most of the people he wrote about, to confirm the facts, he just went recklessly ahead anyway to write his usual crap to slang good paintings and decent people, for the great masses of unwashed Globe headline readers, with “’Fraud ring produced fake Morrisseau paintings, claim alleges.” (Globe, Oct. 25, 2013)
A decent and professional journalist would NOT have published when people who are utterly key in an article (some six) are NOT consulted, about the hearsay defamatory crap that’s being floated about them by a lawyer making money drafting Plaintiff’s Claims, and sending them to the media, to slang a Defendant before even the defending lawyer has seen them.
And when Adams very well knew or ought to have known that the lawyer and his witnesses involved had been so totally scorched and discredited in disastrously loosing the Hatfield case, all based on the same bogus allegations and the same fraudulent sources.
The Damnable Accusations – Adams further tried to boost the credibility of the fraud with total nonsensical and unsupported proof or documentation of any kind – other than hearsay crap he was told by Sommer or stuff he picked up at the Globe water cooler. And he uses the same lowlife defence lazy journalists always use to cover their ass when they don’t want to research a story or claim, to see if any of it is true or not: “claim alleges” and “not proven in court.”
It’s wise to remember that Adams is part of the same Globe & Mail team that keeps on employing the notorious multiple serial plagiarist, Margaret Wente. While the CBC immediately fired her from their employ for this, the Globe coddles their “Peggy” even though dozens of incidents of her fraudulent passing off as her own, material she has repeatedly stolen from other writers without crediting them, have been documented.
Adams at least attributes the crap he writes to others… as “alleged.”
Judges are taking an increasingly stern approach when journalists use this negligent and evasive maneuver instead of doing professional research one would have expected them to pursue with Due Diligence.
So Adams goes on – without a single smidgen of evidence – to fabricate and BS a storyline saying:
“the McDermott claim is one of the first formal legal actions alleging how the purported fakes have been created and where.
“The statement says ‘the plaintiff has investigated the likely source of the paintings and discovered they appear to have been made by a fraud ring operating out of Thunder Bay [and] run by an individual by the name of Gary Lamont, who at various times has employed various forgers, including local artists Benjamin Morrisseau [son of Barney Morrisseau, one of Norval Morrisseau’s brothers] and Timothy Tait [a First Nations artist].’
“These ‘large numbers of fake Norval Morrisseau paintings’ are then sold, the claim alleges, on the Internet, by phone and in-person to ‘various collectors, resellers, dealers and auction houses for resale.’” (Globe, Oct. 25, 2013)
The crap about the “forgery fraud ring,” Adams copied out of the Plaintiff’s Claim, was totally made up entirely by Ritchie Sinclair, because he alone – not Adams, not McDermott, not Sommer – knew (or knew of) the people named.
Sinclair had libeled and defamed them all previously on his racist, and malicious website for years. Out of sheer personal animus. Because he had never had proof or evidence for any of what was now being disingenuously passed off as “McDermott’s claims.” The same claims with which Judge Martial had practically laughed Sinclair and his allegations out of the court, with his scorching judgment of Sinclair as not believable and just wildly blowing hot air.
That Damnable Adams – Adams has always played up the “fraud” to the Canadian public, to the advantage of the fraudsters, and so against the art and artists of Canada’s Indigenous people, as if the allegations, totally discredited by multiple judges and forensic experts, had some smidgen of truth, which they have never had.
And damningly – especially for someone who pretends that he is a journalist – when there finally is a total “black and white” finding, in a court of law, against the very source for the crap Adams repeats in his articles – Ritchie Sinclair – neither Adams nor the Globe, print A SINGLE WORD.
It is damning and telling, that Adams said not a peep about either the Lacavera judgment (in May 2013, only a few months before he published the McDermott Claim) or the Kilian judgment (in Aug. 2015) both of which made devastating findings about Sinclair and his credentials, his claims, and his penchant for lying and just making things up. Adams ignored them because they did not conform to the Globe’s rampant anti-Indigenous agenda, against First Nations art and artists.
Even though Sinclair was found guilty, as a Libeler and Slanderer, by a very clearly angry Judge Kilian, who minced no words and withheld no penalty against the serial liar and perjurer, and racist anti-Aboriginal.
Absolutely loathsome, racist behaviour by a Globe and Mail establishment crony and by a newspaper which already had a sordid record on this file before Adams came aboard. The last time the Globe vented its anti-Indigenous art and artists agenda, by endorsing and promoting the HOAX on Feb. 9, 2007, it hastened the premature death of Val Ross, Adams’ predecessor in the Arts chair he now sits in at the paper.
Sommer Ramps Up a Media Publicity Offensive: The McDermott lawsuit and its immediate accompanying unresearched Globe and Mail posting by Adams, were obviously intended to ramp up publicity towards a favourable result for the Appeal of the devastating Martial Judgment in Hatfield v Artworld which was slated for a hearing before the Hon. Madam Justice Mary Anne Sanderson, only five weeks later, on Dec. 6, 2013.
That Adams was able to whip off a long article, on a “factual” topic, which clearly demanded a ton of research and multiple interviews, etc. – as opposed to a personal reminiscence, which does not – and do it in only a few short hours, shows what a shoddy and negligent researcher and journalist he is.
Like his colleague, Margaret Wente, he’s just a copycat, a Xerox journalist. And throws up to the public any garbage fed him. And the Globe eagerly publishes the malicious, fraudulent and racist crap.
Globe editors have years of experience putting up crap as journalism: the Val Ross crap in 2007, and publishing years of Wente plagiarized crap.
And here’s some crap by Adams: Adams quotes Sommer: “we have significant, direct evidence to support the allegations made in that portion of the claim but, of course, that evidence will have to be ruled on by the courts.” (Globe, Oct. 25, 2013)
All of it, just total discredited and unsubstantiated crap. Sommer had said the same thing – and had utterly and spectacularly failed – during the Martial trial (and later the Sanderson Appeal.) Now he was saying the same thing again, from the same discredited source and using the same worn out and discredited “proof.”
How many times can Sommer bring up the “little green men in the space ship” defence and allegations?
Deacon Crapper’s Shite Canon – I believe Sommer here may be harkening back to the famous 12th century legal canon advocated by medieval English law professor “Deacon Crapper” who is reliably reported in Chaucer’s The Pilgrim’s Progress, to have told his law students: to “cast Ye enuff Shite at a Wall, for verily, some Shite will stick thereto.”
Clearly, Adams was so eager to put up the malevolent material that there was NO time, at all, to do any of the requisite Due Diligence research that professional journalists routinely are supposed to do. Clearly the lazy and journalistically malfeasant Adams got ALL his “fraud ring” information from Sommer who had got it from his discredited fraud-promoting associate Ritchie Sinclair who had just made it all up. Adams just recopied the “fraud ring” crap which Sinclair had originally just totally made up out of malice, when he gave clearly fraudulent, secret, sworn testimony to Toronto Police, back on April 9, 2010.
Sinclair Police Perjury: In that police report – which Sinclair believed would never become public, but of which I have a copy – Sinclair included me, John Goldi, as one of eight members of a Syndicate of diabolical Morrisseau Art Forgers. He said I was in a criminal conspiracy and supposedly working hand-in-hand, producing “fakes,” with a forgery syndicate of people, not a single one of whom I’d ever talked to, or even met, or would meet, until many months later, some not till years later…
Adams seems to have made NO attempt to even interview McDermott, or if he did he failed to note it in the article, as professional journalists are expected to do. Clearly McDermott was the man he had to critically question. What did he know?; and when did he know it?; and how? Because, wasn’t there a fraud artist on the loose?
Sinclair Forges a New Hearn’s Plaintiff’s Claim – The “fraud ring crap” had more legs. For a very short period of time an “Amended Hearn Claim” – not a McDermott one – was posted on Sinclair’s website, which featured the same forgery ring allegations in several paragraphs, almost word for word, as was in the McDermott Claim that Adams quoted. It was easy to see the doctored paragraphs because they differed from the original, genuine Claim, into which they were pasted or photo shopped, obviously by an overly eager but careless Sinclair.
Brian Shiller, speaking for the Defendant in Hearn v McLeod, maintains there never was an “Amended Hearn Claim.” So Sinclair had clearly forged and amended it himself, and posted it to his website, to use as a propaganda tool to fool people, lawyers***, and journalists, who visited his “Morrisseau Legal” website pages.
***It certainly worked because lazy and negligent Bell Media lawyers – specifically Julia Lefebvre acting for Peter Jacobsen*** of Bersenas Jacobsen Chouest Thomson Blackburn LLP.- rather than going to the University Avenue courts to reference the actual, real court documents – it takes time – just lazily copied their (doctored and incomplete) documents from Sinclair’s malicious, forged, fabricated, and fraudulent “legal pages” to send as part of their Defence when Bell Media Inc. (CTV) was sued.
Sinclair’s forged “Amended Hearn Claim” – with its bogus “forgery ring” clearly forged and fabricated additions – was taken down years ago, after it served its purpose during the Sommer/Sinclair media offensive of early 2014. But screen grabs taken by investigative journalists have preserved the evidence of this further fraud by Sinclair.
You figure out if Sommer was involved or not.
The Infamy Goes On and On – In fact – and Sommer would tell no one this, for a full year – McDermott had completely abandoned the McDermott v McLeod case almost immediately, literally within only days after launching it, when he realized, after he and his wife did research on this HOAX blog, that the whole thing about so-called Morrisseau “fakes” and “fraud rings” stank to the high heavens.
The McDermotts Do Due Diligence & Deep-Six Their “Fakes” Claim – I believe what triggered this sudden abandonment almost immediately after the Globe announced the launching of the Plaintiff’s Claim (Oct. 25, 2013) was an anonymous email I sent on Oct. 27, 2013, to a person I believed might be McDermott’s wife, entitled: “He can sing; but he can’t read.”
I said, briefly, that you people are smart; that they were nuts to go on with their lawsuit. And faced certain disaster, it they did. That they should read the thoroughly documented stuff on “TheMorrisseauHoaxExposedBlog.com” then make up their own minds.
I enclosed a PDF of Judge Martial’s Judgment.
A woman who identified herself as McDermott’s wife, emailed me back a day later tersely saying, “I agree completely.”
I believe then and there the McDermotts decided they were not going to throw more thousands of dollars at his lawyer on a case he clearly saw was based on false claims by discredited people. Even though they had just served the Claim only a couple of days before…
Jonathan J Sommer: How Can You #9? Send a threatening SLAPP Suit Cease & Desist Email #1
I knew the McDermotts were instantly creating heat for Sommer with their new-found knowledge and clearly questioning his scurrilous Plaintiff’s Claim and its allegations.
And clearly he did not like his clients “being educated” one bit. Because within only hours, on Oct. 27, 2013 he sent a threatening warning to my anonymous email address – neither he nor the McDermotts knew who was sending it – forbidding me to have any further contact with the McDermotts, or he would sue my ass off.
Note: I never received this anonymous email because Sommer had made a sloppy typo in the anonymous email address, and it never arrived. I believe this is a Freudian slip that is indicative of the lamentably poor quality of research that Sommer has done throughout, on the Morrisseau “fakes” file.
I kept up directing the McDermotts to new sources for information with short anonymous links.
I believe the McDermott Plaintiff’s Claim – served on Joe McLeod on Oct. 24 – was sent by Sommer immediately – perhaps even days earlier – to the Globe’s James Adams. Because Adams published his crappy article, which was hugely journalistically malfeasant, within only hours, on Oct. 25, 2013.
Within hours I too reacted to the publication and sent my anonymous warning emails to the McDermotts. Who also acted precipitously.
I believe the lawsuit was in fact DEAD, DEAD, DEAD on Oct. 27. My email documentation confirms it.
The McDermott v McLeod case had lasted for exactly 3 days (that’s 3 days folks). It must be a Canadian record!
Dumb and Dumber – So James Adams should have written, only three days after his first idiotic “fraud ring in Thunder Bay” article, that he was just plain wrong, and unforgivably dumb, and apologized to his readers that he never should have written and foisted on the public the total crap he just wrote up without doing research, or bothering to use his common sense.
Let him blame his single digit IQ.
Only two weeks later, by Nov 14, the McDermott Claim was certainly judicially dead because by then McLeod was in default of the 20 day rule one is given to respond with a defence after being served. He had NOT filed a Defence, and no trial date had been picked. But most tellingly, McDermott’s lawyer Sommer had NOT sought a Summary Judgment against McLeod because a finding could have been made against him for failing to file a Defence on time.
I believe it was out of decency that McDermott refused to allow Sommer to push the case forward, on his dime, in any way whatsoever after October 27. That he didn’t want to be part of what his wife now clearly considered a fraudulent action against McLeod.
I believe John McDermott realized that he too had been victimized and that a fraud had been perpetuated and had been publicly dignified before all Canadians with the name John McDermott.
In other words he told his lawyer Jonathan Sommer to withdraw – stop pushing forward – his Plaintiff’s Claim and, in effect, tell him to stop using the name John McDermott to promote Sommer’s “fakes claim business.”
Jonathan J Sommer: How Can You #10? Send a Threatening SLAPP Suit Cease & Desist Email #2
On Dec. 2, 2013, a full two months after I believe the McDermotts shut their lawsuit down, in response to my anonymous “heads-up” emails, and only four days before his Hatfield Appeal hearing before Madam Justice Sanderson, Sommer, apparently fearing the possible loss of another enlightened client, sent me another warning. This time to my known address and email account.
(This was when I also discovered that Sommer had sent the earlier Cease and Desist email which I never got because he had sloppily typed in the wrong email address.)
I believe Sommer’s longtime business associate, Ritchie Sinclair, who is an accomplished internet terrorist and cyber manipulator, figured out who the anonymous emailer was and told Sommer. The Godfrey trial showed how Sinclair has ruthlessly manipulated the Norval Morrisseau Wikipedia page, and is an aggressive user of proxy servers to issue his many vile anonymous email attacks. Sitemeter tracking has also traced vile emails to his computer.)
Sommer threatened me with another SLAPP suit Cease and Desist order forbidding me to have any future contact whatsoever with the McDermotts. I believe he was angry, and saw me as a threat, in that I was interfering with his “fakes” business initiative.
I thought lawyers were supposed to “advise” their clients with credible and truthful evidence from wherever the hell it came from. Clearly Sommer was acting, in this case, to aggressively protect his “fakes” promotion business, and did not want credible information from me (an academically credentialed and highly informed historian and international award-winning investigative journalist) from getting to any of his prospective or past clients.
I ignored Sommer again, and kept sending my anonymous update emails to the McDermotts, which Sommer – but not the McDermotts – now knew came from John Goldi.
On Dec. 4, I sent the McDermotts the forensic report giving my SOMA 1976 a 100% authenticity rating. It was the first Morrisseau painting in history to be given a 100% authenticity rating by a credentialed handwriting expert.
On Dec. 17, I sent them the Sanderson Judgment, in my final anonymous email.
NOTE: In none of my anonymous emails with the McDermotts did I engage in argument of any kind. I only gave them a very few links to information, articles, and documents, believing that self-education is more powerful than anything else.
Which certainly proved to be the case with the McDermotts, who acted decisively with information they had digested and believed. The only “argument” I ever made with them was to preserve my anonymity because I was asked “Who are you?”
I refused to divulge my identity saying it did NOT matter who I was. That they were intelligent; that they should read the materials and judge for themselves what was right and wrong. And act accordingly.
My last terse email response from the McDermotts was: “You are right.”
That is the basis on why I say the McDermott v McLeod lawsuit was still-born, because of pre-emptive action by the McDermotts who I believe killed it off on Oct. 27, 2013, almost as soon as it was served simultaneously to both James Adams and on the Defendant. The lawsuit lasted for three (that’s 3 folks) days…
The Long & Destructive Life of a Fraudulent Plaintiff’s Claim
But, though celebrity singer McDermott did his best to shut down the fraudulent lawsuit, the vile, false, and fraudulent allegations in the maliciously fabricated Plaintiff’s Claim, would get legs from his lawyer who first gave it to Adams to circulate, and then told the media months later that it was still active, long – many months – after he very well knew it was DEAD, DEAD, DEAD. That McDermott had told him it was over.
Sommer’s continuing “fakes” campaign would be aided and abetted by Adams and the Globe, by being published as “truth” and having substance, 24/7 for a full year for the thousands or millions who surfed the Globe archives around the world.
Sommer never told the media that he had “lost” the McDermott case, for a total of 0 wins and 3 losses, or that his client had abandoned his lawsuit almost immediately. A lawsuit he had originally aggressively launched into the media only hours after serving it. And I believe only a couple of (OK three) days later, was crushed into extinction by the Plaintiff himself.
And Adams showed himself to be the slothful and lazy journalist that he is, because he never even bothered to check the court house computers that are easily accessible on the 10th floor of the University Avenue court house. Had he done so he would have seen that nothing had gone on in that case. And that in fact the court had sent a warning letter to Sommer.
The Court warned Sommer in March 2014, that if he didn’t push McDermott v McLeod forward, it would call it abandoned. The warning time periods given to Sommer as mandatory deadlines for him to do something with the case, confirm that the court, too, dates the abandonment back to October 2013, the time of my (anonymous) email exchanges with the McDermotts, when I believe, they ended it.
The final letter cancelling the lawsuit was sent by the court to Sommer in June 2014, officially declaring the McDermott v McLeod case abandoned. Unbeknownst to the court it had been DEAD, DEAD, DEAD, as a reality, for both the Plaintiff McDermott and his lawyer Sommer, since Oct. 27, 2013.
The doubly damning truth, that the McDermott lawsuit had also been judicially dead since October, 2013, was also unknown to the media, to whom Sommer had been publicizing it as active during the year following.
Which is doubly damning for the behaviour of lawyer Jonathan J Sommer because the McDermotts (documented by my emails) and the Court (court records documenting its warnings to Sommer to exactly the same time period) are therefore both onside with me that the lawsuit was DEAD, DEAD, DEAD in October 2013.
Flogging a Dead Horse – Which is Double Whammy proof that Sommer, the lawyer and point man for all this, damn well knew it too. Making his subsequent behaviour to the media inexcusable, unprofessional, and indeed fraudulent.
But perhaps not unlawyerly…
In fact, both Sommer and Sinclair had been pushing the McDermott v McLeod lawsuit to many media outlets – including to: CBC, to the Star, Postmedia, and CTV – during February 2014, and after, as if McDermott v McLeod was still alive, when they both damn well knew they were deliberately flogging a dead horse – better make that lying…
Why? To wring the maximum possible benefit out of promoting their fraudulent claims with a well-known celebrity name.
At the very moment when they were publicly pushing McDermott v McLeod as active, and Sommer said he was going to prove the Claim in court, both men knew – had long known – that they were just sucker punching the media – and so the public – with a fraudulent allegation.
And were fraudulently using McDermott’s celebrity status and name as a cover when they damn well knew he had long ago refused to lend his name, his imprimatur, and his approval for the fraud that Sinclair and Sommer were promoting to the media.
They both knew that the journalists would not bother going to check for facts, or documentation, but would just eagerly publish any sensational crap handed them, without doing Due Diligence.
That is exactly how the worst fraud in Canadian history had been perpetuated since 2001, recopied and repeated, without vetting any of it, from one malfeasant journalist to another.
Adams was maliciously malfeasant, and only publicly announced the McDermott v McLeod case dropped, on Oct 31, 2014, a full year after it actually had been, in October 2013. Being as lazy and negligent as Bell Media lawyers, in not bothering to check genuine court documents at the University Avenue Court House, Adams failed to note that the McDermott lawsuit had been officially vacated on June 17, 2014. Six months BEFORE he chose to clear the air and state the record for the public he had been recklessly eager to recklessly and maliciously mislead on Oct. 25, 2013.
In the intervening year, millions of internet surfers had been exposed to his defamatory article alleging that celebrity singer John McDermott was slanging Morrisseau paintings when the total opposite was in fact the truth. And when, in fact, it was all trumped up lies from the beginning, completely made up by Ritchie Sinclair in a false report he secretly originally gave to Toronto Police on April 9, 2010 and then recycled to the media (via the Robinsons and Sommer) and in courts where nothing you say can be suable or held against you.
Like stinky laundry, this fraudulent (McDermott) Plaintiff’s Claim should never have been aired or displayed in public…
And it certainly is what the successful lawyer Brian Shiller thought when he told the National Post on Feb. 3, 2014, when he was asked to respond to Sommer’s continuing allegations in his Plaintiff’s Claims alleging “fakes” and “forgery rings.”
Shiller couldn’t have been more scorching about falsehoods and unproven allegations that have been tarted up into a Plaintiff’s Claim by a fellow lawyer than when he told Postmedia Journalist Tristin Hopper:
“… that Mr. Sommer ‘has been making the allegation of a fraud ring for a long time now’ and that ‘we have asked him for any evidence to support the claim but no evidence has been forthcoming.’” (National Post, Tristin Hopper, Feb. 3, 2014)
I am not aware of any other precedent, where one lawyer has so totally publicly scorched another and so totally impugned him for disregarding the very fundamental ethical basis that lies at the heart of honest and professional lawyering as it is laid out by the Law Society of Upper Canada.
But Shiller was clearly exasperated. Because “a long time now,” by 2014, was actually four years since Sommer launched his first “fakes” allegation, regarding which he had subsequently utterly failed to produce any evidence or credible witnesses for.
Now in 2016 it is an outrageous six years, with no proof… But I believe Sommer is still apparently happily billing Hearn for his services on this fraudulent file.
It seems that Sommer attended a different law school than Shiller. Shiller was taught that a court expects to evaluate “evidence” and his job as a lawyer is to produce it convincingly before a judge.
Not, at all, apparently the case where Sommer went to school.
Sommer, specifically told by two judges (Martial, Sanderson) and multiple damning cases by a repeatedly triumphant opposing lawyer (Shiller), that he had failed to provide evidence for what he says in court, or had failed to put any in his Plaintiff’s Claims – according to Shiller – apparently doesn’t believe it’s necessary. Sommer believes a “theory” is enough, and they say-so of his discredited business associate Ritchie Sinclair.
The Last Place on Earth: Part 1 – In a CBC interview on Feb. 3, 2014 Sommer is quoted as saying he hopes to present to the court a “theory” about the “fakes” and the Thunder Bay “forgery ring.”
“Jonathan Sommer said he will present his theory on where at least one of them came from in court. ‘The likely source of it seems to be Thunder Bay and, in particular, a fraud ring,’ he said.” (CBC News, Feb. 3, 2014)
This Sommer claim is preposterous at best. If he has proof for only “one” that’s a supposed “fake” then he damn well better make it either the McDermott or the Hearn painting, not some damn third irrelevant crap painting he’s dug up from somewhere.
Sommer doesn’t seem to understand that a single piece of crap painting doesn’t prove a ring producing multiples exists. But it might prove my mother – or someone else’s – was inspired to painting a Morrisseau for fun. Like millions of mothers do: of Van Goghs, or Lawren Harrises, or thousands of art students do, all over the world.
Don’t count on Sommer being able to prove anything of the kind, which he’s pompositing about to the media. Remember he had just come off a monumental lawsuit failure on exactly this “theory” when asked to put up or shut up in the Hatfield V Artworld trial (and in the Appeal a few weeks away).
Sommer Tries His Hand with a “Full Deck” – Sommer, armed with $60,000 from Hatfield, a $100,000 faux-expert report from Don Robinson, the world’s top Morrisseau expert as an expert witness, a “protégé” from Norval’s wild days as another witness, and a “fake” single painting of his/their choice, “Wheel of Life 1979,” to showcase his “proof of fakes,” had the “very best possible hand” he would ever have again.
And still Sommer had utterly and spectacularly failed, over five long days, to prove even a single painting was “fake” in any way at all. Let alone try to prove the existence of a forgery ring, like he claimed was active in Thunder Bay making “thousands of fakes by umpteen forgers.”
To the contrary, by attacking “Wheel” as a fake, Sommer had done the total opposite: prove to the entire world that his painting of choice, which he called “fake,” was not only 100% genuine, but that the people he was collaborating with were found by a court, without a qualifier or mitigating caveat of any kind, to be fraudsters and liars…
It’s nothing, short of total idiocy, to claim that Round 2, with the McDermott painting or with the Hearn painting, would end with different results.
Note: Prompted by Donald Robinson, multiple police investigations by the Thunder Bay Police and by the RCMP, looked into the forgery and fraud ring allegations, checking out alleged forgers, “forgery rings” and countless “fake” paintings in a town that has more genuine Morrisseaus than any other place in the world.
And found not a single bit of credible evidence. All the investigations led nowhere, and were closed down with no charges of any kind ever laid against anyone.
The police must have come to the same conclusion that everyone else in Thunder Bay knew for a fact: that Thunder Bay was the Last Place on Earth that anyone would start or operate a Morrisseau forgery ring of any kind, since the place had been totally saturated with large and cheap originals for the past forty years by Norval going door to door. That was how he made his living, for decades.
Even Norval left the area in the mid-1980s, being desperate to find a new sales area for his originals. It is total idiocy to say that this would be the ideal time and place to set up a forgery operation of cheap and lousy fakes.
Unless it’s a forger with a single digit IQ?
Sommer is just whistling Dixie out of his nether aperture…
How much will Sommer’s “theory” impress a judge, when he shows off his courtroom skills by whistling Dixie?
And when his nemesis, Brian Shiller, is the Plaintiff’s lawyer with his 4 and 0 record against Sommer and his “fakes” allegations. And will inevitably demand, before a judge, that Sommer “suit up,” and either put up or shut up, one more time.
With utterly predictable – and damning results – for Sommer.
I believe that Shiller was making it clear that he considered that Sommer was abusing the judicial process and wildly overstepping what a lawyer should be allowed to do. He seems to be echoing what was already noted in a damning complaint in the Ontario Court of Appeal.
“The real problem is that anybody with $180 and an axe to grind can go to the media with a statement of claim and assassinate anybody’s reputation.” Ron Fine.
and “… these people also attempted to damage my reputation by using the media to spread lies.” Alex Shnaider, Staif v Toronto Life Publishing, Court of Appeal, Jun 17, 2013 p6.
The billionaire Alex Shnaider – speaking in Canada’s most famous Libel case, which resulted in a judicial landmark ruling – was angry with the practice that for years had sullied his name in the media.
The Hon. Madam Justice Mary Anne Sanderson – the same justice who aggressively and totally dismissed the Jonathan J Sommer Appeal in Hatfield v Artworld – would have agreed with him.
In a landmark decision, of some 167 pages, she completely scorched Shnaider’s former partners for ripping him off for hundreds of millions of dollars, ordering them to pay it back. In so doing she was trying to restore Shaider’s reputation that had been sullied by a widely published Plaintiff’s Claim saying he was a crook and a liar, when none of it was true.
Deacon Crapper’s Shite Canon – But everyone knows the stain from a vicious and malicious Plaintiff’s Claim, published over many years, can never truly be erased. Which is why unprincipled lawyers abuse the process in this way.
They know that even if they lose in court – or the lawsuit gets dropped by the Plaintiff before going to court, as was the case in McDermott v McLeod – the false and malicious fabrications will live on for years, simmering in the fetid archives of some collaborating mainstream media journalist.
And so continue to do ripple effect damage for years to the target, in this case, Norval Morrisseau’s genuine art, and to all the people who have purchased his art and are now being told by malfeasant, malicious, and ignorant journalists in the media they have bought “fakes.”
The court protocol “absolute privilege,” prevents anyone from being sued for truths – as well as utter falsehoods and lies – they may say on the stand under oath. And I’ve heard plenty of those from witnesses and lawyers sworn to tell the truth in the many Morrisseau-related court cases I’ve attended over the last six years.
But worse than that, court protection also covers utter falsehoods and lies put into a Plaintiff’s Claim – which is why too many lawyers do it, in an adversarial justice system which clearly encourages the practice because the winner, by hook or by crook, takes all.
It is a huge stain on Canada’s judicial system, and I believe seriously undermines and brings into disrepute, the administration of justice, especially as it appears and applies to middle and working class Canadians who do not have the billions of Alex Shnaider to hire lawyers to fight back.
John McDermott’s Plaintiff’s Claim was full of falsehoods, that clearly originated with Ritchie Sinclair. But the singer had gotten wise to them, just in time to save himself a huge heap of cash penalties. And he cancelled his lawsuit.
But it didn’t stop his lawyer…
He was determined to use and squeeze every publicity advantage to boost his Morrisseau “fakes” business initiative, he could from his short-lived client, the famous celebrity singer John McDermott, just as he was also doing with celebrity performer Kevin Hearn.
Using the media, again, and clearly flouting the Law Society of Upper Canada’s Rules against fronting for frauds and scams, he tried to snare new customers for his Plaintiff’s Claim business, alleging “Morrisseau fakes.” But again, without evidence, just hot air from his totally discredited business associate and longtime collaborator, Faux-nishinaabe artist and Indian imposter and impersonator, Ritchie Sinclair.
Jonathan J Sommer: How Can You #11? Launch A Totally Inexcusable Appeal of the Martial Judgment
I believe too, that appealing to a higher court, in the face of such a stentorian judicial finding, as given by Martial – that Sommer had demonstrated neither evidence nor credible witnesses for his claim – is also utterly unforgivable on every level.
When there was no credible reason for doing so, other than that Ritchie Sinclair – and whoever else – was clearly pushing and manipulating a panicky old lady to keep on spending on what to everyone else with even a modicum of common sense, and who had read the Martial Judgment, concluded was a fool’s errand of epic proportions, and would only further deplete the old lady’s meager and fast-dwindling pension.
Still, Sommer said he would appeal.
His longtime associate, inside and outside court, Ritchie Sinclair aggressively wrote up 35 (yep, that’s 35 folks) judicial errors that he claimed that Judge Martial had apparently made and posted them on his website. It is a mystery where Sinclair, who is no lawyer, is only a school dropout, has no education worthy of the name, got so many fine points of law that the judge, who does have a law degree, had apparently transgressed.
Did he get input from lawyer Jonathan J Sommer to come up with the 35 “failings” of Judge Martial? Or did he just dream them up by himself. One of the many phony Indian pseudonyms Sinclair has given himself – along with various Davy Crockett costumes and assorted feathers, bangles and beads, hoping it will help him sell his Faux-nishinaabe art – is “Stardreamer.” There are many others: Windigo, Anang Inaabandaan, Black Magic, White Magic, Norval… It won’t hide the fact he’s a 100% white man making phony Faux-nishinaabe Indigenous art.
When he’s not acting as legal or media advisor for lawyer Jonathan J Sommer.
I believe appealing the Martial Judgment to a higher court, was not defensible on any level. (And after the scorching Sanderson verdict, finally came in, totally dismissing the Appeal in world record time, she clearly supports my view.)
Sommer should have quit, rather than Appeal.
The Eyebrows Go Up in Superior Court – Apparently I am wrong; not as long as the client still has money left. Sommer’s bills – which he conveniently provided in Small Claims Court documents – at the time, were in the $40,000 range for the Martial trial.
Yes, Sommer sought Plaintiff’s Costs of $40,605.65, which raised more than a few eyebrows – I saw them go up – when Defence lawyer – and ultimate court case and Appeal winner – Brian Shiller – stiffly***, I thought – deliberately brought this up before the Hon. Madam Justice Mary Anne Sanderson during the Appeal hearing in Osgoode Hall on Dec. 6, 2013.
*** A lawyer’s first loyalty is always to fellow colleagues and members of the Law Society of Upper Canada. They even call their most fierce judicial opponents “my friend,” which is telling. The client, down the road, who pays the bills, comes next.
In Ontario Small Claims Courts, court rules regulate that recoverable costs are topped off with a $3,750 maximum – not $40,000!!! It is very clearly stated in the Small Claims Court rules, which are not very long to read – even for people who hate reading – and are also readily available on the internet, for those people who don’t like to go to libraries.
A question might be: did someone tell Ms Hatfield, early on, that if she won in Small Claims Court, she could recover the $40,000 that Sommer asked for from Artworld as part of the penalties?
And who told her to keep spending – on an expensive Appeal – to keep up with the insanity?
An Incredulous Justice Straightens Out Sommer – Another spectacular Plaintiff’s disaster was clearly predictable, during the Appeal, in Ontario Superior Court, before another clearly incredulous judge, the Hon Madam Justice Mary Anne Sanderson.
Three times – I have good notes – a clearly perplexed Justice asked Sommer, how could it possibly be that he and his client were unhappy that Judge Martial had ruled in no uncertain terms that Hatfield’s painting was genuine? Isn’t that why Hatfield had come to court, to get a ruling she would be happy with? i.e. hoping that the painting was genuine and she was not a victim of a fraud? And finally Sanderson got it, in spades… So WTF are you people saying and doing?
Sommer plaintively opined there was “a cloud of title” over the painting “Wheel of Life 1979” something I never once heard him claim during five days of trial. It was clearly a new tactic of his. That tactic was short-lived, when a very firm Justice Sanderson told him, in no uncertain terms, that he was wrong, that when a judge rules a painting is genuine, there is NO cloud of title possible.
The Sommer Judicial Defeats Pile Up – Justice Sanderson said she just didn’t get it! In the end, she did, and smelled the same rat everyone else, who followed this court case, did. In a record time of only 11 days, probably Ontario’s busiest justice, dealt Sommer another absolute and totally resounding defeat for the Plaintiff’s Appeal as represented by him.
I believe, in the end, after the Appeal was over and penalties and costs were added up, the retired little old lady school teacher was on the hook for some $56,894.65 (my estimated projection; it could be a lot higher). None of it was recoverable by the little old lady school teacher. Disappearing into a dark sinkhole.
The $60,000 Question – The obviously alarming question we should ask is, how does it happen that Ontario’s Small Claims Court, which has monetary limits in place, to make sure ordinary people can afford a measure of justice with a modest outlay of cash, can victimize someone like Margaret Hatfield? When strenuous limits on penalties and costs are – out the gate – clearly laid out and enforced in SCC, exactly to prevent the victimization of gullible and trusting people like her.
How is it possible that under this system a little old retired lady gets put close to bankruptcy with legal costs in the $60,000 range? Who is responsible for this, and why?
I bet Margaret Hatfield never suspected, that at the end of the court process she would be out some $60,000. And that none of it was recoverable. Who would have advised and warned her that she was playing financial Russian roulette of this magnitude? And that her reputation would be in tatters for a whole lot of reasons, and For the Ages.
Sommer very well knew. Hell he’s a lawyer; he knows the costs of litigation. In 2016 the average cost of a lawyer litigating for two court days is $31,000. (Toronto Star)
Hatfield had 6 (that’s six) court days to pay for. Sommer damn well knew Hatfield’s costs for prepping for so many court days was close to $70,000 or more, with most of that going directly to him, constantly commuting from Montreal to Toronto. Did he tell his client that? Or was there a big conflict of interest? Or did it never cross his mind?
The only thing NOT in question – the court documents prove it – is the magnitude of Sommer’s billings. He documented it; I published it.
Hatfield’s painting had now cost her – with the original purchase price – a total of at least $66,894.65… A painting her own “expert” witness Donald Robinson was telling her, and everyone else, was worth exactly “ZERO.” How she must have hated it…
When “hate” should have been reserved for the people she surrounded herself with.
In fact sitting some eight feet behind her, during the many days of the trial – and immediately beside her during the Appeal – I could watch her progressive physical decline, as her shakes got worse and worse as it became clear – with Shiller’s merciless gutting and discrediting of her witnesses – that she would lose long before the totally inscrutable Judge Martial even made his finding. (I predicted it in this blog long before his judgment became public.)
And she had a painting she now no doubt hated, in spite of the fact that forensic and Morrisseau experts and two judges said it was completely genuine…
That’s two huge and utterly failed outings by lawyer Jonathan J Sommer, trying to get traction out of the same fraudulent facts and witnesses.
Sommer had now, in only nine months, resoundingly lost, two times out of two, in Ontario courts, with a lawsuit he launched with Plaintiffs making false claims, and propped up by discredited witnesses, and no credible evidence.
It’s actually three times out of three, if you count the damning Lacavera Judgment (below), published between the trial and the Appeal, that totally discredited Ritchie Sinclair, his longtime business associate and his only witness in the Hatfield case.
There were those who hoped, that perhaps even Sommer would finally get the message now; that even he must have realized that rather than representing an honest Plaintiff, he was clearly acting for a deluded old lady who had just buried her Dementia-debilitated mother, and was fronting for a scam by some totally discredited and disreputable fraudsters who had been victimizing his gullible and distracted client by feeding her clearly fraudulent information.
And that he’d better get the hell out before his own professional career was headed for an implosion leading to a possible Law Society of Upper Canada reprimand…
Sommer clearly decided to tempt fate…
Jonathan J Sommer: How Can You #12? After Justice Sanderson totally discredits both your witnesses, Ritchie Sinclair – your business associate – and Robinson, his business associate
In 2014, far from cutting ties to legal advisor and case collaborator, Ritchie Sinclair, lawyer Jonathan J Sommer, did exactly the reverse, and stepped up his working relationship with the multiply-discredited fraudster.
Only a few weeks after dramatically and stunningly losing their Appeal before Justice Sanderson, Sommer and Sinclair ramped up their partnership with a collaborative media assault in early 2014.
From Feb. 3 to 7, 2014 the Toronto Star, Postmedia, the CBC, and CTV, was hit with a media blitz by the tag team of both lawyer Jonathan J Sommer and Ritchie Sinclair, in tandem, promoting Sommer’s business interests in BOTH the Hearn and McDermott*** Morrisseau “fakes” cases.
(***Remember, documentation proves that Sommer knew McDermott v McLeod has been DEAD for four months, since I believe, Oct. 27, 2013.)
But the duo and their fraudster associates were desperate to do something in the media after the group had, within a period of only nine months (March to December 2013), just finished massively and totally losing, in every respect possible, five Morrisseau-related legal actions: Hatfield v Artworld (scorched by Martial), KRG v Matulic (Abandoned), Queen v Otavnik (scorched by Lacavera), McDermott v McLeod (Quashed by Plaintiff), Hatfield Appeal (scorched by Sanderson).
Driven in Tandem by… – Nevertheless, over the first six months of 2014 Sommer and Sinclair would, in tandem, target the media by promoting the Morrisseau “fakes” HOAX. They launched publicity promotions of two of Sommer’s cases, the separate Hearn and the McDermott lawsuits against Joe McLeod.
Their names – both Hearn and McDermott, and Sinclair and Sommer – would – by magic? – end up in the same article. Or act as a tag team, with Sommer holding forth with an interview in the body of the article, while Sinclair would cheer him on in the following “Comment” postings.
In the Ottawa Citizen, Sommer’s “Buyers beware” article, of April 8, 2013, Sinclair also had the first (boostering) and following Comment. It was a clear pattern of media manipulation that betrayed a clear behind-the-scenes collaboration that the lawyer and the school dropout would later follow numerous times, hoping to make the “fakes” promotion stick in the public mind.
In one notorious article, featuring a Sommer interview, the journalist posted it very late at night when everyone is in bed. Still the very first following “cheerleading” Comment was by Ritchie Sinclair, and posted almost immediately after the article had gone up. He clearly knew it was coming and breathlessly waited for it so he could immediately pounce to get in the “lead Comment.”
The second Comment – of some 60 eventual ones – would only be added some eight hours after Sinclair’s opener… Clearly Sinclair had a heads-up from somebody, to be able to be first in line to pounce in order to echo Sommer’s claims, with his boostering encomiums in the Comments section.
How to be first in line: Online newspaper “Comments” texters, like Sinclair, have no way of knowing when an article will be posted, so there may be many hours of delay till they find it and start commenting. Publishing times for serial columnists are easier to predict. Postings, like the Morrisseau articles, coming totally out of left field, by minor stringers, not at all.
Unless they have inside information from the journalist when it will be posted – clearly the case with Sinclair here.
The conclusion is incontrovertible: Sommer – the “source” – the interviewing journalist, and Sinclair, were clearly in close touch with each other about what would be published, and exactly when, so permitting Sinclair to be first in line with the Comments, and many hours before anyone else – Joe Public with no foreknowledge – would ever find it.
The collaboration is more devious than that.
The hard-copy of the Postmedia story, penned by Tristin Hopper, is different from the online post, because Sinclair had, in the interim, had Hopper remove a somewhat denigrating adjectival reference to Sinclair as a “self-described protégé” of Morrisseau’s, which he obviously did not like.
Hopper, idiotically, obliged Sinclair by removing the two words, “self-described” for his online version. The documentary record proves, of course, that the gullible, witless, and hopelessly misinformed Hopper had it right the first time, and was just bending to the fraudster one more time.
But increasingly Sommer and Sinclair took steps to hide the fact that they were collaborating at promoting a diabolical HOAX, or as Brian Shiller called it before Madam Justice Sanderson, “a scam… a scam… a scam.”
I believe lawyers have choices they must make, about who they will represent, whom they will work with, and whom they will “trust.” To protect their brand, if not their self-respect, both as lawyers and as people.
When they make repeated unprofessional choices to act with known and judicially-discredited fraudsters, they should be held accountable, and disciplined when they contravene the Rules of Conduct for Lawyers as clearly laid out by the Law Society of Upper Canada.
Jonathan J Sommer: How Can You #13? Rejuvenate The “Fakes” Media Offensive in February 2014
In February 2014, coming hot after five (that’s five folks) totally stunning judicial and lawsuit defeats over a period of nine months – Hatfield v Artworld (Martial), KRG v Matulic, Queen v Otavnik (Lacavera), McDermott v McLeod, Hatfield Appeal (Sanderson) – the group Sommer was collaborating with decided to sucker punch Judge Martial and Justice Sanderson and their judgments, by going to the media, with the same false claims, the same discredited witness, and, as is customary for them, with not a smidgeon of evidence.
I believe they were trying to troll for new clients for lawyer Jonathan J Sommer’s Morrisseau “fakes” business initiative.
And to deflect public attention – what little of that there was – away from Sommer’s second spectacular defeat, only a few weeks before, in Appeal Court on Dec. 17, 2013, at the hands of the Hon. Madam Justice Mary Anne Sanderson, where she confirmed the Martial Judgment, which said boldly, and with finality, that Sommer had demonstrated no evidence, that his Plaintiff’s Claim had no merit on any level, and that his witnesses were neither credentialed, or credible, were untrustworthy and totally consumed and compromised with self-interest.
Incredibly, Sommer seems to have been using, to con the media, the same discredited “facts” and the same discredited witnesses who had so spectacularly failed him before in front of Judge Martial and Justice Sanderson… And who had instantly also turned off John McDermott when he sought to inform himself about their credibility, only to find it non-existent… And even worse, had been judicially totally discredited… multiple times…
(By my count Robinson and Sinclair have been discredited, separately or together, in at least 17 Morrisseau art-related legal proceedings involving no fewer than 10 deputy judges, judges and justices.)
In fact Sommer, busily trolling for new clients by using Hearn’s and McDermott’s celebrity status, in the media, in early 2014, was deliberately hiding the fact that McDermott had already abandoned his lawsuit months before – almost immediately after it was filed in October 2013.
Can anyone, understand and explain, this continuing preposterous behaviour by a lawyer?
Isn’t a lawyer’s job to “advise” his clients with good, reliable, and credible information, NOT to try to snag new clients and encourage them to go down what is clearly a foolhardy and dangerous path – as multiple judges have warned?
I ask, should Jonathan J Sommer not have told Hearn – and any new prospective clients – about the long list of reputable judges who have discredited his witnesses and their claim that Hatfield’s, Hearn’s, and McDermott’s paintings were “fake?”
Or is it legitimate for him to blinker his clients, to sign them up, and keep them on his payroll? And even after they quit him, to wave their celebrity names in the media to try to snag new “clients.”
In early October 2013, Sommer had, by my count, four “active” Morrisseau lawsuit initiatives on the go: Hatfield v Artworld, Hatfield v Artworld Appeal, Hearn, and McDermott.
Now, in fact, four months later, three Claims had been totally discredited, and in February 2014, only Hearn was left. And after the Martial judgment, the Sanderson scorching of the Appeal claim, and the sudden McDermott abandonment, Hearn too, was also clearly heading for a very similar and miserable end, and a very, very expensive and embarrassing finish for the gullible ivory tickler and art neophyte.
Now do you see why Sinclair and Sommer decided, then, to launch a broad media offensive, mainly now, I believe, to keep Hearn in line and on the payroll.
If Hearn can read – it’s harder and harder to give him the benefit of the doubt – as well as tickle the ivories, he must have been desperate, to also want to jump ship.
No one wants to be the last rat on a sinking ship…
The name Kevin Hearn and the Barenaked Ladies will have their names shamefully and wantonly linked to the biggest act of cultural genocide against Canada’s Indigenous art and artists in history.
Barenaked Ladies How Can You?
It’s totally and utterly incomprehensible to me how an internationally-acclaimed Canadian entertainment group can allow their name to be used to dignify, and to aid and abet, the worst and the most voluminously documented fraud in Canadian history and allow its brand to be used to banner a vicious, malicious, seditious, and racist attack on the art and artists of Canada’s Indigenous people.
Doesn’t anyone in the band read? Or worry about blow-back, domestic and foreign? And their reputation for the Ages? Why not insist Kevin has to dump his fraudulent lawsuit, exactly like fellow Canadian musical celebrity John McDermott did, once he learned what was going on.
And then make a public apology and a financial contribution to a First Nations art cooperative for up-and-coming artists.
And pay to send Kevin to take some beginning courses in Canadian art, especially that of Canada’s celebrated Indigenous artists.
The Sneaky Anonymous Lawyer: How Can You #14? Get the Toronto Star to suddenly, viciously, and maliciously, dismount and disconnect a link and reference to John Goldi and theMorrisseauHoaxExposedBlog. com in an article on Feb 3, 2014.
The Star’s Murray Whyte, was obviously chastened by my years of scorching comments on his 2001 failure to do Due Diligence by fact checking by seeking out the source, before publishing his “fakes” hypothesis as real. His malfeasant journalism had launched the Morrisseau HOAX and scam in the media. And destroyed millions in Morrisseau art valuations.
In 2014, having possibly learned the error of his ways, Whyte, I believe tried a measure of atonement for egregious past acts of journalistic malfeasance.
Whyte valiantly added a promotional link on his Star column to my Morrisseau HOAX blog, even though it raked him over the coals. He said I was trying to show that the Morrisseau forgery scam was a HOAX – that there were no forgeries; that there never had been forgeries. He said I was making a valiant attempt to prove it and obviously was some impressed by the documentation etc. I had published, enough to give my information a national platform in one of the top two papers in the country.
The Whyte and Toronto Star encomium and promoted link lasted on the Star’s website for less than an hour.
Then the paragraph listing my name and the blog address and his promotional comments were abruptly wiped blank in their entirety from the Star’s article and archives. Only the shortened and cleansed article remained. The Star added that it had received legal threats (which I believe is why its editors instantly removed my name and the blog reference.)
I was outraged that information published by the Toronto Star could be manipulated this way. And wrote my complaint demanding an explanation from both Whyte and Kathy English, the Star’s Public Editor. Neither answered my queries.
What residual respect anyone following this story still may have had, for these two corporatocracy media hacks, went down the loo.
I have no clue what lawyer would have launched such a vicious, and malicious attack on what the Toronto Star chooses to publish. And within only an hour of the article going up.
And so deliberately shutting down a hugely documented source for information and documents exposing:
- the worst case of elder abuse in Canadian history
- the worst case of art fraud in Canadian history
- the biggest HOAX in Canadian history
- the worst racist attack on Indigenous art and artists in Canadian history
- the worst act of cultural genocide in Canadian art history
The Racist Scourge in the Canadian Media
A large portion of the Canadian mainstream media has – for decades – been hugely and eagerly complicit and racist against non-white minorities.
In 2016 Haroon Siddiqui pointed out that racist attacks from the establishment – from Prime Minister Harper himself, and from a huge section of the tribalist mainstream media – have viciously targeted Canadian Muslims with vile innuendos by deliberately playing up their religious similarity with Muslim “terrorists” and making them appear guilty by association, in planning some anti-Canadian conspiratorial malevolence.
Siddiqui asked leading Canadian media figures if there had been anti-Muslim bias in the media, including John Honderich, Chairman of Torstar.
“Yes, there is,” especially in the Postmedia newspapers, he said. Some of their columnists conflate Muslim terrorists and Muslims – “this has been lethal.”
“John Cruickshank, publisher of the Toronto Star, told me that a big segment of the Canadian media has been peddling “flat-out racism and bigotry” against Canadian Muslims. He added:
“The popular press, perhaps, are doing what they’re doing not out of some deep conviction or ideological basis, but because they are playing to the notion of building the loyalty of a certain segment of their customer base by creating a tribal solidarity against Muslims. They’re doing it to strengthen their own brand. It is despicable. We have to call them out on it for not abiding by the rules of their craft.”
Hey, Dude! What gives? – So what the hell else is new? Canadian Indigenous Peoples have been there, on the receiving end, since the first printing press arrived in Canada. But, although Indigenous people have been brutal victims of media racism for decades, no one seems eager – like Siddiqui is now doing with Muslims – to hold the establishment media to account regarding its vile, malicious, and racist treatment of Indigenous minorities.
And so – the intent is always there – to taint, and devalue, the minority in the eyes of the hoi poloi. Besides giving vent to the deep dark racist rages that always lurk in the fetid corners of mainstream media journalists. ALL the journalists eagerly promoted the racist and genocidal Harper war against Muslim wedding parties.
There was NO Bernie Sanders in Canada, not in the mainstream media. All were toadies of the ruling corporatocracy and its tribal allies.
Bob Rae who was once a decent man has metastasized like a pretzel into something entirely different. And Stephen Lewis notably scorched Harper with a dirty laundry list of abuses, did NOT include his war against the Muslims at all, when it should have been as a principled Lefty, his number 1 objection. But both men once honourable and credible Left Wingers, are also Jewish and allied to the Israeli foreign ministry’s long-standing war against the Muslims.
Racist Outrage at Ipperwash – In 1995, my wife and I exposed the dirty racist underbelly of the Canadian mainstream media, when we exposed the worst act of journalistic malfeasance of the 20th century, with the media’s wholesale racist tarnishing of the protesters at Ipperwash.
The mainstream media had – holus bolus, with the same herd instinct that would have done proud to an Alabama Klu Klux Clan rally – just recopied lying press releases from the police, saying that cops had shot at Indians (killing one), in self-defence, with answering fire, and so the Aboriginal terrorists got what was coming to them. None of them had done any Due Diligence whatsoever, but just went with the racist bent in their gut.
And, for six months or more, the media deliberately conspired to cover up that Ontario Premier Harris had ordered a deliberate racist police attack, that, thus emboldened, the cops had deliberately launched an attack on Indian families, had targeted one for killing, and lied to the media to cover it all up. Most of this was known to all the Indians the day of the shooting, and to many other people at Queen’s Park. But the media hid it all for six months.
Our landmark, 73 days behind-the-barricades research, convinced the SIU – which was just about to fall in line behind the media and not charge any cop with anything – to do a stunning about-face and decide to reopen an investigation it was shutting down. The renewed investigation – with us acting as mediating liaison for the SIU with the Ipperwash protesters – would ultimately lead to the conviction of a police officer for a criminal act leading to the death of an Indian, and for a judge to rule that numerous cops were also lying under oath.
It is the low water mark for all the members of mainstream media in the 20th century. Even in promoting the racist excesses against Japanese Canadians in World War II the racist media boostering was benign by comparison. The corporatocracy had not gone in to shoot up Japanese families and kill people. But the cops deliberately shot up First Nations families at Ipperwash in 1995, with lethal consequences, and the media covered up their racist excess.
Our documentary on this racist outrage won the ultra-top “Platinum Award for Investigative Journalism” at Worldfest Houston, the world’s largest film and television festival, in a competition featuring the best programs from the best producers around the world. (I believe we are the only Canadian producer to ever win this award.)
Racist Outrage on Bloor – The anti-Aboriginal racism by the establishment media continued. In 2009 the editors of the Globe and Mail gloatingly praised as a good result, his acquittal of all charges, after Michael Bryant – an elite member of the Toronto establishment, and former provincial Attorney-General – involved himself in Canada’s most notorious “road rage” incident. Going home, after an evening of partying, he deliberately squashed an Indian bicyclist to death with his BMW convertible by dragging him along and crushing him against a mailbox, before abruptly leaving his crumpled body, and the scene behind.
It was the day I burned up my 20 year subscription to the Globe.
The establishment media is documented as ready, willing and able to promote any racist outrage against Canada’s non-white minorities.
Bell Media Inc. (CTV) Promotes a Racist Anti-Aboriginal Website Operator and anti-Morrisseau Internet Art Terrorist, Ritchie Sinclair
Bell Media Inc. (CTV) Makes Itself a Party to Promoting a Vicious and Malicious, Racist Agenda against Indigenous Art & Artists
An Aggressive Blogger Sinks a 43 Year Old Flagship Show of Canada’s #1 News Channel
NOTE: On Friday, Jun , 2016, resulting from my action in the courts and behind the scenes, during March, April, and May, with scorching letters to Bell Media lawyers, warning of “blow-back” from sponsors from my publications, resulted in suddenly and immediately, without warning, causing Bell Media to sink Canada AM into the sinkhole it richly deserved, and summarily banishing both its complicit journalistically malfeasant hosts, Jeff Hutcheson to PEI, and Bev Thomson, to who gives a damn where… Neither, judging from their shell-shocked and distracted demeanour on the their last broadcast, had the faintest clue what just hit them…
And neither did any other journalist. But I damn well knew…
In a parallel media offensive, and at exactly the same time – to lawyer Jonathan J Sommer’s offensive in the mainstream media – Sinclair convinced Bell Media Inc. (CTV) and their Canada AM program to launch a vicious and malicious racist attack on the integrity of Norval Morrisseau’s art – and as a totally predictable ripple effect, undermine the integrity of all Canada’s First Nations art and artists.
Bell Media Inc. (CTV) is guilty of:
– launching a huge, multi-level, racist attack on Canada’s Indigenous art and artists that has been ongoing 24/7 for over two-and-a-half years since Feb. 7, 2013 when it started
– as a Canada AM malfeasant television broadcast
– on a CTV website page with a video of the defamatory broadcast
– on a Bell Media Inc. “The Loop” website page featuring the defamatory:
– CTV video, a CTV written article, & CTV’s recommended link to Sinclair’s racist, fraudulent, and defamatory website
– on a Bell Media Inc. republishing of it all on Bell Media Inc’s own YouTube channel including:
– CTV’s video, a CTV written article, & CTV’s recommended link to Sinclair’s racist, fraudulent, and defamatory website
– giving Sinclair permission to rebroadcast it all on Sinclair’s own YouTube channel
– CTV’s video, a CTV written article, & CTV’s recommended link to Sinclair’s racist, fraudulent, and defamatory website
– giving Sinclair permission to rebroadcast it all on Sinclair’s racist, fraudulent, and defamatory personal website
– promoting a well-known & documented fraudster Ritchie Sinclair as an “expert” to do it
– initiating the worst anti-Indigenous broadcast and website attack in the 21st century
– endorsing, promoting, and funding a racist anti-Aboriginal broadcast and website
– fraudulently using the celebrity name of John McDermott – in print and on-air – to dignify a documented fraud and to slang Indigenous art and artists
– knowingly and deliberately fronting for a fraud and an art scam
– allowing and encouraging its lawyers to front and cover its involvement in a huge broadcast malfeasance and fraud promotion
And, incredibly and shamelessly, CTV used “Wheel of Life 1979” and Ritchie Sinclair to do it with.
In front of 1 million viewers Bell Media Inc. (CTV) showcased Sinclair telling all of Canada, on Canada AM, not only that “Wheel” was a forgery, but that all the Morrisseau paintings – amounting to thousands – that looked like “Wheel” on the front, and were signed like “Wheel” on the back, were utter and worthless fakes, the product – said Sinclair, with the support and blessing of CTV – of a forgery ring in Thunder Bay.***
***In case you missed it, CTV and Sinclair were collaborating to sneer at, before 1 million viewers, the exact same signature that – only months before – both Judge Martial and Justice Sanderson ruled was 100% Norval’s, and that there was “overwhelming evidence” that he had done that thousands of times. Which of course was simply corroborating what a forensic handwriting expert had independently confirmed as being Norval’s signature “beyond DNA certainty,” as 100% authentic.
All of it, just derisively sneered off by the Bell Media Inc. (CTV) employees.
An Established Bell Media Inc. Corporate Practice – If you hear an echo its exactly as its former employee Mike Duffy had deliberately and maliciously done in 2008, after CTV was censored and punished by the Canadian Broadcast Standards Council for having unprofessionally targeted Canada’s then Liberal Party Leader, Stéphane Dion, with a clearly racist and denigrating “prep” video where he badly stumbled in his second language, trying to figure out what CTV interviewers wanted from him. Duffy sneered off the CBSC finding, and rebroadcast the infamy. Only to have CTV be censored again by the CBSC. CTV accepted its punishment – both times – while Duffy went off to get his reward in the Senate from Stephen Harper for his loyal anti-Liberal service.
By 2016 Duffy had made himself one of the most loathed men in Canada; Stéphane Dion, one of Canada’s truly most respected and experienced political elders, became Canada’s Foreign Minister in the Trudeau Government in 2015. (SEE BELOW)
CTV’s and Sinclair’s claims were totally fraudulent, of course, not supported by any documentation whatsoever as had been noted by Judge Martial, and was well-known by everyone… Everyone but the negligent and gullible journalist dunces employed by Bell Media Inc. (CTV). None of them even asked Sinclair for any evidence for his utterly wild and preposterous claims. Or did any independent research on the documented art terrorists’s “claim.”
In fact a simple two word Google search on “Ritchie Sinclair,” would have informed any CTV producer with pages of internet documents and research proving Sinclair is only a school dropout, an Indian impostor/impersonator, fronting for a HOAX, and totally discredited as any kind of art or Morrisseau expert by multiple courts and judges, and the findings of multiple forensic scientists.
But, no CTV producer or researcher had read the Martial judgment, no CTV producer or researcher was even aware that there had been an Appeal, or of the scorching Sanderson judgment that totally eviscerated the fraud, the fraudsters, and Sommer’s Plaintiff’s Claim. And in particular confirmed Ritchie Sinclair specifically as uncredentialed, with no expertise, no evidence, and as untrustworthy on the stand, in fact a perjurer.
That should have IMMEDIATELY stopped Bell Media Inc. (CTV) from putting Sinclair on air and promoting his wild and proven lunacies regarding “Wheel” and purported Morrisseau fakes and fraud ring allegations.
ALL the court evidence totally vindicated, “Wheel of Life 1979” as 100% authentic, which Bell Media Inc. (CTV) now spent five minutes of prime time broadcast time to viciously and maliciously call fake, and give the discredited Sinclair a feature showcase to vilify “Wheel” as a useful template for declaring thousands of others like it lowlife “fakes,” as well. And all a product of a “forgery fiasco” which CTV announced was unfolding in Thunder Bay, when it was all entirely a totally malicious invention by Ritchie Sinclair.
But CTV producers apparently had hair and nails appointments, or were at the Spa, and so were too harried to do even a minimal journalistic vetting of Sinclair, and prevent a multi-level broadcast fiasco and journalistic malfeasance of their own making that without evidence racially targeted and denigrated Canada’s top Indigenous artist and his work.
NOTE: A broadcaster is clearly responsible for the statements it chooses to broadcast, according to the Ontario Libel and Slander Act. Especially when they have promoted an on-camera subject/source as an “expert” on the topic.
This is key because when a viewer sees a broadcast he/she assumes that it is true, that the broadcaster has done proper Due Diligence to vet the credentials of any guest host that they feature before showcasing and promoting him/her.
In fact Bell Media had totally misled the public because its people had done no research or Due Diligence on Ritchie Sinclair or his claims. They had also neither talked to McDermott NOR checked the courthouse records of the lawsuit they were bannering all over their broadcast. Or they would have known that the McDermott lawsuit had been DEAD, DEAD, DEAD for four months by broadcast time. Instead Bell Media helped the fraudsters promote a fraudulent lawsuit and entrap more victims into believing in a HOAX that victimized Indigenous Canadian art and artists.
In fact the truth was that CTV researchers and producers did not do one iota of research on either the person they put on camera, or the crap he was saying on air.
CTV sucker punched its million viewers, as well as committing cultural genocide against the art and artists of Canada’s Indigenous minority.
Bell Media Inc. (CTV) Mounts a Racist Attack on Indigenous Art & Artists – Bell Media Inc. (CTV) then compounded its broadcast malfeasance by repackaging and expanding the vicious, malicious, and totally fraudulent broadcast claims against Canada’s First Nations art and artists, on other platforms, including on Bell Media Inc.’s “The Loop.”
Not only did Bell Media Inc. (CTV) promote and publish a proven fraudster, and serial perjurer in court, with a free five minute self promo, but they promoted to all Bell Media Inc. (CTV) consumers visiting their 24/7 “The Loop” website a deliberately recommended – NOT a passive – link to Sinclair’s vicious, malicious, and racist anti-Aboriginal website as a good standard to consult in order to tell authentic from fake Morrisseau art.
For Bell Media Inc. (CTV) it is a damning parallel to doing this favour for notorious Holocaust denier, Ernst Zundel, another equally discredited fraudster and propagandist who says 6 million Jews did not die, only, perhaps 600… His hate speech targeted the Jewish minority, and ultimately got him evicted from Canada.
Zundel was imprisoned in Canada, for two years, for his publishing hate speech against the Jewish minority in his book and website publications because they were “likely to incite hatred against an identifiable group.”
Bell Media Inc. (CTV) is well known, in the broadcast industry, for having a penchant for anti-minority “hate speech.”
On May 28, 2009 CTV was found guilty of breaking the “ethics code” by the Canadian Broadcast Standards Council*** for deliberately publishing “prep video interviews” – violating ethical standards – of Stéphane Dion, stumbling badly in his second language, as he tried to come to grips with an obtuse question by a CTV interviewer, in the run up to an on-air interview.
***The CBSC, to which CTV and other leading Canadian broadcasters belong, has a committee that polices journalistic malpractice and malfeasance. The group examines complaints of broadcast malfeasance, makes rulings, and assigns penalties against members.
The accepted broadcast standard is that “prepping videos” before the formal interview has begun, are off limits to publish. But racist CTV producers clearly had it in for this French-Canadian leader – at the time – of the Liberal Party of Canada.
(Two leading CTV journalists – Duffy and Wallin – were soon appointed to the Senate in grateful thanks by the ultra-right wing Stephen Harper, for their boostering work while on the CTV payroll. Where they were soon snorting at the public trough with reckless and wanton abandon.)
So CTV was scorched by the CBSC panel members, for its clearly deliberate and discreditable treatment of Dion, and it had to issue multiple public broadcast apologies for its thinly-veiled racist attack on Dion.
Then CTV did it again.
Mike Duffy, long a toadying ultra-conservative “journalist” angling for an Order of Canada, or a Senate seat, sought to ingratiate himself with his corporate masters by republishing the same discredited racist materials AGAIN and making an issue of Dion.
The CBSC panel found CTV guilty again, of unethical conduct – I call it deliberate racism – and it had to issue multiple public apologies, AGAIN, including on the Mike Duffy show.
But Duffy, a decades-long Ottawa resident, had now hurriedly gone to cash in his reward, a Senate seat with unlimited billing privileges, courtesy of a summer shack he had in PEI.
So clearly some kind of “hate speech” is not acceptable in Canada, when conducted against French-Canadians and Jews.
So CTV had been found guilty of multiple racist targetings of a prominent French-Canadian Liberal intending to ridicule him stumbling in his second language.
In spite of its double reprimand from the CBSC ethics panel, CTV apparently believed it’s perfectly acceptable for it to openly promote “hate speech” against Canada’s Indigenous people and their art, saying they’re forgers and fakers, and that their art is totally discredited and worthless, on national television. And this they did without producing a single shred of evidence.
And in going on to hugely promote a totally discredited “Indian” imposter/impersonator Ritchie Sinclair – the “Ernst Zundel of Morrisseau art” as a credible voice of unreason.
Clearly Canada’s Indigenous people are defenseless against racist broadcasts. They do not have a seat on Bell Media Inc. (CTV)’s board of directors.
And there is clearly NO active Canadian Broadcast Standard Council prohibition or policing agency, to prevent broadcasting racist attacks on Indigenous people. Something done with clear relish by Bell Media Inc. (CTV) on and after Feb.7, 2014, on multiple publications platforms.
In November 2015 the CBC closed down the Comments section on stories featuring Canada’s Indigenous Peoples because of the tidal wave of racist fanatics who happily published the vilest venom there against Canada’s most disadvantaged and poverty-stricken minority. It had taken the CBC six years to do what Aboriginal leaders first demanded in 2009.
Sinclair and his racist website would no longer have found a place on CBC.
But the racist anti-Aboriginal fanatic found more than a welcome mat out, on Bell Media Inc. (CTV)’ Canada AM. And on many of Bell Media’s other publicity platforms.
Zundel, like Sinclair did, would be likely to find a happy home at Bell Media Inc. (CTV) with its clearly blatant and racist broadcast agenda advocating and promoting the targeting of Indigenous art and artists.
After providing Sinclair with a free time broadcast to publicize himself and his racist outrages, Bell Media Inc. (CTV) then further obliged Sinclair by additionally promoting him by also posting the Canada AM broadcast video to YouTube, so Sinclair’s racist message could be available to all Bell Media Inc. (CTV)’s YouTube channel visitors 24/7.
Why is a TV broadcaster posting its material on a competing YouTube broadcasting channel, if not to expand the racist reach of its fraudulent, vicious, and malicious programming?
On Feb. 11, 2014, I roasted a CTV producer on the phone for the broadcaster’s vicious and malicious hosting of a discredited fraudster. CTV immediately dismounted the broadcast from its CTV Canada AM website.
Then, weeks later, I discovered CTV had reposted the defamatory material to Bell Media Inc’s 24/7 website, “The Loop,” and that both Bell Media Inc. and Sinclair had posted the defamatory materials, separately on their YouTube channels.
I demanded Bell Media Inc. effect an immediate takedown of the vicious, malicious, and meretricious materials and publicly apologize, as clearly called for and directed by the Ontario Libel and Slander Act.
And I would have hoped by the code of ethics of the Canadian Broadcast Standard Council, a body Bell Media Inc. (CTV) is a member of, that would have been done.
“Go Fuck Yourself!!!”
Many years ago, the lawyer for Atlantis Broadcasting Inc., then a huge television production company and broadcaster, gave me a lesson in fundamental Canadian Law.
On a TV series I was producing for them and faced with a cranky television host, who was handsomely paid for what she did, but wanted a raise, I asked for advice from the contracting producer’s lawyer.
She – the lawyer was female – replied, “We have a legal term we use in these situations.” Then, after a pause, as I waited expectantly, she spouted, “Tell her to Go Fuck Yourself.” aka GFY.
Now, many years later I was faced with Bell Media Inc., using the GFY legal principle. Since Bell Media was non-compliant, and lawyering up behind the GFY principle, I announced I was sueing.
I was NOT suing because Bell Media Inc. (CTV) was deliberately racist in its multi-level broadcasts and publications – which it was, and is.
I was NOT suing because Bell Media Inc. (CTV) was clearly anti-Aboriginal, which it was… and still is.
I was NOT suing because Bell Media Inc. (CTV) was committing cultural genocide, which it was…
I was NOT suing because Bell Media Inc. (CTV) was committing a “Hate Crime,” which it was.
I leave all these legitimate areas for other lawsuits to others.
I was suing because Bell Media Inc. (CTV) was deliberately and specifically attacking, targeting, and devaluing my highly unique 1970s Morrisseau BDP art as fake, by enabling and promoting a documented art fraudster and Indian imposter and recommending his racist website as a credible source for authentic information on Morrisseau art and fakes, when multiple judges, and forensic experts, have found the claims to be totally and utterly fraudulent.
Bell Media Inc. then took down the defamatory material, on all its websites, archives, and YouTube channel. Not, perhaps because of my threat, but because someone, higher up, was embarrassed by what its people had done, funded, initiated, endorsed, posted, and promoted. And the corporate and broadcast malfeasance that my lawsuit would expose.
In fact I consider – the documentation is incontrovertible – that what Bell Media Inc. (CTV) did, the worst act of racist broadcast malfeasance of the 21st century.
But Bell, strongly insisting on exercising its GFY principle, refused to publicly apologize to me, the Canadian Indigenous artists, to the People of Canada, for, by far, the worst act of broadcast journalistic malfeasance in the 21st century. A deliberate, vicious, and malicious racist attack on First Nations art and artists.
And holding fast to its GFY principle, it refused to force Ritchie Sinclair to take down the defamatory video, Loop article, and Bell Media’s highly recommended link on its consumer site that invited its viewers to visit Sinclair’s racist and malicious website for “authentic” information.***
*** The information Bell Media Inc. (CTV) recommended to its viewers as authentic is the most racist website ever to attack Canadian Indigenous art and artists, and features Sinclair mounting vicious personal attacks on leading First Nations artists, and on members of the Morrisseau family, as well as on thousands of genuine works by Canada’s top Aboriginal artist, Norval Morrisseau.
Bell Media Inc. (CTV) allowed Sinclair to keep publishing video and written materials produced and paid for by Bell Media Inc. budgets, and featuring Bell Media Inc. personnel, and bearing the CTV and Canada AM logos and imprimatur, clearly showing corporate approval for the racist and defamatory mandate Sinclair pursued with material targeting Canada’s Indigenous art and artists.
Unbelievable, you say??? But true!!!
These guys apparently have never heard about the “Truth and Reconciliation Commission” detailing over a century of Canada’s racist abuses against First Nations People.
Bell Media Inc. (CTV) has a one-word answer: GFY.
For over two years Bell Media Inc. (CTV) has worked hand-in-glove with the racist anti-Aboriginal Ritchie Sinclair to facilitate, promote, aid and abet, the worst racist attacks mounted by anyone against Canadian art and artists, ever, in Canadian history.
This vicious and malicious partnership, of a judicially-discredited, racist anti-Aboriginal school dropout, and a billion dollar corporation, has by 2016, been attacking the art and artists of Canada’s Indigenous community for over two years.
Jonathan J Sommer: How Can You #15? When Bell Media Inc. (CTV) runs scared, trying to distance itself from your business partner and collaborator Ritchie Sinclair
Bell Media Inc. (CTV), after its witless producers and dozy TV anchors had been sucker – punched by Sinclair, started taking action to take down the vile promotional and racist anti-Aboriginal stuff it had created for Sinclair to use.
Why did Jonathan J Sommer, even then, not also cut his ties to Sinclair, instead of continuing to collaborate with him in his frauds and scams?
Jonathan J Sommer: How Can You #16? When Sinclair uses “Wheel of Life 1979” to expand the Racist Fraud to Ottawa
Shortly after getting a free five minute self-promotional, and Bell Media Inc. (CTV) endorsed broadcast for his calumny, Sinclair took “Wheel of Life 1979” to the SAW Gallery (an artist’s Co-op) in Ottawa, Ontario, for another fraudulent public display of the painting as a “fake.”
Sinclair, acting in concert with an unidentified “entertainment” lawyer – who forbade divulging his name*** – got gallery curator Jason St-Laurent – he was completely aware and complicit in the duplicity and fraudulent display – to mount “Wheel of Life” as the centerpiece of a showcase featuring “fake” art, in his “F IS FOR FAKE” exhibition from June to September 2014.
*** Was it You? – Suspecting that this “shy” lawyer was none other than Jonathan J Sommer, a self-styled “entertainment” lawyer who had worked hand-in-glove with the fraudster Sinclair for years, and had just been taking an active and equal part in Sinclair’s February 2014 publicity offensive against the media, which featured the Canada AM broadcast, I, as a good journalist, sought out Sommer, and asked him for a comment.
I asked him directly and specifically, was he the “entertainment lawyer involved in working in concert with Ritchie Sinclair in putting “Wheel” in the SAW gallery as a fake and advising curator St-Laurent how to display it, without labels, to avoid lawsuits?
Jonathan J Sommer replied what he did was none of my business. He neither affirmed that he was the “entertainment lawyer” referred to by St-Laurent, nor did he deny that it was he who was involved with Sinclair in advising the Saw Gallery.
So Wheel became the feature exhibit of a trio of works that made up the entire “Morrisseau F IS FOR FAKE” exhibit.
On June 13, 2014, I – acting as typical Joe Tourist – was given a personal tour of the entire F IS FOR FAKE exhibit by the SAW Gallery Director Tam-Ca Vo-Van herself. She gave me the full treatment of the defamatory Morrisseau exhibit, information she had vetted with curator St-Laurent.
It was later, all confirmed by SAW Gallery Curator St-Laurent in a lengthy private conversation I had with him on July 31, 2014. It is the same “information” about Morrisseau art that they both passed on to many thousands of visitors to the exhibit, featuring their openly passionate, bald, and unqualified false and malicious claims that:
– “Wheel of Life 1979” was a proven lowlife fake
– that Sinclair had assured both Vo-Van and St-Laurent of that
– that Sinclair was a recognized and proven Morrisseau expert
– that Sinclair was the “founder of the Norval Morrisseau Heritage Society” (NMHS)
– that Artworld, like most other leading art galleries, was knowingly selling fake art
– that “most Morrisseau paintings were, in fact, fakes”
– that Sinclair was heavily involved in the “musicians cases” (meaning Jonathan J Sommer’s Hearn v McLeod & McDermott v McLeod cases
– that a “shy” anonymous “entertainment” lawyer had advised them how to set up the exhibit to avoid lawsuits of the obvious defamation of a multiply-judicially authenticated painting
– that the secretive “entertainment” lawyer advisor had forbidden them to disclose his name
– that the lawyer advised them to just not put up labels beside the “Wheel” painting, or name the painting, the owner, or the gallery that sold it
– to just slang “Wheel” by telling people verbally that it’s fake, and put it opposite the big F IS FOR FAKE sign
– that the exhibit had been vetted by Greg Hill (of the National Gallery of Canada & a founding member of the totally spurious NMHS)
Dismounting, Publicly Apologizing & Blaming Ritchie – I gave Artworld a “heads-up,” on the public defamation of a painting it had just spent a ton of money to get a favourable court ruling for. The threat of an Artworld lawsuit got SAW gallery curator St-Laurent to dismount Wheel from his tawdry, vicious, and malicious exhibition, and agree to publish a public apology in the Ottawa Citizen.
St-Laurent disingenuously put all the blame on Sinclair, when in fact, in private conversations he had with me, he admitted he knew what he was doing from the beginning, that he loved “risk-taking” and besides, he hated art galleries who, he claimed, were always “ripping off” artists, and selling forged art. So for him it was payback time…
I suspect St-Laurent, exactly like Sinclair, had a long history as a failed artist with galleries, which was why he was now an administrator of art, instead of a creator… Just like Sinclair also was, NOT an art producer, but a “fraud enforcer,” and front man, for Toronto’s Kinsman Robinson Galleries.
So exactly like Bell Media Inc. (CTV), SAW Gallery Curator Jason St-Laurent was glad to be able to act out with subterranean private pet peeves and racist hates by prompting and promoting a vicious and malicious front man, Ritchie Sinclair, to “act out” for them.
Sinclair, for years, had “Wheel of Life 1979” posted on his vicious and malicious website as a “fake.” He had with truly spectacular unsuccess, panhandled it as a “fake,” through a trial with Judge Martial, and Appeal with Justice Sanderson, at CTV, at the SAW gallery, only to lose another lawsuit threat there.
This is going from the ridiculous to the absurd…
Jonathan J Sommer: How Can You #17? When the SAW Gallery dismounts & apologizes…
When the SAW Gallery, after listening to Ritchie Sinclair, following his instructions, was threatened with a lawsuit, and had to both dismount “Wheel” from its fraudulent F IS FOR FAKES exhibition, AND issue a public apology, why even then, did Jonathan J Sommer not cut his ties to well-known fraudster Ritchie Sinclair?
From the absurd to the lunatic…
Jonathan J Sommer: How Can You #18? When Judge Kilian scorches Sinclair…
When in Aug. 2015 Sinclair was hugely fined and penalized, as well as hugely scorched by Judge CW Kilian for Libel and Slander because of his vicious, malicious and meretricious website, why did not lawyer Jonathan J Sommer, even then, not cut his ties to well-known fraudster Ritchie Sinclair?
From the lunatic to the surreal…
And why did Sommer not dump the Hearn Plaintiff’s Claim in the toilet, even then, since at its heart, as the “source,” is the total fabrication by the multiply-discredited fraudster Sinclair and his ludicrous claims of a forgery ring in Thunder Bay?
The Sudden End of “Wheel” as a “FAKE” on April Fools Day 2016
Now suddenly, on April Fool’s Day 2016, Sinclair takes “Wheel” down from his website, where it had been prominently posted as a “fake” for many years. Proving not only that he no longer considers it a fake, BUT WORSE, that it was never a “fake” to begin with. That he never had proof or evidence of any kind that it was a “fake.” That he had just viciously and maliciously used it:
– to get even with McLeod, Artworld, and the Liss Gallery all for them refusing to showcase his art.
– to funnel some $60,000 from a gullible old lady to his fellow collaborator Jonathan J Sommer
– to unsuccessfully try to con Judge Martial in Small Claims Court
– to unsuccessfully try to con Justice Sanderson in Superior Court
– to successfully con Bell Media Inc. (CTV) into giving him a free five minute racist broadcast promo on prime time TV.
NOTE: Before putting Sinclair on air, no one at CTV had even bothered to do even minimal research on him, his claims, or the Morrisseau HOAX, which was widely documented on the internet. No one at CTV had read or researched the Martial Judgment, or the Sanderson Judgment. No one at CTV had ever heard of Due Diligence, the Rules of Responsible Communication, or even of exercising common sense before going to air and wildly promoting a proven fraudster, perjurer, and malicious anti-First Nations racist. And mounting the worst racist broadcast attack ever mounted on Canadian Indigenous art and artists. And doing it 24/7 for over two years.
– to unsuccessfully try to hit at Artworld again, through the fraudulent SAW gallery display
Jonathan J Sommer: How Can You #19? When Wheel is dismounted as a fake by Ritchie Sinclair, acknowledging his lack of proof, and its fraudulent posting for many years…
With the takedown of the painting “Wheel of Life 1979,” which Sinclair has damned as a fake, more than any other, for years, in collusion with Donald and Paul Robinson, and his lawyer-collaborator, Jonathan J Sommer, it proves beyond a shadow of a doubt that THEY TOO have known all along, that “Wheel” was genuine. That they just sneered at evidence proving it; that they had just gone along with Sinclair promoting it as a fraud for private, personal and self-interested motives and gains.
Just to make a buck in the art world with a profitable scam.
Jack Pollock, knew all about it, and wrote that’s “… what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.” (Jack Pollock, Norval Morrisseau’s longest (1962-1981) & most successful (12 shows) dealer, Dear M, 1989, p182)
As Toronto lawyer, and international fake art sleuth Bonnie Czegledi said:
“Over a period of a few years, I discovered that the business of art is one of the most corrupt, dirtiest industries on the planet. There are no regulations… It’s not pretty. The patina of loveliness that most people associate with art didn’t exist in the reality that I found. It was filled with criminals – and a lot of different kinds.”
(Bonnie Czegledi, quoted, Hot Art, Knelman, p25)
Sinclair’s April Fools Day Display of 1,000 “Fakes”
The Awesomely Talented Forger*** – The first impression of the 1,000 1970s Morrisseau BDP “fakes” that Sinclair has displayed since October 2008, is what a truly awesome creative soul the alleged “forger” is. There is NOT a single solitary duplicate image of any kind. Every painting is unique unto itself, in design, and colour, and in execution. There are no dupes, not even one.
*** Note: This is only my call. Donald Robinson said the forger is actually incompetent and did a totally lousy job creating worse than amateur Morrisseau fakes that were easy to spot from a mile away. It’s exactly what the four CBC “Four Rooms” art experts said about Sinclair’s Faux-nishinaabe art he showed them. Robinson never explained, why he then bid on 90 paintings, paid $54,000 for 31 of them, and never returned a single one for a refund claiming they’re “fakes.”
In fact, on a surprisingly large number of his “fakes,” I consider the “forger” to often demonstrate that he is a far more talented artist, than Norval exhibited himself to be, on many hundreds of his paintings.
This supposed anonymous “forger” is rivaled in creative genius by only one other artist I know of, Norval Morrisseau himself, who also NEVER, EVER painted the same image twice, though he painted 10,000 images at least in his 40 year painting career. Of the thousands of Morrisseaus I have seen, or seen images of, I have NEVER EVER found a single duplicate.
Unlike among many white European artists who paint duplicates of originals on demand. For example famed Canadian artist Edmund Montague Morris did multiples for national museums, and government agencies. I own one of four I know of, of his fabulous Chief Poundmaker (Petocahhanewawin) painted c 1910. A proud dupe of mine hangs in the Hall of Chiefs, in the Saskatchewan Legislature.
But sorry, there are no dupes of Norval’s…
Artists like Norval, hate being a Xerox machine, when they would rather be free, expressive, and creative. Norval painted for the love of the “creative” process, to publicize his people, and their culture, and to get a few bucks of instant cash to live on.
The alleged forger was clearly, an equally spirited soul, and didn’t give a rat’s ass if he got “caught” or not, which is, of course, a huge problem for forgers when they step outside the safety of copying and experiment in style. So the forger just kept “inventing” Morrisseau paintings, not apparently remembering the well-known dictum guiding genuine forgers, that the more you “invent” the more likely you depart from the style of the artist, and the more likely you will be be caught and jailed. And according to Robinson this stupid forger departed some 4,000 times creating new creations and 4,000 opportunities for art fraud investigators to catch him.
He was so damn good at it he, supposedly, sucker punched the man who called himself the world’s top Morrisseau expert – Donald Robinson – into buying dozens of them for $54,000.
That Wild and Crazy Elusive “Forger” – The forger was never caught or outed, though multiple police forces, which at Robinson’s insistence, checked under every bed in Thunder Bay, over and over again… I have police statements that prove investigations were made, no criminally culpable fraud of any kind was found by anyone, no one was charged, and no one ever would be. All the multiple police investigations, by local and RCMP police, have been a closed book for many years.
Donald Robinson’s involvement in urging the police to investigate what he damn well knew was a fruitless and dead end search for a forger he knew didn’t exist is revealed in RCMP documents I have that were released though Access to Information requests.
It’s worse than that. Canada’s most notorious and convicted art forger, Richard McClintock was immediately discovered, outed, and successfully prosecuted after he had tried to sell only 2 forgeries to an art gallery (that’s two folks).
The Norval forger was far smarter than that. According to the Robinson cabal he forged some 4,000 or more paintings. And yet was never tripped up or caught over a single fake. Not by any local or federal police force, not by any Canadian judge or court, and not by any forensic expert.
And the Robinson clique calls this guy a “lousy” and “talentless” failure as a forger and artist both!!!!
On the other hand, real forgers who target the lucrative high-end European art of the Masters, would never be involved in anything like the ludicrous suggested Thunder Bay “forgeries.” They universally hate being free, expressive, and creative, because they know that’s a sure way to end up departing from the Master’s signature style, and be immediately nailed by the experts, and then shortly after by the cops.
That’s why real forgers, smart forgers, all love copies and dupes. It’s less work and far less likely you’ll be caught, because you are copying the artist so closely no one can tell it’s a fake.
So, it’s elementary My Dear Watson; if forgers were really loose among the Morrisseaus there would be countless dupes about.
There are not. And that’s nothing short of amazing because the Robinsons say there are thousands of “fakes” to pick from.
STILL NO ONE HAS EVER FOUND A MORRISSEAU DUPE, because Norval hated doing them and because NO FORGER ever showed the slightest interest in coming close to a Morrisseau painting, when even the huge Morrisseau acrylic on canvas originals were going for next to nothing, like $30 or $40. And came direct from the hands of the artist himself, in malls, parking lots, shops, and door to door sales all over Northern Ontario – for decades…
Hell, why bother forging this stuff? Only a total idiot would…
It’s a Mad, Mad, Mad World – But that’s exactly what the Robinsons, the NMHS, Sinclair, and Sommer in his Plaintiff’s Claims, says: a syndicate of total idiot forgers ground out thousands of these original “fakes” none of which were ever even copied from Norval…
The idiot forgers apparently based their business plan on the belief that if Norval was selling his huge original acrylics for $20 or $30, they could make a good living grinding out thousands of big original acrylic fakes and undercut him by selling them for $5 and $10…
At this price level, wouldn’t copying make a whole lot more sense? Yet not a single Morrisseau “copy” has ever been documented by anyone…
The Last Place on Earth: Part 2 – And hey, Sommer and his collaborators say this is not just a single delusional idiot at work, it is a forgery “ring,” a “syndicate” of delusional idiots, doing this for years, making thousands of them, as part of a very successful forgery ring, in the worst town in the world to make such a business plan work, Thunder Bay, Ontario, which, for decades was already swamped with more cheap original Morrisseaus than any other place on earth.
Which is, incidentally, why Norval, himself, left the area in the mid-1980s, because it was so swamped with his work, from 40 years of marketing them door to door, that there was no one left he could sell to. So he went west, to Winnipeg, Alberta, and BC.
Leaving Sommer’s utterly silly, supposed “forgery ring,” a free hand, with their alleged nickel and dime “fakes” to corner the market in Thunder Bay…
Don’t knock it; it sounded completely reasonable to the Robinsons, the NMHS, Sinclair and his longtime lawyer associate Jonathan J Sommer.
And it sounded reasonable to a raft of witless, gullible and downright dumb journalists of the mainstream media who sucked it up and spewed it out without giving it a second thought… And without doing any follow-up interviews with Hearn, or McDermott, or doing even elementary research or Due Diligence.
Chalk it up as another black eye for Toronto, which Canadians, wholeheartedly from coast to coast, agree, has more than its fair share of creeps, crooks, and conmen.
The Morrisseau family, whom the Robinson family, and Ritchie Sinclair have ruthlessly denigrated, would certainly agree, at how this group, and their collaborating lawyer Jonathan J Sommer have fraudulently victimized and attacked Joe McLeod with their false allegations.
Norval Morrisseau’s own scorching observation could be quoted here, regarding the Plaintiffs’ Claims and their ludicrous and fraudulent claims regarding his “fakes.”
“White man’s paper no fucking good.” (Pollock, Dear M, p39)
We won’t print what Norval said about white men… and their record on the “Indian file” in Canada.
The conclusion is incontrovertible on every possible plane of examination.
The Forger = Norval Morrisseau
And that Kinsman Robinson Galleries and the NMHS have – knowingly and deliberately – committed the worst act of cultural genocide in Canadian history.
And unlike Sinclair, who can at least claim that he – as a school dropout – is a legitimate ignoramus, the others ALL have university degrees…
Systemic establishment white racism – NOT the street variety – continues to be the worst affliction that bedevils Canada’s attempt to portray itself as a decent modern multicultural democratic society in the 21st century. It’s profoundly anti-Indigenous cant is the domestic side of Canada’s longtime overseas racist participation in aiding and abetting the white European cabal in targeting and extermination of Muslim wedding parties in Syria, Afghanistan, Pakistan, Iraq, etc. and in gleefully teaching (training) others how to do it for them, so they can pretend to have “clean hands.” Do you know which Muslim wedding party Canadians will strike next? Justin does; he brought the planes home so he could replace them with “long-distance, arms-length” death-dealing drones, just like his “liberal” pal Obama. You know, “Bring home the boys” to curry favour with the “Lefties,” and then shoring up the right wing redneck base by bombing the shit out of the wedding parties with drones, without risking the lives of local Canadian boys and girls. Who says you can’t have it all…?
The Paintings You Most Expected to See Displayed as Fakes but Didn’t
Missing in Action #1: Kevin Hearn
Notably missing from the new line up of Sinclair fakes is the Kevin “Ivory Tickler” Hearn*** painting “Spirit Energy of Mother Earth 1974” that is subject to a long dawdling court action by longtime Sinclair friend and collaborator, Toronto “entertainment” lawyer Jonathan J Sommer, against Joe McLeod’s Maslak McLeod Gallery, claiming the painting Hearn bought from them is a “fake.”
A very bad and malicious joke at best. Joe has for years, proudly displayed, in his private apartment, a larger variant version of the same painting, using the same palate, by the same artist, and signed in the same BDP style on the back. It is a classic 1970s Morrisseau BDP, of the type Judge Martial said there is “overwhelming evidence” that there are thousands of authentic ones of the same type out there.
***For the “Barenaked Ladies.”
It totally beggars common sense that, Joe McLeod, Canada’s longest, most experienced, and most reputable Morrisseau expert – since the 1960s – would possibly want to con himself by waking up every day and be confronted with a lowlife fake dominating the entire wall of his apartment?
Only among lawyers, smelling a client, not overly bestowed with the “smarts,” but loaded with dough, would something so ludicrous find “legs” and end up being the subject of a Plaintiff’s Claim.
Sinclair bragged to Ottawa’s SAW Gallery curator Jason St-Laurent that he was intimately involved with the Hearn v McLeod case. In fact “Spirit Energy” is one of the very, very few, of the 1,000 “fakes” he publishes, that Sinclair has actually publicly admitted to having seen “in hand,” as a result of his obvious close collaboration.
Because he’s further documented as clearly being on the ground floor of helping to fabricate that fraudulent Plaintiff’s Claim.
Which is why in 2016 there is no one left who feels the slightest bit sorry for Hearn, neither in this world, or the next… For the mess he has gotten himself into and has wrong-headedly and stubbornly refused to get himself out of. Like Pronto…
Exactly like fellow celebrity singer John McDermott did…
Eating Crow for the Ages – Hearn’s place in Canadian history will be hugely tarnished for the Ages, for what he allowed his name and his celebrity status to be used for in advancing the Morrisseau HOAX and fraud: to aid and abet the worst act of cultural genocide in Canadian history, against the art and artists of Canada’s Indigenous People.
Missing in Action #2: John McDermott
Notably missing from the line up of Sinclair April Fools Day collection of fakes is the John McDermott “Sacred Bear Children 1971” painting which was for a year at least, alleged as a “fake” in a Jonathan J Sommer Plaintiff Claim filed by him on behalf of the famous singer against Maslak McLeod. And which was, through his access to the media, promoted by him as the reason for a lawsuit he said he was actively prosecuting on behalf of McDermott during that time.
So for at least a year “Sacred Bear” should have been prominently published, in the front row, as a “star exhibit” on Sinclair’s malicious website.
It was not; it never has been. Can anyone explain why not?
Could it be because, in fact, the whole thing Sommer was saying was not truthful at all in any way? We have already proven with documentary evidence, that within only a couple of days of serving the Claim to McLeod, demanding some $100,000 in fines and penalties, on October 24, 2014, it was almost immediately quashed by McDermott as a totally abandoned lawsuit and one that he refused to let Sommer push forward.
(Several court documents, as well as emails I possess, detail the accuracy of the timeline of the “McDermott Abandonment” as virtually immediate.)
But none of that was told to the media by Sommer, four months later, during his media offensive, flogging his supposed lawsuits, of February 2014, by playing up the celebrity names he claimed to be representing in upcoming court cases, one of which was clearly fraudulent.
Quite the opposite.
Which is why not a single media account mentioned the McDermott abandonment, for over a year after it happened, with witless journalists preferring to act as totally gullible dupes in promulgating falsehoods planted with them by Sinclair and Sommer in February 2014.
Instead both men told the media that both the Hearn and McDermott cases were active, were supported by evidence, and would be hugely proven in court by lawyer Jonathan J Sommer. When for one thing, Sommer very well knew that was a lie; that it would never happen because McDermott had, four months before, killed his lawsuit.
The two partners, Sommer and Sinclair, working in tandem, knew that if they could sucker punch journalists, into printing any old lie – and they had lots – that the gullible public, accustomed to believing what it reads in the mainstream media, would then consider as factual and truthful.
“Ah… that proves it. So there are fakes, and a forgery ring operates out of Thunder Bay!”
So why was the McDermott painting not prominently published on Sinclair’s website as an “article of good faith,” when Sommer and Sinclair were both, in February 2014, still telling the media it was an active Claim, which Sommer said he was determined to win?
The media outlets were publishing it as Hearn’s “fake;” so why did not Sinclair publish it?
Not for the three days the McDermott Plaintiff’s Claim was actually still “active.”
Not for the many months Sommer was publicly flogging his McDermott lawsuit as “active.”
Not for the nine months the Courts thought Sommer was serious with his lawsuit, when of course, he was not. McDermott had obviously forbidden him to be.
Not for the whole year the world thought Sommer was pursuing McDermott v McLeod, until the public was first notified, Oct. 31, 2014, by James Adams of the Globe, that the lawsuit was officially dead. But no one said it had been dead for a long, long time… In fact for a year…
We know Adams is lazy, gullible, and witless and has always been out of his depth on the Morrisseau file…
But, what’s up with Sommer and Sinclair?
Well for one thing it shows that all three cases filed by Jonathan J Sommer – Hatfield, McDermott, and Hearn – were totally fraudulent lawsuits that caused gullible clients to lose a ton of money. Stunning actions by two judges and by McDermott said so. Hatfield lost some $60,000. McDermott, to his credit, and eternal relief, probably lost only some $10,000.
Not to mention the $100,000 lost by the “winning” Defendant Artworld (and White) in having to fight off the fraudulent fakes allegations.
Kevin Hearn is in line to lose more than either Hatfield and McDermott. In fact a ton more in fines and penalties when he loses – as he surely will – his totally idiotic lawsuit. He’ll be in his eighties before he pays it all off, doomed for decades to come, to having to tickle the ivories in places like Wawa, Kapuskasing, and Turtleford, Saskatchewan.
Missing in Action #3 – Wanker #1 – KRG’s “Warriors in Circle of Life 1974”
Not so surprisingly missing from the new April Fools line-up of “fakes” is Kinsman Robinson Galleries #1 supposed “fake” of all time: the very first 1970s Morrisseau BDP that self-proclaimed world Morrisseau expert Donald “Pop” Robinson ever bought at Potter’s Auction on Sep. 29, 1999, “Warriors in Circle of Life 1974.”
I call this Wanker #1. Wanker is an acronym, made up of “Wang” and “KR,” for a duped US Professor, Dr. Wang, whom KRG sucker punched and paid to fabricate a Schlock Science computer model based on 31 alleged “fakes” purchased by the Robinsons, and KR for Kinsman Robinson, so: WangKR.
(Wanker31 – how many Robinson bought from Potter; Wanker15 – how many, like “Warriors,” the Robinsons sold; and Wanker16 – how many they couldn’t sell, so gave to the NMHS to vilify and then destroy to hide all traces of their duplicity.)
His son, “Pup” Robinson, quickly sold “Warriors” for a huge profit – his sticker price of $8,500, was marked up 708% above the auction price of $1,200 which KRG had paid.
Only a few months later the Robinsons called them all “fakes.” First they said there were hundreds, by a lousy forger, and getting less shy, they jumped that later to “thousands of fakes by umpteen forgers.”
So why did Sinclair never publish “Warriors” in his front line of top “fakes” on his website? It was never posted as a fake.
Why not? Can you guess why?
Because Sinclair did post – though for only a short time – one of Robinson’s other purchases, “Shamans Looking at the Sun” as a fake. But he never posted “Warriors” at all.
That’s easy, the Robinsons did not want him to.
The Robinsons and the NMHS have steadfastly refused to make public any photos of the front or backs of any of the Wanker31 paintings though I and others have asked in the interests of honesty, transparency, and their behaviour being a flagrant violation of academic protocol for research materials.
The Robinsons have deliberately, viciously and maliciously hidden the information from the public.
Here’s why. With the Wanker 31 they want to keep them out of the hands of forensic handwriting scientists, and Morrisseau experts, because KRG wants to prevent them from discovering the incontrovertible proof, in the BDP signatures on the back, that the Robinsons and the NMHS are vilifying genuine Morrisseau paintings and have been conspiring to perpetuate a fraud.
Which is also why they will – as I have claimed for years – burn them so not a vestige of the Wanker16 will ever be found. In 2016, I contend without fear of contradiction, that even their ashes have been dumped in the Ottawa River, beside Ottawa, the town that, throughout history, has done more to harm and try to stamp out the culture and human rights of Canada’s Indigenous Peoples than any other. This is just another example.
So it’s not rocket science why KRG DID NOT want Sinclair to publish any of the Wanker31, and he never has – with the one small exception noted above, that was removed, guess at whose instruction?
So you’ve got a website which claims to represent 1,000 fakes that is deliberately HIDING from all public view, what both the Robinsons and the Norval Morrisseau Heritage Society are claiming are the worst Morrisseau fakes of all time, the Wanker31.
The Wanker16, remember, were specifically given by the Robinsons to the NMHS, exactly for this reason, to serve as a template for picking for devaluation, desecration, and eventual burning destruction for any similar Morrisseau paintings.
That potential bonfire could consume literally thousands of KRG slanged “fakes” and destroy a huge part of Norval Morrisseau’s painting legacy from his high period.
If there were ever any “fake” Morrisseaus that deserved publication on Sinclair’s web, the Wanker16 would take top honours. Yet they were NEVER published.
The Robinsons, I believe, were especially frantic that they DID NOT want Sinclair to publish the Wanker15 – those the Robinsons had sold, like “Warriors in Circle of Life 1974” for a 600% to 700% profit.
The reason is obvious; because KRG customers who discovered their own painting was a Wanker, on Sinclair’s website, would have been some angry at KRG’s deceit, and sued the gallery.
The lawsuits could have climbed into the millions, and sink Kinsman Robinson Galleries, and there goes “Pup” Robinson’s inheritance. “Pop” Robinson did not want that.
So it’s elementary that KRG got its longtime gallery fraud enforcer Ritchie Sinclair NOT to publish those “fakes,” and he never did: not the Wanker15, nor the Wanker 16.
It’s a secret among friends. Done to make a buck and hide a fraud.
And prevent blowback from angry KRG customers.
Don Robinson’s Wanker is Outed
The proof for it all is clear when, on Apr. 28, 2015, I, in fact discovered and went to visit, Robbie, the owner who had bought Wanker #1 aka “Warriors in the Circle of Life 1974” from KRG. Robbie told me that far from ever being told by the Robinsons that they had what KRG considered a fake, the Robinson family just kept quiet – as did Sinclair – and pocketed the 700% profit they made on the sale.
It’s the only one of the Wanker31 ever discovered and photographed front and back.
The other 30 Wankers have been deliberately and totally hidden – both front and backs – from forensic experts, journalists, and me, for years. I believe they were then deliberately destroyed, probably at a fun get-together by the staff at Kinsman Robinson Galleries and the members of the Norval Morrisseau Heritage Society (NMHS), to hide the compromising truth from Canadians and Posterity – that they were genuine Morrisseaus all along and the cabal of conspirators damn well knew it.
But – you can feign surprise here – that KRG never called Robbie back to say, “Hey, it’s a fake. Here’s your money back?” When you make a 700% profit on a painting it’s hard to find whatever ethical principles you may once have had.
In his scorching judgment, some 20 years ago, the Hon. Justice Murray Alexander Mogan had warned Canadians that Donald Robinson “has a hopeless conflict of interest in trying to be objective about the quality or value of Morrisseau’s work.” He also made clear that Robinson could not be trusted as an honest broker or information on Morrisseau art, by archly pointing out that he had just blatantly and self-interestedly, deliberately ignored key evaluation parameters that he “should or ought to have known.”
“In my opinion, there are fundamental errors in the appraisal processes followed by… Mr. Robinson which cause me to reject (his) opinions with respect to fair market value.”
“I will place very little reliance upon Mr. Robinson’s appraised value…” (Justice Mogan, in Whent v Canada, Jul 12, 1996.)
Justice Mogan, acting for the Tax Court of Canada, ruthlessly cut Robinson’s Morrisseau valuations virtually in half… Making Robinson a half… Morrisseau art expert…
Years later, four our other judges (Justice Sexton, Justice Isaac, Judge Martial, and Justice Sanderson) wholeheartedly agreed with him in their judgments.
With my published exposé of KRG’s Wanker #1 on full display and outed to the Canadian public, we see this personal characteristic in action in a damningly documented case.
There is another huge reason why the Robinsons don’t want publicity for the Wanker31 paintings KRG bought, because they sold a dozen or more, also for 700% profit, before deciding to just call them all “fakes.”
If images of these fly around the internet, then a dozen or more angry clients may turn up to launch lawsuits against Kinsman Robinson Galleries, as well they should. It could end up costing KRG thousands, hundreds of thousands, or millions in fines and penalties to settle out of court, and more if they ended up before a judge charged with fraud.
The owner of “Warriors,” Robbie, told me in no uncertain terms that he wanted to take a pound of flesh out of KRG for having been sold a painting for thousands which KRG then, later, called fake, and never called a client back to make restitution.
Putting the Robinsons feet to the fire – In a long personal conversation at his home Robbie repeatedly made it clear to me he fully intended to “blackmail” KRG with the information I had provided in my blog and in person, to pin the Robinsons to the wall and extract the best financial deal he possibly could for their blatant act of gallery malfeasance and fraud. And for deliberately ripping off a Kinsman Robinson Galleries client who had dared to trust the Robinsons.
I had heard Don Robinson tell Judge Martial that KRG had tried to make restitution to KRG clients after KRG “discovered” the Wanker 15 paintings they had sold were “fakes” but hinting that the records were somehow skimpy or incomplete, to permit finding everyone, better make that most of them.
There was no evidence that in fact Robinson had contacted anyone. And my discovery of Wanker #1 and its treatment by Kinsman Robinson Galleries gives powerful evidence to the complete opposite: that the Robinsons made NO restitution, but kept the money and let the KRG clients keep the fakes. And that Don Robinson just cheerily lied to Judge Martial.
Right out the gate, I had been utterly dumbfounded when I heard Robinson make his claims about trying to make restitution on the stand. How can a professional art gallery NOT have total and complete records for all its sales of paintings worth thousands? Multiple Canadian government departments would be very interested to hear that the Robinsons run a lousy and shoddy financial organization regarding their sales and income documentation. And have no real traceable records of what they sold, for how much to whom?
As a longtime curator of a museum that contains some 6,500 antique pictorials and artefacts, most over 100 years old, I have always kept detailed records. I know when and where and from whom and for how much I acquired every single item in my entire collection, from paintings worth tens of thousands of dollars, down to postcards I paid two or three dollars for.
I do it as a reputable business; I do it for Revenue Canada; I do it for self-respect.
The Kinsman Robinson Galleries bookkeeping practice as it was claimed to Judge Martial left me dumbfounded. Clearly my concerns are not theirs.
It was another Robinson perjury in the Martial court. My discover of Wanker #1 proved it in spades.
Robbie told me when his wife walked into KRG with Warrior #1 and blurted out my allegations as published on my blog, they instantly brought up her name, the painting, and the sale on the corporate computer.
She was NOT lost to KRG; the sale was not lost to KRG. The truth was that she had been deliberately ignored, that KRG deliberately avoided contacting her because they preferred her to keep the worthless “fake,” and KRG to keep her $7,000.
So Robinson openly and deliberately lied to Judge Martial, and to KRG clients. Based on the documented experience with Wanker #1, the Robinsons know exactly where and to whom and for how much they sold the other Wanker15 paintings. And so according to this damning precedent, also have NOT contacted them and made restitution to them.
Now can you see why the conniving cabal pull out all the stops to try to hide their Wankers from being exposed on the internet and Sinclair’s website. And why the cabal has – I submit – burned many, to get rid of the evidence before it bites back…
I can almost hear an imaginary conversation in the KRG basement:
“Damn, I told you Pop, that the people who bought Wankers would someday find us out, and get mad as hell. We better get ahold of “Warriors,” pronto, and pay the owner off, like quick, so he’ll shut up, and we can grab that painting and burn the damn thing… like we did with all those other Norval BDPs you bought and couldn’t sell. Otherwise, Pop, we’re in deep shite…”
And then it gets worse, much worse.
Suddenly, completely out of the blue, lawyer Jonathan J Sommer threatens me with his Wanker
Jonathan J Sommer: How Can You #19? He threatens me with a Lawsuit if I publish anything at all about Wanker #1, including pictures, of the front and back and the Name and Address of the Owner, and anything the owner may have told me.
Sommer Joins the Conspiracy of Fraudsters
For years Kinsman Robinson Galleries and the members of the Norval Morrisseau Heritage Society have conspired to prevent the publication of images of the fronts and backs of the Wanker 31 – the 31 1970s Morrisseau BDPs that Donald Robinson bought at Potter Auctions in 1999-2000. Despite repeated requests to make them available to academics, investigative journalists, and forensic scientists.
As I have said they did this to prevent themselves from being documented as calling genuine Morrisseau paintings “fakes.” I also said they have destroyed the Wanker 16, so they will never be seen again or examined by experts. To hide the fraud and to cover the fact that they have wantonly and maliciously destroyed genuine valuable Canadian cultural property.
After my visit to Robbie to see Wanker #1, I told him I would publish high res images of the front and back – the first Wanker (out of 31) ever so documented.
I immediately received a threatening letter from lawyer Jonathan J Sommer warning me NOT to publish pictures or any other information regarding Wanker #1.
Why would he threaten me so viciously and maliciously?
He did not want me to publish “dynamite” information that:
– utterly discredited his “expert witness” in the Hatfield v Artworld trial Don Robinson, in multiple ways as well as a liar under oath in court
– utterly discredited his business associate, legal advisor etc. and only witness in the Hatfield trial, Ritchie Sinclair, as a liar under oath in court
– utterly impugned two men whom he needed to promote further lawsuits and which he planned to use even though both had been multiply judicially discredited
– utterly discredited the underpinnings for all his bogus Plaintiff’s Claims
– utterly discredited his own claims about having “evidence” of “fakes”
– would undermine totally, Hearn and McDermott’s beliefs in their own lawsuits
– would cut into his “fakes” promotion business
– He did not want me to expose the fraud he very well knew was going on.
Sommer had now openly joined the conspiracy by KRG and the NMHS to hide Wankers from the public. I do not know it KRG paid him or the NMHS paid him, or if Robbie paid him.
Jonathan J Sommer was now clearly, fronting for a fraud, in spite of the Law Society of Upper Canada’s prohibition against the practice.
I ignored Sommer’s threats and published anyway in great detail because it hugely exposed Kinsman Robinson Galleries as fraudsters; it also exposed Donald Robinson as a perjurer on the stand before Judge Martial.
It exposes the members of the NMHS as vicious, and malicious collaborators with the Robinson family in exterminating genuine Norval Morrisseau art.
Vicious, malicious, and meretricious SLAPP suit threats from a lawyer who is actively working with known and proven fraudsters in promoting a known and proven fraud WILL NOT prevent me from publicizing the worst fraud in Canadian history and the worst incidence of cultural genocide against Canada’s Indigenous art and artists, in Canadian history.
Jonathan J Sommer: How Can You #20? In a legal document he sent to Robbie, hoping to snag a new gullible client for his “fakes” business, Sommer totally libels and defames me, as having no credentials, expertise, or experience that I claim to have etc.
Clearly, with his sights on a new potential client, Sommer seeks to defame me, and denigrate my credentials, expertise, and my blog documenting the Morrisseau HOAX, so that Robbie would believe him and not what he reads on my blog.
I would never have discovered this – Sommer intended this to be a behind-my-back defamation to a third party – had Robbie not eagerly, probably out of spite – sent me a copy of Sommer’s private letter to Robbie, full of falsehoods, libeling me, either to goad me or shut me up.
What Robbie did instead was to hugely compromise his lawyer as unethical and willing to say anything to anybody, to snag a client, as long as he didn’t get caught.
Which makes it clear that Sommer has publicly Libeled and Defamed me in public – to a third party, with information he totally knows is false and fraudulent, and at total variance to the facts as I have published them and documented them.
That’s 20 (twenty folks) egregious acts of lawyer misconduct, by my count, that Jonathan J Sommer committed in order to try to advance his Morrisseau “fakes” business.
None of the threats worked. I published everything I wanted, especially the stuff I was directly forbidden from publishing by Sommer and Robbie.
Including everything that the public deserves to know, concerning an issue of great public importance. And none of it hearsay, but all meticulously researched and thoroughly documented.
Notable April Fools Fakedowns
The April Fools Fakedowns include many paintings that, over the years, multiple judges, forensic examiners, and Morrisseau experts, have told Sinclair, are genuine. Among the major April Fools takedown of paintings Sinclair posted for years as fakes – but now, in removing them, acknowledges he was grossly “mistaken” – he admits to them being genuine all along, include:
– besides “Wheel of Life 1979” (forensically authenticated) and already “exposed” above.
– four of my paintings “SOMA 1976” (doubly forensically authenticated), “FISH 1976” (forensically authenticated), “Thunderbirds,” and “Brothers of Wisdom,” have been dismounted. Therefore Sinclair acknowledges that he has been hugely mistaken about them, and now considers them genuine, after having falsely vilified them for years. SOMA and FISH had previously, also been vetted as authentic by Donald Robinson himself, who was the under bidder when I bought them at auction, two had forensic verification; two of them did not.
Landmark Morrisseaus – SOMA 1976 and FISH 1976 are historic landmark paintings because with Donald Robinson being the under bidder, they are the only public evidence of paintings showing both front and back of the Wanker31, the 1970s Morrisseau BDPs that Robinson paid some $54,000 for, claimed they were fakes, and first hid from the public and journalists, and then, I believe, ordered burned by his complicit cohorts at the Norval Morrisseau Heritage Society to destroy the evidence.
Sinclair left two of my other 1970s Morrisseau BDPs up. Making four out of six acknowledged wrong valuations is not a great record for a self-declared “expert” of any kind. I mean how many men would go to a surgeon who can assure you that “only four times out of six” has he removed the wrong testicle, or was it the right, or the left…? Or was it a leg?
The two of my remaining Morrisseaus, I believe, were left up by accident, as they are missing from the first page of 100, where all six of mine were prominently showcased together and vilified for years. The last two are now lost among hundreds of others in the back pages of the vile and malicious website.
– “Nature as One” over which I had hugely and publicly scorched Waddington’s and Joyner’s and their personnel when they had dismounted it, only minutes before an auction, as a “fake” when it was clearly genuine. Sinclair had it up as his #21 “fake” for years.
Joyners and Waddington’s Send Me a Vicious & Malicious SLAPP Suit Cease & Desist Letter
I aggressively ignored it and kept on publishing, impugning them and their employees for gross auction malfeasance in dismounting, discrediting, and devaluing a genuine 1970s Morrisseau BDP.
The fall-out from my article – published elsewhere on this site – within only a few weeks, caused the permanent closure of the Joyner Auction house.
I never heard from Joyner or Waddington’s lawyers again.
The Sinclair takedown now affirms that Sinclair knew that “Nature” was genuine all along and that Joyner and Waddington’s were hugely malfeasant and totally wrong in publicly dismounting, and so desecrating, and devaluing, a fine Morrisseau BDP. Which, I believe, they idiotically probably did, at the urging of the Robinson family and/or Ritchie Sinclair or both.
NOTE: David Silcox of Sotheby’s told me they were not going to be accepting Morrisseau consignments anymore because of the “threats” they were receiving. That with the many threats involved it was just not worth their while to list the artist anymore.
Now the malicious and completely malfeasant dismounting, by Joyner, of a genuine Morrisseau painting, has publicly destroyed its value in the market place, for a trusting client who had consigned it to a Joyner auction in good faith. It was published in the Joyner catalogue, for many weeks, and put on public preview, before Joyner slanged it publicly with a takedown notice before a big crowd of auction buyers only seconds before the auction began. The Joyner takedown has hugely devastated the Nova Scotia owner, who now found it impossible to sell the painting for any money, anywhere.
Now do you know how the fraud works? And how auction houses like Joyner’s and Waddington’s aid and abet it all…?
– Josie Schywiola’s magnificent painting, “Arrangement of Underworld Spirits 1980” (forensically authenticated) before which she had posed in the Nimkee Gallery with Norval when she bought it in 1999. For years Sinclair posted it as his Number 1 “fake.” His sudden dismounting of the painting affirms he knew it was genuine all along, like a forensic report had been telling him for years.
In 2011, James Stevens negligently chose to publish a photo of Norval sitting in front of this painting, in order to tart up his false allegations of this being a supposed example of a Morrisseau fake, on page 202 of his Morrisseau book.
In fact this painting was forensically authenticated as genuine with DNA certainty, on Dec. 19, 2011. So totally discrediting both Stevens and the source he quoted as “authoritative,” on this being a “fake,” Dr. Blake Debassige. It is damning that Stevens’ hard cover book pages will go on for the ages promoting this totally fraudulent desecration of a totally authentic and wonderful Morrisseau painting…
No matter how egregious the error you cannot correct or remove bad or fraudulent journalism in hard cover books. This photo and other equally totally unsubstantiated statements Stevens makes, will be referenced as Stevens’ proof of the forgeries by malicious fraudsters for years to come.
– The huge Nimkee Gallery “Untitled” (forensically authenticated) mural (below) that was also in the gallery behind Norval when the Schywiola photo was made in 1999, was, for years, published as Sinclair’s #3 “fake,” has also been dismounted, acknowledging another correction of a colossal mistake in misidentification by Sinclair. It was forensically authenticated as genuine on Dec. 19, 2011.
Blair Debassige, a highly regarded First Nations artist who owned the gallery was just another of Canada’s Indigenous artists attacked as creeps, crooks, and forgers by Sinclair and KRG, who denounced as “fake,” the genuine Morrisseau art he was selling, for purely malicious and self-serving financial reasons.
– “Spirits 2a and 2b” (forensically authenticated), desecrated for years, as Sinclair’s #2 “fakes.” They were so prominent at the front because Sinclair has always had a deep personal hatred for Joe Otavnik.
Using them, Joe Otavnik won his landmark lawsuit against Gabe Vadas and Norval Morrisseau, the first time in world history (in 2008) that an art collector has successfully sued an artist and his manager for being involved in a fraud to desecrate art in the secondary market to enhance the value of new works their studio was grinding out with “assistants” and selling through Toronto’s Kinsman Robinson Galleries.
Dismounting them affirms Sinclair now agrees with Otavnik, Vadas, and Morrisseau, and the forensic expert who vetted them as authentic, in 2006 with DNA certainty, that they were genuine all along.
– “Grandfather Speaks of Great Ansistral Warriors” (forensically authenticated) which was Sinclair’s #5 “fake” for years, was very briefly owned by the infamous Dr. Jonathan Browne, and was later, after he dumped it, proven authentic by a forensic expert. Sinclair’s takedown of this magnificent painting proves both he and Browne were idiots at best, and vicious and malicious according to the facts.
This takedown also confirms in spades, what utter dunces at art authentication the Heffel boys are. They quickly just dismounted “Grandfather” from an auction, in 2006, so debasing and devaluing it, when arch-fraudster Gabe Vadas – the manipulator and puppeteer of the nearly-dead Morrisseau – claimed it was “fake.”
The Heffel boys ran scared and dumped it rather than do research, or try to acquire some fundamental knowledge about Canadian Indigenous art.*** That gross act of Heffel auction malfeasance prompted the painting’s owner, Joe Otavnik, to launch his landmark lawsuit regarding “Spirits 2a and 2b” above and which Heffels had also dumped, against Vadas and Morrisseau. Which he stunningly won, with a landmark admission by the Vadas “studio,” that they had deliberately and knowingly maligned genuine Morrisseau art.
Note: On behalf of the Heffel boys, it is only proper to point out that a knowledge base and research skills are NOT part of their job description as used art sellers.
It is wise and cautionary to remember that they are just conveyor belt, Walmart marketeers of countless thousands of pieces of second-hand art by countless hundreds of artists, that are dropped off at their door every year. No one can legitimately expect them to have the requisite expertise for every artist and everything work of art they sell, anymore than you can expect a Walmart employee to give you reliable information on exactly how a toilet plunger works.
– “Sacred Medicine Bear” (affidavit authenticated) and “Soaring Thunderbird” (affidavit authenticated) which, for years, were Sinclair’s #18, and #19 “fakes,” have landmark forensic status, because they were accompanied by an Affidavit signed by longtime Morrisseau collector Deiter Voss, that he had got them directly from Norval and had actually seen Norval sign them with his huge florid Black Drybrush Signature on the back.
This allowed forensic handwriting expert Dr. Singla to give, by direct comparison with an authentic, proven BDP signature, the first Morrisseau painting in history with a 100% authentication*** (that of my own SOMA 1976). Sinclair’s takedown of both landmark Voss paintings from his malicious website affirms his belief they are important genuine Morrisseaus. Just two more of his many, many – make that 1,000 – false valuations of them as “fakes.”
*** In forensic and DNA testing of all kinds, even fingerprints, authentication is never 100%, but a “high degree of probability,” usually of a high 90s percentile. In a court of law, the term is also not 100%, but “balance of probabilities” – the deciding standard for the winning side in a civil lawsuit.
Even DNA is always a very high degree of probability.
But they all mean the same thing. That it’s genuine, authentic, real, and could be nothing else but.
But the 100% forensic finding trumps all that.
– The Dr. Goyce Kakegamic-authenticated “Bird Family on green 1974” bearing two clear Morrisseau signatures – both called fakes by Sinclair – has disappeared to save Sinclair the embarrassment of two more fraudulent calls by him, as he Libels and Slanders Norval’s brother-in-law, the man who paid to raise Norval’s kids when he ran off to the big bad cities of Thunder Bay, Winnipeg, and other urban areas of southern Canada, leaving his destitute wife and seven kids behind.
– Empire Auctions “Spirit of the Land,” for years Sinclair’s #25 fake, is suddenly gone. Empire Auctions, was never targeted or accused of selling any “fakes” by Vadas’ Affidavits of Forgery, even though it got, and sold for years, many of exactly the same kind of 1970s Morrisseau BDPs, at the same time, from the same source – David and Deiter Voss – as Randy Potter did.
It is stunningly telling that Michael Rogozinski of Empire Auctions, who has generations of fine art expertise in his DNA – far more than all the Robinson cabal together – raised the ire of Sinclair and his fraud collaborators, for telling Murray Whyte in May 2001, that there is NO likelihood of fakes as claimed by the Robinsons. Rather that the evidence is huge that there are many thousands of real ones all over the place.
“Over the last 30 years, he (Morrisseau) would be on reserves and paint paintings for food and liquor. You give him acrylic paint and a canvas and tell him you’ll take him out for dinner and give him some liquor and he’ll paint. There are probably thousands of these things on reserves all over the country.” (National Post,Whyte, May 18, 2001)
To belabour the point that’s thousands of authentic 1970s Morrisseau BDPs.
Sinclair probably took down his offensive posting of an Empire Auction ad and his fraudulent painting notice claiming it’s fake – something Norval and Vadas never did – because he hopes to make use of Empire’s services to raise money by auctioning off some of his Faux-nishinaabe art, and so can’t risk offending them anymore. Eddy Rogo, co-owner of Empire was one of four CBC art experts who scorched Sinclair’s Faux-nishinaabe art as amateur and “poor man’s Morrisseau” on CBC’s Four Rooms on Apr. 9, 2014.
Proving, of course, that a white man cross-dresser, no matter how much he dolls himself up with baubles, bangles, beads and feathers, and decks himself out with Indian names and Davy Crockett costumes, he still can’t paint credible “Indian” art.
– “Cycle of Salmon” Sinclair’s #10 “fake” for years, is dismounted, the second Artworld painting, besides “Wheel of Life,” that Sinclair has dismounted and so acknowledged it is also genuine.
– “Your in the Forth Dimension” (forensically authenticated) Sinclair’s #9 “fake” for years, and belonging to Calgary’s Webster Gallery, has finally been delisted and thus acknowledged by Sinclair as a genuine work, and just another false call by the school-dropout.
– “Shamans Looking at the Sun” (Donald Robinson authenticated) which for years, was Sinclair’s #22 fake, was of course a Robinson Wanker16, was featured in the fraudulent Wanker Report, and has now been dismounted as a “fake” because – I believe – Sinclair knows that Pop and Pup Robinson and their NMHS cronies have burned it to cinders. A fate I believe visited on all the Wanker16, to hide the evidence of the worst art fraud in Canadian history.
The Vicious Wanker Fraud– In 2001 Donald Robinson announced that the Wanker16 – paintings he bought from Randy Potter – were ALL 1970s Morrisseau BDP “fakes,” and gave them all to the NMHS to use as templates to measure other Morrisseaus by: if they were a match, he and lawyer Aaron Milrad told them they were fakes and should be destroyed.
The Wanker16, were therefore, according to the Robinson family and the NMHS, the worst of the worst fakes of all time, the markers against which ALL other Morrisseau fakes should be measured.
The Wanker16 should therefore have been proudly and loudly displayed at the top of Sinclair’s masthead as the TOP 16 FAKES on his website. So that everyone could see what Donald Robinson and the NMHS called the worst Morrisseau “fakes” of all time.
BUT THEY WERE NOT; THEY NEVER WERE POSTED ON SINCLAIR’S WEBSITE AS FAKES. My research of his website postings, going back to 2009, just after he posted his “fakes” confirms that.
Of all the Wanker16 only one, “Shamans Looking at the Sun” was ever posted as a fake, for a short time. Now suddenly it too became one of the April Fools Day Fakedowns.
Not a single Wanker31 is listed now, as a fake on Sinclair’s website. Why is that? When they, more than any other so-called “fakes” should be prominent in a feature display on the fakes masthead…
Because the Robinsons and the NMHS want to remove any trace of the Wanker31 from history. Just like Ernst Zundel they want to erase history; Zundel says 6 million Jewish dead never happened. The fraudsters want in the same way to remove any trace of the Wanker31.
And for a very good reason, as I have said for years, they have burned, destroyed those 16 genuine Morrisseau paintings, the Wanker16, that the Robinsons failed to sell and so still had under their sole control to do with what they wanted.
And we know the destroyed Wanker16 were genuine because my two paintings SOMA and FISH, on which Donald Robinson was the frantic under bidder, would be in the ash heap with the other 16, had I not bid higher than he did. And SOMA was the first Morrisseau painting in history to be authenticated by TWO different forensic scientists. It was also the first painting in history to receive an authenticity rating of 100%, as being signed by Norval Morrisseau in BDP style.
The Robinsons and the NMHS would have gladly and maliciously burned both to cinders.
And I also uncovered another Robinson Wanker painting, in fact Wanker #1, which only escaped the NMHS and KRG Terminator incinerator because Paul Robinson quickly found a buyer for it first, for a tidy 700% profit. That painting “Warriors in Circle of Life” is a classic BDP with a clearly authentic Morrisseau signature on the back. (SEE Wanker #1)
Had it, like the Wanker16 also not found a buyer, it would be in the cinder pile as another KRG and NMHS destroyed “fake” making the plotters guilty of massive cultural genocide and an anti-Aboriginal hate crime.
Instead I have preserved and published high quality photos of the front and back, which, when sent to a forensic expert, I believe without a fear of an iota of contradiction, will come back confirmed as another authentic Morrisseau, and more evidence of a deliberate act of cultural genocide.
The conclusive provenance of those three 1970s Morrisseau BDP paintings back to Norval, and their close ties with Kinsman Robinson Galleries, prove beyond any shadow of a doubt that the other 31 paintings bought by Robinson from the same source and from the same consignor during the same time period – the Wanker31 were ALL also authentic 1970s Morrisseau BDPs.
With one big difference: I believe half of them, the Wanker16, were turned into ashes by the vicious and malicious KRG and NMHS collaborators, to hide and expunge the historical record of their fraudulent activity and cultural genocide of Indigenous art.
– “My Daughter” was Sinclair’s #24 “fake” for years. Both he and Donald Robinson had a personal hate-on for Lisa Morrisseau who owned it, calling her a “forger.” For her part, Lisa was ultra pleased that she was finally able to afford a genuine painting by her father, and one of her at that. Sinclair denounced Lisa as a forger, just like he said all her siblings were. Dismounting “Daughter” acknowledges Lisa owns a genuine Morrisseau which everyone else had known all along. And just goes to prove what Lisa published years ago about Sinclair, whom she referred to as “Watta idiot.”
– “Copper Thunderbird” the cover on the Elmwood Spa book, was for years, Sinclair’s #23 “fake.” He was involved as an enforcer, for Paul “Pup” Robinson, in closing down the Morrisseau book launch that the Spa had planned in November 2010. Taking it down acknowledges the painting was genuine all along and the assault on the Elmwood Spa egregious and fraudulent.
What is just as interesting and damning, is what Sinclair left up as “fakes:”
Remember from 1979 till 2008, Sinclair DID NOT complain about or publish any Morrisseau fakes. That’s over a period of 29 years folks!!!
Not till October 2008, when he started to work for the Robinsons and Kinsman Robinson Galleries, did he discover his first fake… He has said he can still remember the day and the moment… when he looked into the mirror…
And then in a flush of truly diarrheaic proportions he suddenly “discovered” 1,000 of them… and put them on his website, all in a matter of only a few days.
After his April Fools Day Fakedown notable “fakes” are still up on his vicious and malicious site.
“My Mentor” GFY – Sinclair once fawningly referred to Donald Robinson as “My mentor” (Lacavera “Regina v Otavnik” transcripts). But leading the pack of fakes which Sinclair still publishes, are all “5 KRG Travel fakes” that Sinclair has said for years, that Pop and Pup Robinson falsely gave full page treatment to as wonderful originals in their 1997 Morrisseau book “Travels to the House of Invention.”
According to Donald Robinson, Norval had supposedly picked all five for inclusion in his autobiographical book. Sinclair scoffs, “none of you know what you’re talking about” and gives all five paintings his “fakes” designation, with as usual, no evidence of any kind. And against the supposed better judgment of the artist himself, and his Principal Morrisseau Dealer who, after all put the paintings in their book, including several from leading American museums.
In 2016, Sinclair says they’re still fakes. Is that why the Robinsons quickly removed them from the 2005 reissue of the book? Sinclair’s continued 2016 posting of them as “fakes” – some belong to major US museums – shows he believes neither the Robinsons – neither Pop nor Pup – or Norval, could apparently tell a genuine Morrisseau from a “fake” in 1997.
Now by ruthlessly taking down “Wheel of Life” as a fake, Sinclair again totally undermines any credibility that Donald Robinson and Kinsman Robinson Galleries ever may have had as reputable Morrisseau evaluators. By taking down “Wheel,” Sinclair acknowledges that Robinson’s 89 page “faux-expert report” calling “Wheel” a fake, was fraudulent, and that Sinclair obviously believes Robinson’s multi-days on the stand in Hatfield v Artworld, purporting to demonstrate how and why “Wheel” was a fake, were a total fraudulent crock of prodigious proportions.
Sinclair has gotten even with multiple galleries that refused to show his Faux-nishinaabe art, the Liss Gallery, Maslak McLeod, Artworld, and Bearclaw. Now is he finally also getting even with Kinsman Robinson Galleries, because the Robinsons only used him as a hit man and fraud enforcer but spurned his art?
At Sinclair’s Libel and Defamation trial in 2015 (White v Sinclair) Donald Robinson was a notorious “no-show” as a character witness for Sinclair. Was that another reason for Sinclair’s anger?
An Angry Faux-nishinaabe Poseur – Sinclair’s anger apparently comes from the fact that, having been (since October 2008) a vicious and malicious enforcer for an art fraud on behalf of Kinsman Robinson Galleries, he has made himself a pariah in Canadian art circles, so dooming and ruining any chance he may ever have had to win recognition as a credible artist of any kind.
Instead Sinclair has firmly and aggressively established himself in Canadian history and in various court outings as a documented fraudster, a documented elder abuser, a documented liar, a documented perjurer, a documented forger, a documented racist, and a documented all around Indian imposter/impersonator. And one who has endlessly promoted the worst act of cultural genocide in Canadian history against Canada’s Indigenous art and artists.
Sinclair has resoundingly lost every court action he has ever been a part of, and was lastly fined the maximum allowed by Small Claims Court of $28,500 for his “reckless false allegations disseminated on a world-wide media” by Judge Kilian in a Toronto court, on August 5, 2015. Kilian scorched Sinclair further by thundering that had it been in his power he would have fined him another $10,000 in punitive damages.
– Strangely the painting that illuminated Sinclair’s perjury in two courts, “Season of Rut for Moose” is still displayed on Sinclair’s website as a fake, when, as much as any painting ever, it underlies how fraudulent is his court testimony, and the trial transcripts confirm it for the Ages.
“Rut for Moose” was the focus of proof of Sinclair’s perjury as noted in both the Martial trial and the Sanderson Appeal. Kevin Cott, the owner of the painting said he had bought the painting, for $27,000 in July 2008 as a genuine Morrisseau after Sinclair highly recommended it. In 2012, giving testimony before Judge Martial, Cott said he was disturbed to find out, only recently, that almost immediately after recommending it highly, Sinclair posted Rut for Moose as a “fake” on his vicious and malicious website in October 2008.
Sinclair, exposed by Cott as a liar, and a fraudster, was quickly brought back to testify, as a “rebuttal witness,” telling the court that Cott “mis-remembered” the event, that in fact Sinclair had called Cott only a few weeks after Cott bought the painting to tell him it was a fake. And Sinclair told an incredulous courtroom, that he and Cott had a good laugh together about Cott paying $27,000 for a fake…
Now, can I sell you a bridge…?
– Sinclair continues to post, as a “fake,” the late Michael Moniz’s painting “Father and Son” (forensically authenticated) even though forensic testing proved it was genuine, so much so that the Toronto Globe (CTVglobemedia) paid Moniz some $25,000 for Libeling him and defaming his painting in a Globe article in 2007, which falsely claimed Moniz was a fraudster and his paintings “fakes.”
– Sinclair’s racist hate-on for the Morrisseau family continues unabated, by continuing to post, as a “fake” the painting in front of which five members of the Morrisseau family proudly posed.
– Sinclair’s racist hate-on for Dr. Goyce Kakegamic, Norval’s brother-in-law, and a respected band chief and elder, continues unabated, by continuing to post as “fake,” several paintings authenticated by Goyce. Kakegamic had in fact, paid to raise the seven Morrisseau children after Norval abandoned them to live a freewheeling life of self-serving sexcess in the urban areas of southern Canada.
– Sinclair’s lingering resentment of Sherry Brydson’s Elmwood Spa is on full display with a number of its originals still represented as Sinclair “fakes,” including: Untitled, Bird and chicks on red, the Spa book cover, and Untitled, Diving loon spirits on green.
I heard Sinclair tell Judge CW Kilian (in White v Sinclair) that Elmwood Spa curator Jessica Wilson, was supposed to be his “character” witness in the Libel and Defamation Trial. She was a “no-show,” he told the judge, only because she feared for her job if she came to testify. Sinclair was fined the maximum for Libel and Defamation in that court on Aug. 5, 2015
“for his reckless false allegations disseminated on a world-wide media”
(ed: that is, on his vicious, malicious, seditious, meretricious, and racist anti-Aboriginal website.)
And though Sinclair – the starving artist, who bunks in with a roommate, Garth Cole, to make ends meet – has to pay Jim White some $28,350 for the defamation of his paintings, he also still posts other paintings of Whites as “fakes.”
– Sinclair has also left up as “fakes” a number of paintings that were selectively picked from the seven fraudulent Affidavits of Forgery sent by the conspirators to scare gallery owners to dismount as alleged “fakes” hundreds of their paintings in 2004 – 2006. From each Affidavit a painting was sent for forensic testing to an independent handwriting expert. Each came back as genuine with DNA certainty to be authentically signed, titled and dated, by Morrisseau and by no one else.
Since every randomly-selected painting came back as a genuine forensically authenticated Morrisseau, shows that the Affidavits are attacking genuine Morrisseaus, not “fakes.” It undermines totally the validity of every Affidavit and impugns as vicious and malicious the credibility of the group behind sending these out to reputable gallery owners.
– Sinclair has left up a number of his “Morrisseau Masterpiece” Idiocies, 1970s Morrisseau BDPs he openly fawned over in 2007 and early 2008, calling them “Morrisseau Masterpieces,” and many months later, after going to work for the Robinsons, reversing himself totally, and slanging them as “fakes” and “forgeries.” He probably figures Joe Public would never remember. Screen grabs documenting Sinclair’s idiocy has preserved them for Posterity.
The Judges Speak… Again – The April Fools Fakedowns, prove that the judges were wise and prescient in recognizing that Pop and Pup Robinson, and Ritchie Sinclair and their collaborators, were promoting a forgery fraud to the Canadian public.
And they have done this to a degree far beyond anyone among the pompositing members of the Canadian fine art community, who have, with a couple of notable exceptions, taken no steps at all to try to stop the fraud and the fraudsters from destroying Canada’s Indigenous art heritage.
Doing nothing, they have been handmaidens at promoting the worst act of cultural genocide in Canadian history.
In 1996 Justice Mogan of the Tax Court of Canada warned that neither Donald Robinson nor his “Morrisseau faux-expert reports” could be trusted.
In 1999 Justices Sexton and Isaac of the Appeal Court of Canada, affirmed that finding.
In 2008 Justice Lederer said Sinclair had not produced any evidence – in fact said would never even be able to produce evidence in future – that 1,000 paintings he had never even seen were fakes. That his website was Libelous and Defamatory.
In 2011 Judge Godfrey refused to believe the Sinclair and Robinson testimony, nor the Robinson “faux-expert report” claiming “Jesuit Preist” was a fake. Clearly the judge believed the collaborating duo offered no believable evidence.
In 2013 Judge Martial scorched both Sinclair and Robinson’s testimony, and another Robinson “faux-expert report” claiming “Wheel of Life” was a fake. The judge said they had no requisite credentials and offered no believable evidence.
In 2013 Justice Lacavera roundly scorched Sinclair saying that Sinclair’s every action, proved exactly the opposite of what he claimed on the stand. He was untrustworthy on everything he said, including on so-called Morrisseau painting “fakes.” That Sinclair produced no believable evidence.
In 2013 Justice Sanderson roundly discredited Sinclair and Robinson, instead affirming totally the Martial judgment that found “Wheel” was genuine, not a fake as Sinclair, Robinson, Hatfield, and Sommer falsely alleged. Again Sinclair and Robinson were scorched for producing no believable evidence.
In 2015 Judge Kilian totally slammed Sinclair for Libel and Defamation, hitting him with the maximum penalties, and then some, allowed by Small Claims Court Rules, “for his false and reckless allegations disseminated on a world-wide media.”
That the evidence against Sinclair and his claims was mountainous and credible.
And so, I might add, also against Sinclair’s longtime collaborators at spreading, and promoting the same fraud whenever and wherever they could…
The April Fools Fakedown Indicts a Damning List of Willfull & Malicious Collaborators
The April Fools Fakedowns are also a huge indictment of numerous other high profile people who have aided and abetted, with a vengeance, the Robinson and Sinclair fraud against the art heritage of Canada, and the racist attack on the art and artists of Canada’s First Nations people.
We expect to see huge apologies to the People of Canada, and Canada’s Indigenous Community for desecrating their cultural landscape with their vicious, malicious, seditious, and meretricious machinations at the behest of a discredited school-dropout and a small Toronto family gallery, by:
– Greg Hill (NMHS) a truly culpable and destructive force, employed by the National Gallery of Canada, but working much more passionately at the behest of Toronto’s KRG to destroy genuine Morrisseau art, and forge NGC catalogue entries for its benefit, not to mention committing the worst act of elder abuse in Canadian history by displaying a totally drugged up and comatose Norval TIBWAP*** Morrisseau before a sea of silks, satins, and suits at an NGC gala in 2006.
***TIBWAP aka “The Insentient Body With A Pulse” describes the Norval that his caretakers had put into terminal care early in 2001, because his mind was gone, his memory was gone, and Norval could no more control his brush or brain, than his bowels or bladder.
But, of course, he was still useful as a sales prop, being pulled off his deathbed and trundled about to help KRG sell paintings and to help the National Gallery of Canada to gloat about its newfound pro-Indigenous art and artist agenda after over a century of blatant racist exclusion of both from the nation’s premier art gallery.
– Ruth Phillips (NMHS), a self-styled art expert employed by Carleton University
– Carmen Robertson (NMHS), a willfully blind and utterly compromised academic collaborator
– Jason St-Laurent, an Ottawa publicly-funded art bureaucrat, formerly curator of the SAW Gallery, and in his own right, a malicious attacker of Canadian Indigenous art and artists, and reputable art gallery owners
– The family compact at Toronto’s Kinsman Robinson Galleries – the Mom, the Pop, the Pup, and the Pard.
Goodbye Hearn & Bon Voyage, as you head off to Wawa – We expect to see the Hearn lawsuit publicly dismissed, without costs, without penalties to McLeod, and without admissions of any kind by McLeod – if it has not already been “arranged” in private.
Whatever the final outcome, Hearn will pay plenty to pay Shiller’s costs, and for having destroyed McLeod’s business with the totally false allegations, for which there is not one iota of believable evidence of any kind. He will be tickling the ivories in Wawa and Kapuskasing to help pay his bills still when he’s in his 80s…
It’s only another one of Jonathan J Sommer’s vicious, malicious, and false Plaintiff’s Claim.
We expect to see a full apology by lawyer Jonathan J Sommer to:
– Margaret Hatfield
– John McDermott
– Kevin Hearn
– the Morrisseau Family
– the Law Society of Upper Canada
– the Indigenous People of Canada
We expect to see a full apology by lawyer Aaron Milrad to:
– the Globe and Mail
– to the family of the late Val Ross, a victim of the fraud, set up and promoted by Milrad
– the Family of Michael Moniz, whom he falsely libeled and defamed in the media
– the Morrisseau Family
– the Law Society of Upper Canada
– the Indigenous People of Canada
We expect to see a full apology by Bell Media Inc. (CTV) to:
– the Morrisseau Family
– the People of Thunder Bay, ON
– all CTV Canada AM viewers
– the People of Canada
– all Canada’s Indigenous artists
– all the Indigenous People of Canada
– all the People of the World
For deliberately, recklessly, viciously, and maliciously, and totally without evidence, spreading, for over two years – first with a racist broadcast, then with a website, and then with a 24/7 YouTube broadcast, all of which it commissioned and paid for, emblazoned with its logo and imprimatur – a racist anti-Aboriginal outrage, around the world, claiming that Canada’s Aboriginal art – a major source of income for Canada’s most indigent minority community – is shot through and through with thousands of forgeries and Aboriginal forgers and fakers, based in Thunder Bay, ON. And for targeting and deliberately defaming, desecrating and devaluing, especially the art of Canada’s top internationally-acclaimed Aboriginal artist, Norval Morrisseau.
We expect to see the full official and public disbanding of the vicious and malicious Norval Morrisseau Heritage Society (NMHS) the most fraudulent, destructive, and racist art cabal ever formed to desecrate Canada’s cultural heritage.
But not until it issues a full apology for the criminal acts of cultural genocide of its members in the burning destruction of the Wanker 16, sixteen (that’s 16) genuine 1970s Morrisseau BDPs which tragically fell into their malevolent hands, courtesy of the Robinson family of Toronto. And which, I believe, they have, under instructions from the Robinsons, burned into cinders that they then dumped into the Ottawa River, to try to remove from Posterity all signs – they all hoped – of the worst fraud in Canadian history.
In Memory of Michael Moniz – We pause to remember the most tragic victim of their fraudulent manipulations over the years, Michael Moniz, who is a representative of all the other thousands of victims of this fraud, whose paintings, whose retirement savings, whose marriages, whose businesses, whose mental and physical health, were willfully destroyed by the cabal’s vicious, malicious, and completely meretricious fraud machinations.
The vicious and malicious fraudsters destroyed Michael’s business, his marriage, his freedom of expression, his health, and stripped him of his right to clear his name, and then bankrupted him…
And then, reduced to trying to eke out a living as a security guard, they murdered him, when he collapsed – alone – in his apartment, from the overwhelming stress of all they had visited upon this decent ordinary Canadian, at only 48, on April 11, 2013.
He was only discovered two days later, on Apr. 13; his starving cats had eaten his face…
Shame on you all…