Major Updates – Sep 24
It’s Really Unforgivable Kevin – Kevin, it is totally unforgivable, that YOU HAVE NOT, in seven long years, NOT had a professional forensic scientist do a handwriting analysis of the BDP signature on the back of “Spirit Energy of Mother Earth,” to substantiate your claim as proof that the signature is that of a forger, and so possibly, also the front could be suspect.
Kevin, it’s truly unforgivable for you not to have done it, on your own, if you really thought your painting was a fake. Why you would not do so, is beyond me, and any other reasonable human being faced with your supposed dilemma regarding a painting?
When that is exactly what well over 100 collectors of Morrisseau art have done when they wanted to assess the authenticity of their art. And some 200 forensic findings to date, have found – without a single failure – that the Morrisseau signatures tested, and so the art on the other side, is genuine art by Norval Morrisseau.
Forensic scientists have repeatedly ruled that way; all judges asked to make determinations have ruled that way.
Judge Godfrey ruling on Otavnik v Sinclair, in 2011, said emphatically that the forensic examination by a handwriting expert is key to make a judicial determination in cases like this.
Judge Martial in his judgment, of Mar. 25, 2013, was absolutely firm in saying the forensic examination confirmed “Wheel of Life” as totally authentic, and ruled the painting was 100% genuine, front and back. He went on to say there was “overwhelming evidence” – NOT “OPINION” OR HEARSAY Kevin! – that Norval signed thousands of his paintings this – the black drybrush paint – the BDP way.
I believe that your BDP, “Spirit Energy of Mother Earth,” is one of those genuine Morrisseaus.
Why are you alone, in not having done a forensic examination, on a painting you say is fake, in such a key, and high profile case?
Why are you so afraid of a telling finding by an independent handwriting professional?
It is not only malfeasant of you as a collector, but utterly shameful, that you would, without doing the forensics, go on to attack a genuine work of Indigenous art as fake, and go on to publicly slang the man who sold it to you, Joe McLeod, as some kind of crook.
When Joe McLeod was, in fact, one of the truly decent and reputable people in the Canadian fine art community, who has done more than anyone else I know of, either inside and outside government, to promote and foster the art and artists of Canada’s Indigenous people.
And was long regarded as the senior, most experienced, and most reputable Morrisseau expert, with expertise going back to 1959. And that was decades before any of his detractors had even heard of Morrisseau.
A Good & Decent Joe – Joe McLeod had another characteristic that separates him, and elevates him, as a far cut above the various vicious and malicious “silks, satins, snoots, and suits,” promoting the art fraud, in Ottawa, Toronto, Thunder Bay, and Regina. Joe was cut from a different cloth; he always tried to settle differences decently in rational ways with aggressive and malevolent fraudsters who refused to settle for anything less than Joe’s dead body. Joe’s background, as a former esteemed academic, an educator, and a former Dean of English at Seneca College, made him ill-suited to deal with the many creeps, crooks, conmen, and charlatans that infest Canada’s fine art industry.
Because as an educator he always thought there was a basic decency in people, if only he could find a way to reach it…
Sorry Joe, but you were wrong on that one.
As Toronto lawyer, and international fake art sleuth Bonnie Czegledi also found out:
“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)
Attacking Joe McLeod is unforgivable. No decent, honest, caring, and ethical person would EVER do it.
So Kevin, why did you NOT practice Due Diligence? Why are you so grossly negligent?
What is your game, Kevin? And that of your handlers?
Why did NOT your lawyer, Jonathan J Sommer, as the first order of business, as a responsible lawyer, when he wrote your Plaintiff’s Claim in 2012, immediately insist on sending the painting to a forensic handwriting expert?
By that time two forensic experts, Dr. Atul K Singla, and Kenneth J Davies, had both amassed “known signatures” of Norval Morrisseau, including sworn Affidavits supported, “known Morrisseau” Black Drybrush Paint signatures. Within two weeks they could have given you the answer.
And why did NOT your lawyer Jonathan Sommer, especially, after he disastrously lost both the trial and the Appeal (in 2013), over exactly the same issue, rush “Spirit Energy” to a forensic scientist? Because by then your lawyer had been told in no uncertain terms, by judicial decisions, that determinative BDP signature evidence from a forensic expert, was hugely relied on by both Deputy Judge Martial at trial, and the Hon. Madam Justice Mary Anne Sanderson in her Appeal finding.
Why did NOT your chum, Ritchie Sinclair, the person who ordered the Art Gallery of Ontario to remove “Spirit Energy” as a fake in 2010, not do the same, and have you rush it to a forensic expert to get his proof that the painting he had the AGO dismount, discredit, and devalue, was indeed the lowlife fake he claimed?
With scientific certitude.
Why did not Donald Robinson***, your “expert witness” and “expert report” writer, claiming your painting is fake, immediately send your painting for forensic examination in 2012, to confirm for you, that his claim was honest, and scientifically, and independently verifiable.
*** The infamous Donald Robinson is notorious for many things he’s done and said – even when under oath – including the founding (in 2005) of the worst, most subservient cultural group of “silks, satins, suits, and snoots” in Canadian history, the Norval Morrisseau Heritage Society (NMHS). And stuffing it with willfully ignorant and compliant “academic” toadies willing to follow his every direction, to aid and abet the worst racist fraud in Canadian art history.
What the hell was he, his cronies, you, and all your handlers, so deathly afraid of?
Kevin, could it be you fear Joe “I’ll sue their ass off” Otavnik?
C’mon, you remember him. He was the first person – I believe – in world history, who successfully launched a lawsuit against an artist and his vicious and malicious business manager (Gabe Vadas) for collaborating, out of personal self-interest and greed, to publicly discredit his own artist’s genuine art. Vadas had maligned Joe’s Morrisseau paintings at a Heffel auction, telling the Heffel boys, “Norval says those paintings are fakes.”
And the Heffel boys, correctly distrusting their own art expertise, rushed to dismount, discredit, and devalue Joe’s original Morrisseaus from their 2007 auction, at the behest of a fraudster. So committing one of the worst acts of auctioneering malfeasance in Canadian history. And so aid and abet a racist attack on the credibility of the art and artists of Canada’s Indigenous people.
Remember, an artist does not get financial benefit from secondary market art; in fact this trade in original art he sold off years before, seriously undermines his ability to sell his new art for high prices. Attacking the secondary market full of genuine Morrisseaus, was what Gabe Vadas and the fraudsters were busy doing, when they launched the conspiracy to undermine the genuine Morrisseau art in the hands of their business competitors in 2001.
“I’ll sue their ass off! – So Joe sued them in 2007, saying “OK, call my paintings fake. And both of you come in front of a judge and prove it.”
Joe knew Vadas and Morrisseau could NEVER do that, because the paintings WERE AUTHENTIC, and because Norval had been mentally gone for many years, unable to remember his past works since at least 2001 (as testified in court by Wolf Morrisseau), unable to communicate anything intelligible since 2003 (as reported by CBC filmmaker Paul Carvalho), or even recognize close friends and family members since 2005 (chum Gary Lamont, colleague Marlow Goring, son Christian Morrisseau).
Vadas who was a public school dropout, also got bad legal advice, which he discovered when he came to Toronto to attend a Settlement Conference, before a judge and Joe Otavnik.
To be faced with Joe and his three trump cards:
– Norval Morrisseau, mentally gone, and lying on his deathbed, and without a clue about what his white handlers were doing in his name and with his art, was not in attendance,
– Brian Lindblom, and his forensic report on the Otavnik BDP paintings maligned by Vadas, saying with DNA certainty that the paintings discredited as “fakes” by the malicious fraudster Vadas, were in fact authentically signed by Norval.
– Gabe Vadas, who told the Judge that Otavnik has “fakes” and he has to prove they’re not. He has to prove they’re real. The judge told Vadas,
“No, Mr. Vadas, you have that all wrong. You have been given bad legal advice. Mr Otavnik DOES NOT have to prove the paintings genuine. YOU AS THE LIBELER have to prove they’re fake. If you cannot do that you lose your case. And it seems to me the forensic report Mr. Otavnik has on the BDP signature on the back of those paintings will be an insurmountable obstacle for you to overcome.”
Hey Kevin, guess what? Getting a professional handwriting analysis was the FIRST THING Joe did, getting a forensic evaluation of his maligned paintings by an independent handwriting expert. Knowing that’s what a judge and a court expect and value.
Why haven’t you done that?
Vadas, now obviously in terminal panic, returned home to Nanaimo, consulted his lawyer, and folded like a dirty shirt. Totally scared to face a judge at trial, Vadas settled out of court, paying Otavnik the full amount he demanded for having his genuine paintings viciously and maliciously slandered by the artist’s business manager. And agreeing not to sue further, down the road.
And you won’t believe this, but I’ll tell you anyway, I have documentation that shows Vadas demanded Joe sign over copyright to the images, that he, Vadas, and Norval claimed were “fakes” …
Vadas and the fraudsters were destroyed by the forensics done on that BDP signature by an independent scientist.
BDP Forensics Part 1 – Joe Otavnik brandishing the forensics done by handwriting expert Brian Lindblom, on the BDP signatures of his genuine Morrisseau paintings, scared the living daylights out of the fraudster Gabe Vadas, convincing him to pay off Otavnik for libeling him and defaming his paintings.
Or, Kevin, maybe you suffer from the fear of Peter Jacobsen… from 2008?
You must remember Val Ross and her vicious and malicious Globe article, in Feb. 2007, quoting Toronto lawyer Aaron Milrad, and Gabe Vadas – her only sources – claiming that small-time Toronto art dealer Michael Moniz was selling fake Morrisseau BDPs on ebay?
And how Moniz got a forensic report from independent handwriting expert Brian Lindblom, proving his paintings, which he was selling on ebay, were authentically signed Morrisseau BDPs?
And how lawyer Peter Jacobsen, now facing a Libel and Slander action by Moniz against his client, CTVglobemedia, immediately commissioned Donald Robinson to make what would be Robinson’s first ever “expert report,” calling the Moniz painting fake, by denigrating the BDP signature as forged, etc. using his junk science mumbo-jumbo as proof.
Jacobsen and CTVglobemedia compared the Robinson “expert report’ and the Moniz/Lindblom report, and, immediately, within only hours of receiving Robinson’s huge tome, dumped it in the trash, and paid off Michael Moniz, for Libeling him and Slandering his Morrisseaus as fake, when an independent forensic expert proved their signatures to be genuine all along.
It became clear to them that the only fake, in the room, was Donald Robinson. And Jacobsen clearly told his clients that they could never win in court with Robinson and his fake “expert report.” That they had better, settle out of court, and quick, to contain the damage stemming from the Globe’s malfeasant journalism.
CTVglobemedia paid out $25,000 to Michael Moniz, the biggest mainstream media malfeasance settlement in a fine art case I know of in Canada, for one reason only. That forensic examination, in 2008, of the BDP on the back of Moniz’s paintings by handwriting expert Brian Lindblom.
BDP Forensics Part 2 – Michael Moniz brandishing the forensics done by handwriting expert Brian Lindblom, on the BDP signatures of his genuine Morrisseau paintings, scared the living daylights out of the fraudster Gabe Vadas, and the man who has claimed to be Norval’s lawyer, Aaron Milrad, and mightily impressed Peter Jacobsen and the CTVglobemedia executives, convincing them to settle their Libel and Defamation lawsuit in favour of art dealer Michael Moniz and paying him $25,000.
Kevin, It’s What Your Advisers Knew – Could it be that, in view of the later declarations of the importance of a BDP forensic examination, by Judge Godfrey (2011), and those of 2013, by Judge Martial, and by Justice Sanderson, your malicious advisers, very well knew, that if your painting ever went to a forensic specialist, it was game over for them? And your lawsuit? And down the drain for all those scores of thousands of dollars you’ve paid your lawyer to pursue it…? And the scores of thousands more dollars of expense money you’ve spent on him doing “research?”
None of which you’ll ever see again…
BDP Forensics Part 3 & 4 – Artworld (in Hatfield v Artworld) brandishing the forensics done by handwriting expert Dr. Atul K Singla on the BDP signature of its genuine Morrisseau painting, “Wheel of Life,” established in the courts the findings of two judges – through a trial and an Appeal – that there was “overwhelming evidence” that Norval signed thousands of his paintings this way in the 1970s and 80s, and that they were 100% genuine, front and back.
Which scared the living daylights out of the fraudsters. From now on they determined to just ignore the BDP signatures – you know like ignoring blood, fingerprints, or DNA on the murder weapon – and try to back up their fraudulent claims with a fabricated alternative set of facts.
Copying Trump with a Fabricated Alternative Set of Facts – And why is your lawyer, saying in published interviews, that you are not going to bother dealing with the “signature” issue, the BDP on the back of the painting, but look to build a case in other areas, with a fabricated alternative set of facts…
Maliciously Published Painted Turtle Invoices – Like for example, from haphazardly tossed off McLeod emails, or word-of-mouth, flash-back recreations of a dead man, or those 151 nonsensical but deliberately malicious invoices from the Painted Turtle Art Shop of Thunder Bay, and by having a new recruit from Wascana Creek try to pick up and patch together the shambles of Donald Robinson’s shameful career as an art “expert report” author, in a vain attempt, by hook or by crook, to try to put Humpty Dumpty back together again.
Because the racist fraud is out and about, being spread by the white Establishment like here, UNDATED AND NOT SIGNED OFF BY AN AUTHOR, in a typical racist rant targeting First Nations people by the Canadian Encyclopedia. Just your ordinary street corner racism that Indigenous people in Canada have to face every day. Only here orchestrated and slanged about with utter falsehoods and unsubstantiated drivel by hugely tax payer supported Historica Canada. Apparently using as proof, only the 151 Lorraine Cull provided invoices above, that appear to be the references being used as Jonathan Sommer’s source for the alleged forgery syndicate, in the totally discredited and abandoned McDermott claim (in November 2013), and the only one left, that by Kevin Hearn.
Is there a clearer example of why Thunder Bay is winning a reputation, in the National media, as “the most racist town in Canada?” And Statistics Canada reports it has the highest incidence of hate crimes in Canada.
Trust me, Kevin, the future looks bleak for you ever winning your lawsuit. It ain’t gonna happen. That signature alone will be the death knell for your case, once a judge orders it tested…
Why are you going, out of your way, to avoid exactly the evidence that has been determinative in every other previous Morrisseau “fakes” court case or lawsuit?
This is surreal nonsense at best, and diabolical chicanery and fraudulent behaviour, in my view.
What kind of lawyer, what kind of prosecutor, what kind of crime scene investigator dealing with a murder case, would say, “This time around, we’ll ignore the Blood Evidence, the Fingerprint Evidence, and the DNA Evidence on the murder weapon, and rely on other stuff, a fabricated alternative set of facts…?”
At best it is lunatic reasoning and behaviour…
Why do you all fear the signature on the back of “Spirit Energy of Mother Earth?”
BDP Forensics Part 5: “Beyond DNA Certainty” – The Affidavit of Deiter Voss
Two paintings and their accompanying Affidavit, affirming that the author (Deiter Voss) witnessed Norval actually sign the paintings in question, gave forensic scientists what they had been wanting: an actual genuine Morrisseau BDP with a direct, proven, sworn link to Norval Morrisseau’s own hand. Before that, handwriting experts had to use a bank of known Morrisseau signatures from books, letters, prints, and notes. These are all small signatures executed with finger mechanics and using pen or pencil on smooth surfaces.
This meant that from now on forensic scientists could do a direct comparison of similar size signatures (big and blowsy), being executed on the same materials (rough canvas, with brush and paint), and using the same writing mechanics (wrist and arm), thus reducing the need for a scientist to make assumptions in his analysis in having to compare somewhat dissimilar materials, to zero.
On Dec. 5. 2013 Dr. Singla actually examined, in-hand, these two sworn signatures – plus his bank of other Norval signatures – before issuing his first authenticity rating of 100% for my painting SOMA 1976 and for the painting proven authentic in the Hatfield v Artworld lawsuit, “Wheel of Life 1979.”
Kevin, Your Lawyer Must Prove Your Painting is Fake – Joe McLeod doesn’t have to prove anything. Under Ontario courtroom protocol, in Libel and Defamation cases like yours, the onus is on you to have to prove the painting is “fake.”
The “Burden of Proof” is on YOU to prove, with EVIDENCE that your painting is a “fake” as you have claimed in your Plaintiff’s Claim. The faked up gas bag “OPINION” of your handlers will NOT do, in front of a judge.
You have to prove that signature is forged. It’s there on the painting – like blood, fingerprints, and DNA on a murder weapon – you can’t ignore it. Any judge will want to know: whose is it? And wonder – but not for long – why you have so conspicuously not tried – clearly avoided – to do the obvious test for so many long years…?
Because the forensics on the signature, are the key element, like blood, fingerprint, and DNA, on the murder weapon.
If you haven’t even run scientific tests on those – the signature, the blood, the fingerprints, and the DNA evidence – what the hell kind of court case have you got?
Guess what, if the judge asks, why you have negligently avoided submitting the painting for the obvious scientific testing the court expects?
He will already have answered his own question.
And you will have failed your first and most determinative test.
You have shown the judge you FEAR that signature with an irrational passion.
Because you damn well – ALL of you know – that BDP signature is real. The painting is real.
And you are involved in fronting for a fraud. As a whole lot of deputy judges, judges, justices, and forensic experts have been saying and telling you for years.