“A University of Regina Professor of Visual Arts & Member of the Norval Morrisseau Heritage Society (NMHS), Carmen Robertson, accuses renowned French Art Historian, Jean-Hubert Martin, of malfeasantly promoting and showcasing a lowlife Morrisseau fake, at his fabled “Magiciens de la terre” Exhibit at the Centre Georges Pompidou, to celebrate the French Bicentennial in 1989”
In an “expert report,” filed with a Toronto court, in which she lays out her “proof” for why a Morrisseau painting, owned by Kevin Hearn, is a fake, University of Regina Visual Arts Associate Professor Carmen Robertson, makes, what can only be described as a an explosive and totally damning case, that renowned French curator and art historian, Jean-Hubert Martin, made a terrible mistake in putting up a huge Morrisseau fake, in trying to celebrate Canada’s contribution to his prestigious “Magicians of the World” display.
Norval Morrisseau was one of only three Canadian artists to be invited to participate in the prestigious Bicentennial, two of them Indigenous. Both were pariahs in their home country, Canada.
It is important to recognize that Jean-Hubert was light years ahead of his Canadian curatorial counterparts. Martin and the French should be hugely commended for giving Norval Morrisseau – an Aboriginal – international status as a top world class artist, at a time when he and his fellow Indigenous artists, were regarded as “undesirables” and pariahs, by the “all white,” high falutin’ silks, satins, suits, and snoots, claiming to be curators, running the National Gallery of Canada, and enforcing a racist exclusion on Indigenous art as unfit to hang alongside that of white artists in the premier gallery of the nation.
NGC elitists would have been in total agreement with the matronly Eaton heiress who inherited an important treasure trove of Indigenous art, only to dump it all at an auction with a dismissive, “I wouldn’t hang that shit in my house!”
Alas, if Robertson is to be believed, through some inexplicable error, at least one giant Morrisseau fake ended up on the walls there. And millions of visitors walked by marveling at this giant work. Little did they know, according to Professor Robertson, that it was just a lowlife fake by parties unknown. Perhaps by renowned forger Wolfgang Beltracchi, who sucker-punched Art Gallery of Ontario Celebrity Curator Steve – you make me laugh – Martin to pay $860,000 US for one of his fake lowlife Campendonks. Or perhaps by that little old Chinese guy in New York, who painted three fake Jackson Bollocks, for which David Mirvish put out a cool $12 million.
Why is the surreal world of Canadian art so full of pretentious idiots? You never know where or when the next one will turn up…
I don’t know about you, but Professor Robertson notwithstanding, I like the work of this forger… Anyone know where I could reach him?
Fall-Out – I predict there will be legal consequences. When whoever bought this painting – probably for $100,000 or more – finds out Professor Robertson has identified it as a fake, they will sue somebody. And subpoena Professor Robertson in to testify with her proof of “forgery.”
The beauty of this stunning development is this: there is NO middle ground… You are left with only one of two choices:
Either Jean-Hubert is a total idiot – or
Carmen Robertson is a total idiot…
There is no word at present what Jean-Hubert’s response is to this explosive development, which cannot be seen other than as a devastating blow to his self respect as an international art expert.
To what degree this will damage Canada’s relationship with France is yet to be seen.
Robertson’s Growing Pile of “Fakes” – This adds to a growing list of Morrisseau “fakes” Professor Robertson has uncovered, six alone in Paul and Donald Robinson’s private collection, at Toronto’s Kinsman Robinson Galleries.
And most embarrassing of all for the ONLY Morrisseau expert – KRG – that the Norval Morrisseau Heritage Society (NMHS) recognizes as a “trusted” Morrisseau expert in the entire WORLD, Professor Robertson has rudely pointed out that the center piece of Kinsman Robinson Galleries’ 2014 Norval Morrisseau Retrospective WAS A TOTAL FAKE. And loudly published her proof, those FIVE – count ’em, FIVE – “WASCANA FLOATERS” AKA Divided Circles without connecting lines of communication to other picture elements! Has there ever been clearer or more damning proof of a fake? Pity the owner who bought this turkey; look for a lawsuit down the road.
“Circa 1996” and All That!!!
This unbelievable lack of a specific creation date, of a work so recently created – so one had to be dreamed up by someone – is damning on many levels. Because as everyone knows, ALL KRG “Morrisseaus” it handled were BLANK ON THE BACK – Donald Robinson told Judge Martial that. So there is NO, NONE, NIX, NADA, Norval DNA back there regarding this painting… You have Donald Robinson’s word on that… So no date from Norval…
And then it gets worse.
Because – and here is where your common sense kicks in – if KRG’s record keeping is so totally vague, or NON EXISTENT, that they can’t even tell you what YEAR it was painted – let alone the day of the week or month – where the hell did that complex title come from?
I’ll tell you from where: “Encircling Serpent with Ancestors c 1996” was a name dreamed up by one of the following: Diane Kinsman, her ex Donald, “Pop” Robinson, Paul “Pup” Robinson, or his “Pard” John MacGregor Newman. Or by their guest artist, and longtime business collaborator, Bryant Ross. Deep down in the KRG basement where the Robinson family has long been documented as running KRG’s Provenance Manufactory.
In short, the title “Encircling Serpent with Ancestors” had nothing whatsoever to do with anything that could be traced back to Norval. I’d stake my life on it, and I know you would too… The circumstantial evidence is huge and damning, that this painting has NO PROVENANCE – of a date, or a title – THAT CAN BE TRACED BACK TO NORVAL.
And while we’re at it: do you believe that Norval had anything to do with any part of this painting – the date, the title, the front – put up for sale by KRG as an original Morrisseau?
And, lest we forget, a work recently fingered by Professor Robertson as a fake, damningly and fraudulently decorated with 5 – count ’em five – phony Wascana floaters. Something the University of Regina professor says Norval NEVER did.
I would suggest that Peter Hayes in California better call his lawyer today and demand his money back… for a start…
And you better check to see if you have any similarly questionable paintings you bought from KRG after 1990…
“c 1996” – More damning evidence of a fraud: that totally fraudulent “c 1996.” Apparently neither Donald Robinson nor Paul, nor Norval – he at least had the excuse of descending ever deeper into Dementia – could remember what year this “Robertson fingered” turkey was painted!!! What??? Yes folks, apparently they couldn’t remember when they had Norval, or Karl Burrows, or Gabe Vadas, or Bryant Ross, or whoever, paint this huge work…
I don’t believe a word of it…
I can tell you the name of every visual work I produced in “c 1996” – that is 1995, 1996, 1997. I wrote, directed, shot, and edited a lot – 29 major works of visual art – all over Canada. And I can tell you exactly which month, which week, and which day I was working on each of them and in what town and what province. And I bet, so can every other visual artist, or any other artist or book author or poet, from the diaries, calendars, and computer records everyone has been keeping since 1981, and long before that.
I have been disclosing and transparent. So it may be prudent to also ask Professor Robertson to produce specifics of ALL the works of visual art she has created, and the international awards they have won “c 1996.” Reading her detailed bio, I can’t seem to find evidence of any… Somebody help me; it must be my failing eyesight…
Donald “Go Fly a Kite” With Your Phony Fabrications
One of many important Canada-specific works of visual art I created, the same year “Encircling Serpent” was purportedly created, “Go Fly a Kite,” was shot in downtown Verdun, Quebec on June 6, 7, 8, 9, 1996. Is that accurate enough recall and record-keeping for validating Provenance of my work?
Or do I have to show you my motel receipts, my gas receipts, my McDonald’s food receipts, or my tax returns for the year – complete with dates, and even hours, minutes, and seconds, in every case – as additional proof to show you that my record-keeping, like that every other honest Canadian taxpaying businessman, is bullet-proof and beyond ethical in accuracy, in detailing the creation of this single – out of 29 – works of visual art? And if you want to get picky, I can do it for the 28 others too…
Sadly, I admit it, “Go Fly a Kite,” has never won a local Canadian award, but in international competition, against the best work of film and television producers from around the world, it won: SILVER (Three Star) Award, at the Carnegie Museum of Natural History Film Awards (hosted by the Outdoor Writers Association of America) in Pittsburgh, PA. The Carnegie jury also saw fit to invent a “Special Award for Photographic Excellence” for my work on that program. Sadly, “Kite” lost the GOLD to – you won’t believe this – another program of visual art I created.
Double Gold – “Birds, Birds, More Birds, or Bust” was awarded the GOLD (Four Star) Award at the same competition, the first time, film festival organizers told us, that any producer had won both Gold and Silver in the same competition in the 40 year history of the festival. (And yes the NFB had programs in that competition and so did the CBC which entered six – that’s six competing programs folks! They both went home empty-handed.)
I might add that “c 1996” my wife and I – who have collaborated on ALL the film and television work I have done since 1979 – won DOUBLE GOLDS, three times with different programs at different American International Film and Television competitions. There is certainly no other filmmaker in Canada, or probably anywhere else, who can say that.
“Go Fly A Kite” Some More Donald – That 1996 “Go Fly a Kite,” visual art program went on to win a second international GOLD CAMERA Plaque Award, at the US International Film & Video Festival in Chicago, IL, “For outstanding creativity in the production of audio-visual communications in international competition.”
And yet another international GOLD Award at the Flagstaff, Arizona Worldfest Awards.
If you want specific dates for all 29 works of visual art I created “c. 1996,” email me…
And then ask yourself, what the hell was Donald Robinson and his crony Greg Hill, at the National Gallery of Canada, up to, fabricating all those purported “c this and that,” clearly phony creation dates on those strange looking “Morrisseaus” they foisted off on the public as genuine works by Norval at the 2006 Morrisseau Retrospective? Joe McLeod crossly told me he believed it was art fraud by Robinson and Greg Hill. I totally agreed with him. The evidence is incontrovertible. What do you think?
The Master of the House of Invention – Only fraudsters need to be deceptive, coy, unspecific, and non-disclosing, so creating a three or four year window of opportunity, in case damning evidence suddenly becomes public and undermines the validity of the authorship of the work.
A very troubling parallel to foggy creation dates, is the totally undated “expert report” by Professor Robertson, who has for years been Donald Robinson’s “Morrisseau understudy.” He has taught her all he “knows.” And she has put it all, and published it – totally undated, if you can believe – into 67 pages in the public record, as her “expert report,” regarding Hearn v McLeod. In my 51 years as a credentialed historian I’ve never run across such a deliberately non-disclosing publication… Can you guess why this was deliberately done?
Why Should This Be? – Professor Robertson, for some strange reason, with her “expert report,” is the very last word in furtive, non-transparent academic behaviour – as opposed to academic transparency. She DOES NOT LIST: Who engaged her to write this document? Nor the reason for it? Nor the date it was commissioned? Nor the date it was completed? And by whom and when, it was stuffed into the downtown Toronto courthouse evidence box. Wascana Creek is 2,696 kms from Toronto, so she didn’t do it… WHAT IS SHE HIDING, and WHOM IS SHE HIDING, AND COVERING FOR, AND WHY?
What the… – In c 1996 (1997) Norval Morrisseau was a wildly, non-stop shuddering mass of Parkinson’s debilitated shakiness. Half the time Norval’s lips could’t even speak anything intelligible anymore. His brush hand couldn’t stop wildly shaking, even when he tried to steady it on the steel handle bars of his scooter. Now try to imagine a flimsy brush in those wildly flailing fingers, as he tried to put paint to canvas… To see what Norval’s disastrous physical condition, and his totally out of control motor skills were like, at the exact time he supposedly painted “Encircling Serpent,” go to see Ritchie Sinclair’s goofy “Bear Dance” video he has most helpfully posted on YouTube. (Link below)
Great Canadian Exposé of Art Gallery Fraud – Canadians owe a debt of gratitude to Ritchie Sinclair for posting this damning video (from exactly the time that KRG claims Norval painted “Encircling Serpent”) which proves conclusively, that Norval Morrisseau could not possibly have painted “Encircling Serpent with Ancestors,” which Kinsman Robinson Galleries was trying to foist off on its gullible and witless clients as a “direct-from-the-artist” genuine Morrisseau acrylic on canvas, c 1996, in its 2014 Morrisseau Retrospective Catalogue. Need I add? On its “blank-backed” signature-less canvas… The unlucky buyer HAS NO FORENSIC EXPERT THAT WILL COME TO HIS/HER HELP IN AUTHENTICATING THIS ANONYMOUS WORK OF ART.
Sinclair’s telling YouTube video shows a damning lengthy piece of uncut video that incontrovertibly demonstrates, in the most graphic terms possible, that Norval HAD NOT BEEN ABLE – FOR YEARS – to paint anything you could sell to anyone… As well as showing a damning video of the TWO worst examples of INDIGENOUS CULTURAL APPROPRIATION GONE MAD IN CANADIAN HISTORY, BY TWO WHITE GUY, INDIAN IMPOSTOR/IMPERSONATORS, Ritchie “the Daydreamer” Sinclair and Gabe Vadas. Both were former boyfriends of Norval’s, during his younger wilder days. Now they were both trying to “cash-in” again, on Norval’s fame as an artist for personal pecuniary gain.
Canadians may very well inquire: just what the hell is going on here?
Hiding the “creation date” of a work of art, which KRG has deliberately done here, or otherwise furtively and deliberately cloaking key information in a supposed research report, which Robertson has done, is NOT what they teach at reputable academic institutions. It can only be FOR NO GOOD OR HONEST PURPOSE. But it is exactly the kind of stuff the high falutin’ satins, silks, suits and snoots do routinely at the Norval Morrisseau Heritage Society to undermine the art and artists of Canada’s Indigenous people.
If this is what they teach at the University of Regina, DO NOT SEND YOUR KID THERE! With an academic background so sneaky, they will be regarded as pariahs, at any other academic workplace. With the possible exception of Carleton. They seem to take just about anybody there.
Listing “NO DATA AT ALL” or “approximate years of creation for recent works of visual art” is a laughable and preposterous conceit and evasive fabrication! It’s a further indictment of a group of diabolical, but also incompetent fraudsters.
In fact, the documentary record shows that KRG does have very good computer records. When Jane Brown showed up to complain that Paul Robinson had sold her a fake (Wanker #1) they instantly brought up, on the corporate computer, all her vital statistics, of a sale they had made to her FIFTEEN YEARS BEFORE…
Pin Point Recall of KRG Business Records – In fact I have a copy of the invoice that shows KRG bought Wanker #1 on Sept. 29, 1999 at Randy Potter’s in Pickering, ON. And I know that Paul Robinson personally sold it – I’ve seen the Bill of Sale – to one Jane Brown of Toronto, on Mar. 11, 2000 for $6,900. How’s that for accuracy of how records are kept of KRG business transactions regarding their Morrisseau purchases and sales?
Now what was that “c 1996” – you know, it could have been 1993, 1994, 1995, 1996, 1997, 1998, or… let’s just throw a dart – regarding where and when “Encircling Serpent” came into being, from ONLY THREE YEARS EARLIER?
Furthermore, KRG knows exactly when it documented the financial transaction of buying and selling, “Encircling Serpent” for Revenue Canada, unless it was a cash deal they’re trying to hide…
So why the constant “c this” and “c that” that KRG uses in paintings it sold claiming they came from Norval, you know “sometime in the 1990s?”
And then what about all those other spurious and suspicious and clearly KRG fabricated provenance dates, those notorious uncertain, clearly fabricated, “c 1990s this and that” that accompanied those weird paintings, that Greg Hill, at Robinson’s behest, put into the worst excuse of a fraudulent publication in this world or the next, the National Gallery of Canada’s “2006 Morrisseau Retrospective” catalogue.
Just how much more curatorial malfeasance will it take before the National Gallery of Canada fires Greg Hill???
Could it be that he is Indigenous, and they are scared to, in the current political climate? We all know that if he were “white” he would have been fired long, long ago… And deservedly so…
Luckily Hill and his KRG cronies can’t burn the evidence like they did at Red Lake in 2008, and like they have similarly disposed of the Wanker 16. Many people have catalogues and can see Hill’s and Robinson’s fabrications and forgeries themselves. (MORE ON THIS, I PROMISE YOU, TO COME. I do believe Professor Robertson will have something to say as well…)
Canadians need to be grateful to Professor Robertson for so clearly outing the perpetrators of a lowlife art fraud.
Now this… in France… A fake from 1989, that totally escaped Donald Robinson’s “expert eye” for 28 years… Unbelievable really…
Wonder where else, from her lair above Wascana Creek the dogged Professor will expose more fakes?
This promises to be an ever widening scandal, starting with a historic falling out among the previously “hang-tight” members of a conspiracy to denigrate and devalue the art and artists of Canada’s Indigenous people, and all belonging to the Norval Morrisseau Heritage Society.
Carmen Robertson’s fellow NMHS member, lawyer Richard Baker, had notoriously issued a letter of endorsement on Jan 9, 2008, saying that Kinsman Robinson Galleries was the only “trusted” expert in Morrisseau art that the NMHS recognized, IN THE ENTIRE WORLD…
Hang Your Head in Shame Dick – With Robertson’s damning denunciation of numerous total Morrisseau fakes, that her analysis has now traced to the private holdings of Kinsman Robinson Galleries, of course, now also totally discredits lawyer Baker as having any credibility of any kind, regarding Morrisseau art, discredits Baker’s idiotic letter endorsing KRG, and discredits all his claims on behalf of the group.
These damning charges of group and individual malfeasance, come from the most credible source of all, as leveled by one of their own, from the heart of the conspiracy… Carmen Robertson, and from a person who virtual lawyer Jonathan J Sommer says is now “the world’s top Morrisseau expert.”
You can make anything you like, of an endorsement like that, as it only comes from Jonathan Sommer, a lawyer who has spectacularly and totally lost, in every way possible, every single Morrisseau-related court case he has ever launched and/or appealed.
Why? Because you can’t win a case based on a fraud.
Sommer spectacularly lost Hatfield v Artworld, after making the same ludicrous allegations, and where his case, his witnesses (Sinclair and Robinson) were totally discredited, and the painting he called fake was affirmed as 100% authentic, both front and back, by Deputy Judge Paul J Martial.
He was scorched first by Judge Martial, and then on Appeal, scorched, and chided, by the Hon. Madam Justice Mary Anne Sanderson, on the same points: no fakes, no evidence, no case, no credible witnesses – and lying ones at that. Before a totally embarrassed public gallery, Sanderson also gave Sommer some elementary reminders about basic lawyering that Sommer had apparently forgotten.
Sommer also had his client John McDermott drop him and his allegations, almost immediately after first agreeing to file a lawsuit in late October 2013.
Within only days of filing, McDermott dropped his lawsuit, in early November 2013. Why is Sommer so deceptively still mentioning McDermott in 2017 – other than as a total professional failure and disgrace for himself?
The evidence also shows he was knowingly flogging it as “active” for many, many months after McDermott had told him “it’s over; kill it.” Just to promote his Morrisseau “fakes” business and attract new clients.
Sommer was also involved in working with his only witness – Ritchie Sinclair, Sommer’s longtime business partner – into flogging Sommer’s Morrisseau “fakes” business cases on CTV, and at the SAW Gallery later.
Both public outings ended in total disasters for Sommer, Sinclair, CTV, and the SAW Gallery.
And why doesn’t he mention that Ritchie Sinclair, his partner in promoting his “fakes business,” was found guilty of Libel and Slander and fined the maximum by another judge in 2015?
This is the Jonathan J Sommer who now says Carmen Robertson – why no longer Donald Robinson whom he used for years? – will be his new “expert” to promote his Morrisseau “fakes” business…
Yes the Canadian art business is as surreally idiotic as this…
The Master of the House of Invention – Robertson’s shocking exposure, of multilevel malfeasance among members of the NMHS, is damning proof that the man who styled himself “Principal Morrisseau Dealer,” and the only “exclusive agent” for genuine direct- from-the-artist Morrisseaus, and the “man who wrote the book on Morrisseau,” was a total incompetent, at best, at Morrisseau appraisal, valuation, and authentication.
It was a warning issued, years before, by the Hon. Justice Murray Alexander Mogan on July 12, 1996 – a judgment later confirmed by two other top Canadian justices.
Or that Robinson Pop and Pup and their gallery are just deliberately dishonest business scammers regarding Morrisseau art. Or both.
Robertson is hardly the first to present damning evidence for those allegations.
I have seen some 70 forensic handwriting reports that authoritatively say that paintings these fraudsters are calling fakes are with DNA certainty, the work of Norval Morrisseau, and by no one else…
In fact the number of forensically authenticated Morrisseau paintings, by multiple credentialed experts – which Teitelbaum is NOT; McMaster is NOT; Greg Hill is NOT: Sommer is NOT; Sinclair is NOT; Robinson is NOT; and Robertson is NOT, and which their conspiring colleagues on the NMHS are NOT – IS NOW CLOSE TO 200… – THAT’S 200 authenticated Norval Morrisseau paintings the fraudsters claimed were ALL fakes… And remember, one such forensic “DNA” determination, ALONE, is enough to send someone to the gallows.
A Falling Out Among Friends – Robertson’s damning charges, also condemns her fellow colleagues on the NMHS as totally incompetent to the point of idiocy, to have blindly followed, for so many years, the discredited fraudster Ms. Robertson has exposed for all the world to see. And for willfully ignoring what numerous judges and forensic experts have strongly told them, over and over, and over again, year after year, regarding the uncredentialed, preposterous opinions, unsubstantiated allegations, and discreditable and entirely self-serving personal and professional behavior, of the man they fronted for.
There will be blood on the floor, at the next NMHS kaffeeklatsch, as the fall-out among these malicious art fraudsters continues to build and claim more victims.
It’s about time – And just in time for Celebrating Canada at 150
A well-deserved ending for the worst collection of art fraudsters ever to desecrate and denigrate the art heritage of Canada.
Stay tuned; I have more Morrisseau fakes and phony “Morrisseau art experts” that Robertson has uncovered…