John Goldi csc
This investigative journalism and heritage blog is written and documented entirely by John Goldi csc, a credentialed Canadian historian (undergraduate and post graduate studies at the University of Toronto & Queen’s University, towards a B.Ed. in Education, and an Hon.B.A. and M.A. in Modern History), longtime award-winning investigative journalist, and an international award-winning documentary film and television producer, cinematographer, director, and editor (over 130 international awards).
He is a longtime heritage activist, and is also a Museum Curator, the Director of Research and Collections of some 6,500 antique items he has acquired for the “Canadian Anglo-Boer War Museum,” designated by the Canadian Government in 1999, as a rare and honoured “Canada Millennium Project.”
It was the world’s first internet museum, remains the largest and most lavishly illustrated one, and was the model used by Archives Canada when – years later – it launched its own internet virtual museum. And after I contacted them with a book idea, suggesting my museum artifact spin-off history modules idea as a template, Random House malfeasantly ripped me off and published exactly that in “A Museum Called Canada” without permission or attribution to the creator of the concept and the idea. And they did it with taxpayer’s money…
The opinions and research John Goldi publishes are entirely his own, conform fully to all journalistic “Fair Comment” requirements and are fully compliant with all the elements of the “Responsible Communication” guidelines formulated by Chief Justice Beverley McLachlin and her colleagues on the Supreme Court of Canada, in 2009.
Major Public Achievements as an Investigative Journalist (Click them)
– June 3, 2016 – KILLING CTV’S “CANADA AM”
I was the agent for causing Bell Media Inc. to close down CTV’s “Canada AM” flagship television program after my court action and multiple letter warnings to its corporate lawyers that I would go to CTV’s sponsors over its gross acts of journalistic malfeasance in promoting a documented and judicially-discredited art terrorist and for promoting and recommending his racist and fraudulent website that openly attacked the art and artists of Canada’s Indigenous people. Neither Bell Media nor CTV have given any public explanation for a shut-down that left media pundits everywhere totally astonished, as CTV gave only one day’s public notice, and no warning, even, to its own perplexed longtime hosts. Clearly they feared the coming “blowback” response from sponsors once they learned of my documented research.
This universally regarded stunning development occurred after I had wrung a series of other successes from Bell Media, with scorching letters to Bell Media and CTV lawyers, in getting them to move to dismount racist and fraudulent materials on many of its internet platforms including removing:
– its racist and fraudulent Canada AM broadcast from CTV’s website
– its racist and fraudulent broadcast from Bell Media’s “The Loop” website
– its racist and fraudulent broadcast from CTV’s YouTube channel
– its racist and fraudulent support text article from Bell Media’s “The Loop” website
– its racist publication, recommendation, and promotional web link to Ritchie Sinclair’s racist and fraudulent anti-Indigenous art and artist website
– forced it to publish a second broadcast (as a desperate spurious defence) three months after the first, which only served to expose CTV journalistic incompetence even more
– forced it to act to remove its racist and fraudulent materials – all funded by Bell Media, copyrighted to CTV, and bearing the CTV and Canada AM logos and imprimatur – from Ritchie Sinclair’s racist website and his YouTube channel.
Dismounting Bell Media CTV’s “Canada Am” Telltale Chronology
– Feb 7 – Canada AM anchor hosts promote art terrorist and Indian cross-dresser Ritchie Sinclair’s vicious, malicious, and meretricious, racist attack on authentic First Nations art of Norval Morrisseau and republish their fraudulent offensive on multiple platforms
– Feb 11 – I demand an immediate retraction from Canada AM producers – they ignore me
– Mar. 17 – I send a warning letter to Bell Media Senior VP & lawyer Kevin Assaff of intent to sue CTV
– Apr 1 – I write second warning letter to Bell Media Senior VP & lawyer Kevin Assaff
– Apr 10 – I receive CTV lawyer Grace B. Shafran’s letter of its intent to respond by putting up a second broadcast, three months late !!! Gross Journalistic Malfeasance all by itself.
– Apr 15 – I write an angry warning retort to Shafran – “You just don’t get it”
– Apr 23 – CTV mounts second ludicrous broadcast to cover and try to justify its grossly malfeasant and racist journalism
– June 8 – CTV “art expert” – in reality Canada’s worst art terrorist – Ritchie Sinclair mounts authentic Morrisseau “Wheel of Life” (disgraced & discredited by Canada AM hosts in Feb) in the Ottawa SAW Gallery’s “Fakes Exhibit”
– Sep 3 – SAW Gallery forced by legal threat to dismount CTV discredited “Wheel” from its “Fakes” Exhibit
– Sep 3 – SAW Gallery forced, under legal threat, to take out an apology in the Ottawa Citizen for its vicious, malicious, and meretricious exhibition of a genuine Morrisseau painting, “Wheel of Life,” as a fake, after it had been discredited and devalued, as a forgery on CTV’s Canada AM, only months before
– Nov 14 – Art terrorist Ritchie Sinclair is on trial for Libel and Trade Libel over his vicious, malicious, and meretricious racist attacks on his website of hundreds of genuine Morrisseau paintings in a Toronto court.
– Jan 16 – I am in court v CTV (Settlement Conference)
– Aug 5 – Art terrorist and CTV co-host, Ritchie Sinclair is fined $25,000 for Libel & Trade Libel in a Toronto court – Angry Judge Kilian says he would have fined Sinclair $10,000 more for punitive damages were it in his power.
– Nov – I am in court v CTV and its racist broadcast and journalistic malfeasance.
– Dec 15 – I am in court v CTV over its racist broadcast and journalistic malfeasance.
– Mar 14 – I am in court v CTV challenging its racist broadcasts and journalistic malfeasance.
– Mar 23 – I write a warning letter to Grace Shafran that I will go to CTV’s sponsors with my proof of its vicious, malicious, and meretricious racist attack on the genuine art of Canada’s First Nations artists.
– Mar 30 – We phone Grace Shafran with a warning that we are going to CTV sponsors over CTV’s racist and journalistically grossly malfeasant broadcasts and publications and sponsoring of a proven, discredited racist art terrorist and his wild ravings. Shafran is utterly rude and hangs up.
– June 2, Thursday – CTV’s abrupt announcement – WITHOUT EXPLANATION – that it is closing down “Canada AM” WITHIN ONE DAY, STUNNING THE ENTIRE BROADCAST WORLD WITH THIS UNPRECEDENTED, UNEXPLAINED OVERNIGHT DESTRUCTION OF ITS 43 YEAR LONG FLAGSHIP SHOW.
It is packing its clearly stunned, longtime host, but grossly offending facilitator of the racist broadcast, Jeff Hutcheson, to seclusion to Prince Edward Island, ONE YEAR BEFORE HIS SCHEDULED RETIREMENT DATE!!!!!
– June 3, Black Friday – Three clearly stunned CTV hosts sit around among despondent laid off producers and PAs, as if hit between the eyes with a giant mallet on the last day of the show.
NO JOURNALIST KNOWS WHAT THE HELL IS GOING ON…
BUT I KNOW…
Under my unrelenting pressure, over the last year – through the courts and warning letters, emails, and phone calls to its lawyers – Bell Media’s CTV Canada AM has dismounted, disconnected, removed, expunged every one of its racist anti-Indian publications stemming from its vicious, malicious, and meretricious Feb 7, 2014 broadcast celebrating racist art terrorist, Ritchie Sinclair, as its so-called “art expert.”
The mountain of evidence I published clearly documenting CTV’s Grossly Negligent brand of journalism and its woeful racist attacks on First Nations art and artists is wholly responsible. It gave Bell Media little choice. Alerting CTV’s sponsors with my mountain of incontrovertible evidence would have dried up CTV’s cash flow in an instant. SPONSORS DO NOT WANT TO MAKE TRUCK WITH RACISTS.
Clearly its lawyers and executives saw that no number of lame apologies would suffice. Only drastic surgery would stop the inevitable disclosures that substantiated CTV’s Gross Journalistic Malfeasance and clearly fraudulent and racist attacks on First Nations art and artists.
– July 3, 2013 – CLOSING JOYNER’S CANADIAN FINE ART AUCTION HOUSE
After several of my Blog posts scorched Joyner’s top staff for gross acts of auction malfeasance for delisting and discrediting a genuine Morrisseau painting as a fake and other malfeasances.
Only seconds before a fine art auction, in Nov. 2011, Joyner’s announced it was delisting Morrisseau’s “Nature as One” from its catalogue. The whisper among the crowd was that Joyner’s called it a “fake,” so publicly and totally discrediting a genuine and valuable Morrisseau to zilch in value. And so giving legs to a fraud.
Only days after my repeated attacks in early 2013, for cultural and auction malfeasance, Joyner’s longtime top two staff – Lydia Abbott and Rob Cowley – abruptly and immediately, quit rather than, I believe, take public ownership for unprofessional and wrong-headed orders I believe were given by Geoffrey Joyner, acting to placate conniving art fraudsters and terrorists.
After abruptly, and disastrously losing both his left and his right hand, Joyner decided – after 28 years – to immediately close a shop that had once had a reputation as Canada’s leading fine art auction house.
The Joyner Telltale Chronology – Feb – July 2013
Feb – Joyner calls for consignments for its annual Canadian Fine Art “Fall Auction”
Feb 27 – I scorch Joyner & Abbott over delisting Morrisseau’s “Nature as One,” from its Nov. 2011 auction, in the article “The Bad & the Beautiful”
Apr 8 – I receive a threatening “Cease & Desist” letter from Joyner Waddington’s lawyer demanding I dismount my “defamatory” article and apologize, that Abbott was “hurt.” I absolutely refuse to do either.
May 1 – I, my wife and Labrador Fanny are banned from all Joyner Waddington’s properties
June 4 – I scorch Joyner Waddington’s for banning me from bidding at their auctions
June 19 – Joyner Waddington’s first auction where I am banned
June 19 – I scorch Joyner Waddington’s for losing a consignor $15,000 by banning me
June – Abbott & Cowley suddenly quit both Joyner and Waddington’s
June – Waddington’s suddenly severs public ties with Joyner
July 3 – Joyner Canadian Fine Art Auctions suddenly closes after 28 years
– the Joyner Canadian Fine Art Fall Auction is never held
– July 24, 2014 – EXPOSING DONALD ROBINSON’S WANKER
I discovered and exposed, to the public, Wanker #1 – of KRG’S infamous, long-hidden Wanker 31 alleged Morrisseau “fakes.” It was the first Wanker ever publicly exposed, with high res views of front and back, showing the Robinson Family sold a painting they called “fake,” tagged with a 708% price increase at its KRG gallery to Jane Brown of Toronto and never contacted her to give her money back. The images prove, incontrovertibly, that Wanker #1, far from being a fake, as Pop, Pup, and Pard Robinson fraudulently claimed, was a genuine Morrisseau all along.
Proving incontrovertibly, that it, like the other Wanker 31 the Robinsons and the NMHS said were fakes were also signed by Morrisseau and both knew it. And that when they oversaw the burning and destruction of these paintings they were committing an egregious act of cultural genocide against the art of Norval Morrisseau, the Indigenous people of Canada, and the art heritage of Canada.
– Sep. 3, 2014 – FORCE THE DISMOUNTING OF “WHEEL” FROM A “FAKE” EXHIBIT & WRING A PUBLIC APOLOGY FROM OTTAWA’S SAW GALLERY
After I alerted Artworld that a Morrisseau painting “Wheel of Life,” which it sold, and which Judge Martial and forensic experts said was 100% genuine, was being pilloried as a fake at Ottawa’s SAW Gallery, it forced the gallery to dismount the painting from the fraudulent exhibit and issue a public apology in the Ottawa Citizen.
Other Investigative Journalist Successes:
3 – Succeeding in getting the Government of Canada (in 2005) to recognize the South African War as “an event of National historic significance” and getting the first official signage put up in South Africa, and getting its dates added to Canada’s National War Memorial in Ottawa, On in 2014. – OK, so it’s 115 years late… and only done AFTER the 100th anniversary of the Anglo-Boer War had passed without Canada doing anything to commemorate some 6,000 Canadian veterans, of a past generation, for their public service, including some 300 who died and remained unheralded in lonely South African Graves, and NOT previously acknowledged on Canada’s National War Memorial.
As a professional historian for 46 years, a longtime Canadian art collector, the Director of Research, and the Acquisitions Curator, of a Canadian museum collection of over 6,400 antique paintings, material memorabilia, and historical commemoratives, the story of the Morrisseau forgeries aroused our interest.
NOTE: A Proud Canadian First – My personal “Canadian Anglo-Boer War Museum” was the very first “Internet Museum,” a creative concept I introduced in 1999, and for which the Canadian Government awarded it a rare designation as a selected “Canada Millennium Project” which honoured outstanding heritage initiatives by Canadians at the turn of the Millennium. It was only years later that the Canadian Government itself started its own “Virtual Museums” based on the success of my model.
Royal Random House Rip-off – And after I alerted them – in writing on May 7, 2003 – with a detailed book proposal, Random House editors did a brazen and callously transparent book rip-off, by openly stealing my original Museum concept, educational models, key words from my titling, my “Wow” concept, and my own Museum approach, based on using real artifacts to spin off Canadian heritage stories from. They crassly put all the elements of my original cultural property initiative between book covers late in 2004, as “The Museum Called Canada.”
In 2016, my internet museum remains by far, the biggest and most lavishly illustrated Museum of any other on the net, outperforming in both categories, the Smithsonian in Washington, DC, the Imperial War Museum in London, UK, and both the Canadian War Museum and the Canadian History Museum.
Their Primary Targets, Paying Customers; Mine, Educators & Students – They all use their museum web presence primarily as a money making tool, first, to attract paying customers to their bricks and mortar facilities, where they can collect hefty entrance fees, and secondly, to sell archival photos, and assorted bric-a-brac at their Gift Shops, which is why they publish only small, grotty and relatively few images online – their main concern is NOT educational but to prevent theft, and loss of sales revenue – a huge departure from my original internet museum standard. Though my educational memorabilia items are only view-able on the internet, they do mirror an actual bricks and mortar collection of some 6,500 real and authentic antique historical memorabilia items, which however, being vaulted in a secure location, are NOT accessible to the public.
As a longtime, leading Canadian visual artist – as a top Canadian cinematographer, and film and television editor, for over 34 years – exploring and evaluating visual media of all kinds has been, not only a professional preoccupation for decades, but a personal passion for over sixty years, since I was given my first camera in 1953.
I have made sleuthing out frauds, fakes, and forgeries, and the kinds of people who deal in them, a specialty of mine, and have published many academically analytical and sumptuously illustrated articles on topics dealing with: fake combat photographs, fake military bugles, fake bronze art sculptures, fake history book illustrations, etc., and on authenticating antique paintings, and historic memorabilia items made of ceramics, wood, metal, parian, plaster, fabrics, and leather, and other materials.
After having spent years of documentary, and “on the ground” research, on the so-called Morrisseau “forgeries,” speaking with dozens of the main parties involved, and spending more time in court – by far – than anyone else has, listening to the contesting sides in the dispute, telling “their side” to various perplexed judges, we can safely announce that the whole story about the “Morrisseau forgeries” is a total and absolute hoax…
And that the very few people who have collaborated to perpetuate it, will never recover their reputations, in this world, or the next…
And we can shout “HOAX” without the slightest fear of contradiction, from anyone, in this world, or the next…
ALL the science and ALL the independent experts are in full agreement on which paintings are authentic. And are at total odds with the tiny handful, of self-serving naysayers.
This blog will publish our research and proof that the story of the Morrisseau forgeries is, in fact, nothing, if not THE GREATEST CANADIAN HOAX OF ALL TIME…
Awarded the “CSC” – John Goldi csc, was awarded the “CSC” – Canada’s highest honour for a director of cinematography – “for outstanding achievement in the art of cinematography” by the Canadian Society of Cinematographers, the professional organization of Canada’s film and television cinematographers.
Film and Television Awards Juror – He has been called numerous times to serve as a juror for the Canadian Society of Cinematographers Annual Cinematography Awards, as well as to assist in honouring the best in Canadian Television (as a judge for the Gemini Awards) and the best in Canadian feature film industry (as a judge for the Genie Awards.)
Academic – John Goldi csc pursued university studies leading to an Hon. B.A. in Modern History, at the University of Toronto, Toronto, ON, and a B.Ed., and an M.A. in History, at Queen’s University, Kingston, ON.
International Awards – He has won over 136 international film and television awards at major American Film and Television Festivals (New York, Chicago, San Francisco, Los Angeles, State College, Houston) for his educational film and TV documentary work, in competitions featuring the best work of producers from around the world.
At Worldfest Houston, the world’s largest film and television festival, his four-hour prime time series for History Television, on Canada’s first ever military expedition sent to fight in an overseas war, won an astonishing four Gold Medals for: Best Television Series, Best Television Writing, Best History & Archaeology Program, (for Joan Goldi and John Goldi csc), and for Best On-Camera Talent (for John Goldi who did 27 stand-ups in front of his own camera as a historian host/cinematographer.)
Educational Films in Distribution – His educational films and television programs – which he has created together with his producer wife Joan Goldi, can be found, in hundreds of schools, universities, public libraries, public service organizations, corporate and government offices, and countless private homes in every Canadian province and territory, and every American state, except Hawaii.
Years in Remote Aboriginal Villages – John Goldi lived for eight years in remote non-white Aboriginal villages, in Africa and in the Canadian far north, for six years as an educator, school principal, hunter, and trapper. He travelled annually, for hundreds of miles, in remote wilderness arctic and sub-arctic regions, by boat in summer, and snowmobile in winter, always in the company of Inuit or Dene hunters, going after seal, caribou, moose, bear, geese, swans, and ducks.
He learned how to butcher an entire moose by himself, and to skin, and stretch the lynx, fox, mink, marten, and weasels that he caught on his own trap line, afterwards selling the fur to the Hudson Bay Company. He built his own massive Inuit komatiks (sleds) and Indian toboggans, and constructed his own 16 x 20 foot log cabin.
For nine years after that he worked out of Yellowknife – with his wife Joan Goldi – as a documentary filmmaker, creating numerous educational and heritage promotional programs with and for Inuit and Dene groups and with Canadian federal government agencies.
Museum Acquisition Curator – As the Director of Research and Collections, for the Canadian Anglo-Boer War Museum, John Goldi’s years of intense research, and single-minded scholarly determination, were entirely responsible for the Museum having a collection of 6,400 antique memorabilia items (in addition to 1,200 books), all of which he authenticated, curated, and acquired for the collection.
The collection of antiques includes furniture and paintings, photos, autographs, documents, uniforms, weapons, equipment, and tools, as well as historical items of glass, ceramic, plaster, parian, earthenware, fabric, leather, metal, wood, paper, ivory, bone, and stone.
After many years as Director of Research and Collections for the Canadian Anglo-Boer War Museum, he became its first Honorary Curator Emeritus in 2013.
“The Great Canadian Portrait Gallery: Commemorating People 1784 – 2010” – It is the biggest, most educational, and most lavish pictorial display of original historical portraits of people ever mounted by any museum anywhere in the world, comprising multiple galleries featuring 314 large photos devoted to:
– the Colonial Period 1784 – 1867
– the Early Dominion Period 1867 – 1914
– the Military Heritage 1860 – 2010
– Great Canadian Ceramics 1820-1920
– Great Canadian Non-Ceramics 1820 – 1920
“The Archival Fraud Detector: Distinguishing Originals from Repros 1600 – 2010” – Comprising 20 huge galleries featuring hundreds of lavish pictorials, it is the biggest educational display any museum has ever mounted anywhere in the world, to give ordinary people the tools anyone can use to tell an original painting, print, or photo, from a dupe, a repro, or a fake.
How the “Ipperwash Conspiracy Theory” of Two, ultimately became the Historical Fact Accepted as the Truth by Millions
“The Killing of Dudley George” – On Dec 8, 1995 my wife Joan Goldi and I met with the SIU (Ontario’s Special Investigations Unit, which investigates all deaths of civilians at the hands of police) and presented our research, collected over 73 days behind the barricades of Cadet Camp Ipperwash, after an Ontario Provincial Police attack at midnight against unarmed and defenceless First Nations women, children, and men at Ipperwash, Ontario.
The attack ended with the killing of Dudley George, the only Aboriginal Canadian killed in a land claims dispute with police in the 20th century.
Our research proved conclusively – the SIU believed us – that contrary to all media accounts at the time, the police were lying when they said they were firing at Indians in self-defence, after being fired on by native gunmen. And the media, for some 8 months was totally collusional with the white OPP against the Indians, in what is the most sordid chapter of racist behaviour by the media in Canadian history.
Because of the outrageous racist behaviour, by so much of the “white government and media Establishment,” for many months, during and after the shooting, my wife and I had been the only media allowed behind the barricades, which prevented all outsiders of any kind, including police, from entering Camp Ipperwash.
We convinced the SIU – which was just preparing to announce at a Press Conference scheduled for Dec. 11, that no charges would be filed against any police officer in the killing – to re-open its investigation, and offered to provide access behind the barricades, till then blocking out all outsiders, including all police, government, and military officials. The SIU’s re-launched investigation, which we filmed, ended up charging an OPP officer for deliberately killing Dudley George.
Years later, a court substantiated that our original research to be absolutely correct in every respect, with the judge confirming all our findings from December 1995: numerous police officers were lying in court, the Indians had no guns nor fired any, the police were not firing in self-defence, but launched an unprovoked shooting attack against women, children, and men, and that Dudley was the subject of a targeted killing.
Our massive documentation for this huge civil rights and human right violation, which we provided to the SIU and the Canadian Broadcasting Corporation executive producers, in December 1995, ultimately resulted in the launching of the Ipperwash Inquiry, which spent two days at our house reviewing our interview videos which we had shot only months after the shooting, ten years before, of all the Indians at the murder site.
The Ipperwash Inquiry added no substantive new information on the civil and human rights abuses, beyond those which we had reported on, to the SIU, and to the CBC, with our private investigation of ten years before.But while Joan Goldi and I spent our own money, during our 73 days of investigation, at Forest and Ipperwash, Ontario, during late 1995, and early 1996, paying for our own motel, food, and car expenses, for driving 11,000 kms back and forth between Toronto and Ipperwash, the Ipperwash Inquiry lawyers billed tens of millions of dollars for themselves, in salaries, room and board, per diems, expenses, and car milage charges. Was that good value for Ontario tax dollars?
To add insult to injury, when the Inquiry lawyer Susan Vella, who had cribbed tons of my video and documentary research from 1995-96, demanded that I show up to testify in Forest, Ontario, she refused to pay me the normal per diems, nor the normal car mileage expenses, for driving from Toronto to Forest, Ontario, which she paid everyone else.
She refused to pay nickels and dimes, rightly owed to the original investigative reporter who had made history, in uncovering a historic human rights abuse, while she – a “Susan-come-lately” lawyer, billed millions for herself.
It is also true that not a single Indian got a nickel from an Inquiry that cost Canadian taxpayers 20 million dollars, all of which went to a white judge and white lawyers. Not a nickel for the George family for Dudley’s wrongful death, not a nickel to the teenagers who were wounded by rogue police gunfire, not a nickel for Indian private property damaged or destroyed by police gunfire, not a nickel for post traumatic stress disorder, for Indian families who had their children shot at by a renegade police action.
It is a fact that, out of revenge, Ontario Provincial Police officers, for years – many years – after the evemts in 1995, routinely stopped and harrassed many of the Indian women who came out of Camp Ipperwash to drive to their places of employement in Forest. They, and their children, continued to live in terror for what else could happen to them at the hands of police for years afterwards.
(It is a fact, in spite of this huge confirmed human rights police outrage against Canadian Indian women, children, babies, and men, that no police officer was fired, fined, or disciplined in any way. In fact the OPP kept the cop who did the killing on the payroll for five more years after the event.)
Ipperwash is a classic case of white men using or exploiting Indians for their own benefit, that started in the 19th century, with stealing Indian lands for nickles and dimes, and false promises that were never kept.
It all has erie echoes in the Norval Morrisseau Hoax.
“Distinguishing Fake Victorian Military Bugles” – Ten lavishly illustrated galleries showing any collector how to tell whether the bugle they have, or are considering buying, is a fake Indian or Pakistani knock-off, or a genuine Victorian militaria memorabilia item.
“Stoned on Rock Relics” – It is the first academic attempt anywhere in the world, to suggest a scientific classification system for stone or rock relics, and features 319 lavish pictorials dividing all commemorative stones into bystoneders, shiftstones, utilistones, and alterstones.
“Those Faking Combat Photographers…”– Six huge galleries featuring hundreds of lavish pictorials, is the biggest exposé of faked Victorian, Edwardian, and Georgian combat photography ever published by anyone.
“Falsies: Fake Busts & Historical Statues – 1839 – 1918” – Comprising six galleries featuring over 100 lavish pictures of original historical samples, it is the biggest educational display of busts and statues ever mounted. Its publication, in 2008, single-handedly deflated to zero a market that had netted hundreds of thousands of dollars annually, by the sale of “repro” bronze art busts at leading Canadian fine art auctions where they had been offered as “originals” by the artist.
“The Cornelius Krieghoff Collector Fakes Detector” – In a personal confessional – for which he was threatened with a lawsuit, by lawyers of one of Canada’s top fine art auctions – John Goldi changed the names to protect the guilty, and still published the entire original consumer alert article, to give valuable information for art collectors, and offer a rare insight into what can happen to you if you take at face value what you find when you set out to spend good money at one of Canada’s top fine art auctions, and end up with bad, very bad art.
“James Cooper Mason: the World’s First Combat Photographer” – It features the incontrovertible documentary research which proves conclusively that a Canadian banker, and a volunteer in the Anglo-Boer War, took the world’s very first genuine combat photo. John Goldi’s research uncovered the camera Captain James Mason used, and the letters where he wrote of his hair raising incident, during which he only put his head up for seconds, to take his iconic image, and in that instant had his helmet hit and his badge shot off, at Paardeberg, Bloody Sunday, February 18, 1900.
“The Belmont Discoveries” – John Goldi discovered three major historic sites related to Canada’s First Contingent stay in South Africa in 1899, all of which were unknown to Canadian academics, military or government officials, and were unpublished in any literature, and locally totally unmarked. Using archival books he took to South Africa he was able to discover the existence of the Royal Canadian Regiment’s hospital, and the RCR guard room, both still standing, 100 years after the Canadians had left them. He also discovered dozens of rock inscriptions on a remote hillside where they were carved by Canadians in 1899. All were previously unknown, unplaqued, and unmentioned anywhere.
“The Belmont Project Submission” – It is a major report summarizing John Goldi’s findings, following the most in-depth exploration of Canadian Boer War sites in South Africa ever carried out by anyone – eight weeks of research and 11,000 kms of driving. His submission to the Minister of Canadian Heritage resulted in the Canadian Government establishing “Canada and the South African War an event of national historic significance,” as noted in a personal letter he received from Stéphane Dion, Minister of Canadian Heritage.
John Goldi had found that there was not a single Canadian Government plaque of any kind on Canadian historic sites where some 3,000 Canadians had served, and over 300 had died, and were left to lie in South African graves. And this after the 100th anniversary of the historic event had come and gone. Mr Dion stated that following the new official designation he would order that Canadian Government historical markers be set up by the Historic Sites and Monuments Board, the first ever official Canadian signage erected on the African continent. Better late than never…
“OUTRAGEOUS! Four International Gold Medals…!” In an unprecedented achievement for a television series, John Goldi csc, and his wife Joan Goldi, carried out all the craft functions to create a prime time television history series, of four one-hour programs, and entered them in competition against the best in the world at Worldfest Houston, the world’s largest film and television festival.
Hunter Todd, President of Worldfest contacted them to report his astonishment – he called it “Outrageous” – that their program had won an unprecedented FOUR GOLD MEDALS AT HIS FESTIVAL, for Best Program, Best TV Series, Best TV Writing, and Best On-Camera Talent.
“Fake Great Canadian Heritage War Photo” – John Goldi uncovered, and publicized, the fact that Canada’s most famous combat photo, touted as genuine by the Canadian War Museum and Archives Canada for 100 years, and featured on the cover of Canada’s first pictorial book on the Anglo-Boer War, was in fact, a very badly darkroom-doctored fake, and had nothing to do with Canada or Canadians at all.
“You Gals Sure Made Me Laugh – 43 Times” – John Goldi uncovered and publicized no fewer than 43 huge and egregious pictorial errors of fact in Canada’s worst publishing disaster in history, which resulted when the Canadian War Museum collaborated with two women with no academic credentials, or research background whatsoever in the field, and all had a gas, picking the pictorials for Canada’s first ever illustrated book on the Boer War, and desecrated an otherwise fine work written by top Canadian historian, Carman Miller.
“Elizabeth How Could You?” – John Goldi uncovered and publicized that Canada’s top expert in 19th century pottery and ceramics, the late Elizabeth Collard, had committed a huge error by wrongly interpreting the images on the J Heath Ontario Lake Scenery Ceramic Dinner Ware Service of 1845-1853.
“Fake Paul Kruger Transvaal Money Box” gave detailed pictorial information on how to tell genuine original, from period repros, and latter-day fakes.