Notable documents which feature large and have played key roles in the controversy surrounding the Conspiracy Theory of “thousands of forgeries by umpteen forgers,” which has been called “the greatest fraud in Canadian art history.”
After having supposedly paid $54,000 for Potter forgeries, this is the cheque that Donald Robinson should have demanded, but inexplicably never did…
The Robinson’s objected to this document.
Rather than face a judge with their claims of fakes, Vadas (acting for Norval) paid hush money to Otavnik, begging him to stop his lawsuit because they libeled his paintings to Heffels.
The letter that started it all… “Norval Morrisseau… here.” REALLY? Many observers say “Norval had left the building” years before, and is why Gabe refused to bring him in front of a judge… only a few months before he died… Two years before both his son and close friend reported that Norval couldn’t recognize either of them…
Ricthie Sinclair, a longtime business associate of KRG libelled and slandered a lot of decent reputable people with false and malicious charges.
For a brief moment in time they were proud and elite patrons of the National Gallery of Canada, until… they decided to get advice from a Conspiracy Theorist they met on an internet dating site. Drs. Browne and Witmer then suffered the supreme embarrassment, starting to tell the world they had a fake in “Grandfather Speaks.” They lost face as gullible Conspiracy Theorist Proxies when a top Canadian forensic scientist found their painting was genuine. Read their story; you won’t believe how dumb highly educated people can be, when they start to dabble in the fine art world. Because they got bad, very bad advice from two NGC Conspiracy Theorists, they stopped being patrons on the level of the McCain potato people from Florenceville, NB.
After a customer brought in two paintings for authentication, Paul Robinson signed the form and sent his Dad to join the mad rush to buy the mother lode of original Morrisseau’s being sold at Randy Potter Auctions. Five weeks later, on Sep 29, 1999, Donald Robinson went there and bought five.
A typical KRG appraisal for two paintings done during the same time period as Jim White’s.
A genuine Morrisseau that the Heffel boys unceremoniously dumped from their fine art auction when they were scared by Gabe Vadas who claimed it was a fake. This form of art terrorism, aided and abetted by auctioneers who don’t know their art and have no self-confidence in their abilities as art authenticators, has lost Morrisseau art valuations some $100,000.000.
Past Auctions catalogues memorialize “wrong calls” by fine art auction houses, forever. In one sudden delisting, Joyner’s devalued a painting it publicized as worth an estimated $15,000, as being utterly worthless. This official Joyner act of “cultural cleansing” was immediately picked up by Conspiracy Theorist bloggers, who then posted for the world that “Joyner’s delisted it as a fake.” It is my belief that fine art auction houses can’t wash their hands of being complicit in what I consider is a kind of irresponsible cultural genocide. That a bit of courage, a bit of expertise, a bit of principle, and a call to an independent forensic scientist would have been the responsible way to go when confronted with phone threats, etc., from Conspiracy Theorists. They do this with Krieghoff, all the time; but they just “dump” on Morrisseau, a Canadian Indian. Shame…
Here is one of countless Morrisseaus that KRG has bought at auctions – a practice followed by all art dealers in the world – and then unethically passes off, at their gallery as “Direct from the Artist” acquisition, completely skipping the “chain of title” that they bought it for peanuts at a Waddington’s auction. They don’t want the owner to go back to Waddington’s to find out that they only paid $8,000 for it and boosted the price to $60 -$70,000.
Another painting KRG routinely buys at auctions.
Another one of the many paintings KRG routinely buys at auctions.
Norval’s “deathbed” will, signed only a couple of months before he died, cutting off all his Aboriginal kids, and leaving his millions in paintings, carvings, etc., to his “greedy white man” Gabe Vadas who had been manipulating his Power of Attorney for 17 years. Nice move…
From the NMHS website, a preposterous list of all the things the Dementia-plagued Norval supposedly orchestrated and approved, five months after he failed, on separate occasions, in early 2005, to recognize his own son Christian, and old pal Gary Lamont.
Within two hours of posting that KRG business associate and confidante John Zemanovich was posted as a director of the NMHS, his name was unceremoniously expunged from several of these corporate listings.
For how many years was Zemanovich listed as a director on the ultra secret NMHS? The page was last updated in January 2012.
A typical page after the art terrorists had ordered Matulic’s pictures removed.
A typical page of the book as completed before Phillips and Hill saw it.
Donald Robinson’s credentials show he is qualified as an electrician (B.Sc. in electrical engineering), has a license to practice (P.Eng.), and knows how to run a business for profit (M.B.A.).
A screen grab of one of five pictures Sinclair says are fakes, and erroneously published by a senile Morrisseau and forgetful Robinson, in Travels to the House of Invention in 1997.
The totally weird Donald Robinson KInsman Robinson Gallery appraisal for 23 paintings brought in my Jim White, that started the whole HOAX of “thousands of fakes by umpteen forgers in May 2001.
In March 2005, Norval couldnt remember signing his name twenty-three times on 23 different paintings in 1988 when he was mentally together.
Gabe Vadas countersigned the contract which Norval had signed 24 times in all… but claimed he couldn’t remember… and neither could Norval…
Donald Robinson writing in a post as Principal Morrisseau Dealer, scathingly and sneeringly attacked Ugo Matulic for being a lowlife engineer as that was no background to know anything about art.
Donald Robinson’s self-serving claim in this screen grab from his KRG corporate post of 2008, to justify that not only is a paper trail for Morrisseau mandatory but it must be from Kinsman Robinson Galleries, you know, the Principal Morrisseau Dealer, and the only Morrisseau outlet getting its paintings directly from the artist. Lacking this kind of “providence” all the others are fakes… Make that about 4,000 all belonging to other dealers. Nice…
The Defence claim by Vadas in the Otavnik v Vadas court case where he makes the admission that he has been aggressively been the sole person manipulating Norval’s Power of Attorney since April 1990 – 17 years, He also claims Norval claimed the subject paintings were declared fakes by Norval to whom he had shown them. What Vadas does not say is that two years earlier, in 2005, both Christian Morrisseau, Norval’s son, and Gary Lamont, an old drinking buddy, had both, independently visited Norval in his terminal care lock-up and found that he couldn’t recognize either of them, at all. Now Gabe claims, two years later, that Norval AKA Lazarus, is authenticating paintings again…
This “preposterous” ad was posted in newspapers at exactly the same time (month even) that Norval’s son Christian and old drinking buddy Gary Lamont said Norval couldn’t recognize them at all when they stared into his eyes. Does anyone, in this world or the next believe that this is a “message from Norval?” And the statement about KRG being his “sole authorized representatives in Canada” is totally false and has never, ever, been true. Norval always sold paintings through Bryant Ross in Aldergrove during his entire life. He offered to sell me several “direct from the artist” in 2005. Robert Scott swore in an affidavit that Norval painted for him and provided paintings to him from 1990 to 1999. Hill’s Gallery in Vancouver had the same relationship with Norval during the same period. In 2001-2002 Norval’s family sold his paintings directly from him. Steve Potosky was a Norval authorized dealer in Thunder Bay during the same period. There are others… It is just another example that shows how everything the white men around Norval touched, said, issued, printed, posted, etc. can never, ever, be taken at face value. As a Morrisseau collector you do so at your peril if you do not practice ruthless “due diligence.”
Whose Will? – It’s been two years since both Norval’s son Christian and old drinking buddy Gary Lamont said Norval couldn’t recognize them at all when they stared into his eyes. Read the will dated a month before Norval died. Does it sound like an Indian’s “sharing” will or the possessive craziness of a “greedy white man?” Is there really anyone, in this world or the next, who thinks Norval had anything to do with this?
Stark testimony that banning bidders from auctions is a bad business move couldn’t be any clearer. The only time we’ve ever seen a set like this sold in Canada or the US, and it went for a bid of only $11,520. Our bid of $24,500, for this once in a lifetime set of prized ceramics was banned by Joyner Waddingtons. So the consignor lost a full $15,000 he could have had, thanks to the “banning the highest bidder” policy of Joyners and Waddingtons.
A journalist, his family, and pet, are targeted in Toronto, Ontario, Canada, by Joyner Canadian Fine Art and Waddingtons, and banned from their fine art auctions for life, just for exposing “the greatest fraud in Canadian art history.” They targeted Joan Goldi as well – though she has no authorship or editorial credentials to the blog whatsoever – clearly at the behest of Kinsman Robinson Galleries, one of their clients, which had, weeks earlier, similarly, without cause, issued a “cease and desist” order in her name. Both hoping that “two wrongs make a right…”
Here as proof ia a Mafia produced gallery label for a Morrisseau. This label is from c 1979, when the Albert Volpe family, fronting for a money-laundering operation for the mafia, was paying Norval with “drugs and young boys” and a “house in the country,” according to Jack Pollock’s memoir. A very young Ritchie Sinclair says he was hired by them, to be a “driver” for Norval, though he admits he had no driver’s license at the time. He says the Volpes were very nice to him and sent him off to a house in the country. PS: Note how easy it is for anyone to make a fake duplicate of this – or any other – gallery label…
Note how a KRG label is much simpler, easier to copy and duplicate, even for the cleaning lady. Anyone can go to the Business Depot and have a paper crimping stamp – like the one used above – made. Alas, the KRG label does not even sport a signature from a KRG notable, on this acrylic, unlike Albert Volpe who personally signed even his etchings. Now which gallery label offers better proof of authenticity: KRG’s or the mob’s?
Note: This Kinsman Robinson Galleries label, just haphazardly and partly stuck on the back of a painting (the same one behind Matulic in the photo above.) Hell, anyone, even the cleaning lady, could have licked it and stuck it on. How’s that for proof of authenticity? Donald Robinson has always preferred his Morrisseaus to be blank on the back, like this one his gallery is selling in Toronto. That means the back is free of DNA evidence that Norval actually painted it, with an authenticated signature. Alas, missing Norval’s signature, etc., has a negative for you as the buyer; you can’t use the DNA to disprove it wasn’t painted by someone else, you know, who was helping out Norval during his lengthy “quadriplegic invalid in a wheelchair” period of painting. IN SHORT: For an authenticity guarantee to die for, on the back of a painting: a gallery label – worthless. A signature – worth its weight in gold. Better yet, a huge and showy BDP, like Norval commonly used, which provided many levels of “DNA” that a handwriting analysis scientist can test for authenticity. Blank on the back basically means, blank of authenticity.
DNA to Die For – James Hergel is Canada’s finest living artist. He – like Norval with his showy BDPs – splashed his DNA all over the back of his original canvases. Both would be a nightmare for any forger to duplicate. Now which one would you rather forge, a Hergel that sells for $8,000 or a Morrisseau which Norval was selling for $20 or $30 bucks?
A Morrisseau sold at auction with no DNA whatsoever on the back, which Donald Robinson testified in court was exactly how virtually every painting he ever sold – over 1,000 – looked like. So take your pick: the Morrisseau BDP type DNA, the Hergel type DNA, or no DNA at all, which was apparently the norm with all KRG paintings, sold during Norval’s lengthy “invalid period of painting.”
Public Declaration, in 2005, of willingness to carry out Cultural Genocide, by Aaron Milrad and the Norval Morrisseau Heritage Society. Can you imagine a worse collection of so-called “experts” to authenticate paintings of any artist, that has been more thoroughly discredited – by the facts, by documents, by courts, by judges, by scientists – than this small group of kaffeeklatsch fine art Conspiracy Theorists. We’ll overlook Milrad’s “in-group” joke about sending out a “private investigator” for fakes he has no proof or evidence for. Clearly, only Inspector Cluseau could possibly make a career of sleuthing out non-existent forgeries…