Landmark Achievements of the Blog – Jan 2013-Jan 2018


“He’s just some random dude on the internet.” lawyer Jonathan Sommer describing John Goldi csc, before Justice EM Morgan, Dec. 1, 2017

Table of Contents below

“56 Years of Art & Memorabilia Research – 1962-2018”

Research for this Blog began in the fall of 1962 when I bought my first original work of Canadian art, in my first year in Honours History at the University of Toronto, “Fort Garry (Winnipeg) 1869,” above, by LMS (Lionel Macdonald Stephenson). It was souvenir oil on board art brought back to Toronto, by one of Colonel Wolseley’s soldiers after they chased Louis Riel off to the States in 1870. I bought it off an old guy for $5, while selling gas appliances door to door in the Beaches. A year later I was broke and needed to pay tuition. So I sold it to U of T’s Sigmund Samuel Library for $100. For decades I regretted having to sell a painting that’s always been close to my heart. Not to worry. I now own five fabulous LMS 1869 views of Fort Garry. (Go to Lionel at Fort Garry)

Farce or Fake? – So my provenance list for this authentic painting is: Lionel – some dead soldier – an old guy on Lee Ave – student John Goldi – Sigmund Samuel Library. Now what does that tell you about the authenticity of the painting? It also tells you another thing: there are various provenance lists for a work, and they will vary depending on what anyone can remember, recall, or write down, somewhere or other. I wonder what the Sig Samuel list looks like, compared to mine? (So, yeah, Joe McLeod had varying names on the list for “Spirit Energy,” over the years, for provenance. But they were based on experience, integrity, honesty, and memory lapses of an 82 year old, NOT FRAUD OR DECEPTION.) And none of it anyways – however accurate or NOT – has any bearing whatsoever on the authenticity of the painting because EST SICUT FACTUM EST. 

56 years ago this LMS oil on board painting taught me that, in Dec. 2017, Kevin Hearn and Carmen Robertson BOTH, very busy collaborating in a lawsuit, were also collaborating in deliberately trying to mislead the Judge, when they were supposed to be telling the truth, under oath, in Hearn v McLeod.

A BS in Art – Hearn, as a first-time, neophyte art buyer, claimed he was buying “Spirit Energy,” his first work of art – EVER – for among other things, as a possible investment opportunity! – UTTERLY UNBELIEVABLE!!!

And in the same preposterous mouthful Hearn claimed he had previously read about, and was aware of the controversy over all the “fake” Morrisseaus!!!

And now wants the judge to believe he still decided that therefore Morrisseau art was a good investment property, compared to art by any other Canadian artist… UTTERLY UNBELIEVABLE!!!

And Hearn also wants us to believe that he asked about, and was concerned about the “provenance” of the work! – UTTERLY UNBELIEVABLE!!!

And Carmen Robertson, collaborating with Hearn since 2012, absurdly echoed the same sentiments about the utter importance, of “provenance,” when buying genuine art – ALSO UTTERLY FALSE!!!

They both support each other in claiming that the BS about a painting is as important as the actual work itself!!! All, of it, beyond absurd of course, everywhere else in the world, except at Wascana Creek, which is 536 kms to the left of the fort in the painting.

(Both Hearn and Robertson, repeatedly, betray enormous, after the fact coaching, and collaboration, in trying to manufacture desperately ridiculous claims, all in an attempt to help make the case for a lawsuit that I believe was demonstrably dead in the water before it started.)

Art “Provenance” Terrorism – Deliberate Acts of Omission and Commission

All five of my fabulous LMS paintings came from auctions, some from country auctions, and some from high-end Toronto fine art auctions like Joyner’s. NONE came with any provenance or chain of title of any kind.

Carmen Robertson spent considerable time on the stand (Dec. 7, 8, 2017) trying to boost her ludicrously novel claim that provenance is the key determinant in deciding whether a painting – any painting – and specifically “Spirit Energy,” was a fake or not.

TWICE she was asked to summarize her view and proof of why she thought “Spirit Energy,” was a fake, and twice she loudly led off her “proof,” with a strong denunciation of the errors in the names on the provenance list of the painting.

“Ooops! Sorry ’bout That…”

A Victim of Provenance Terrorism by lawyer Jonathan J Sommer – When I discovered the genuine “bullet proof” provenance of this work, and announced that I was going to publish it, Sommer, by letter, subjected me to the vilest threatening attack  I’ve ever received in my life, if I published a single word of any of it. Sommer made it clear he would do the worst in his power, to terrorize me and to kill the actual, honest, provenance of this painting, and prevent me from telling the public. He knew that if I published the truth, it would expose his own “expert” Don Robinson, as a serial perjurer, and his gallery as fraudulently exploiting its clients.  WANKER #1

Then, on a telling cross, by the Defence lawyer, Robertson had to admit that the provenance listings of her own paintings of choice, in the public galleries, were incomplete, spotty, etc.

A double Whammy: So hugely undermining her own claim of provenance as the determining factor in a painting’s authenticity. If her claim was, in any way, true, at all, why would the public galleries possibly have purchased all those paintings with all their “erroneous, and incomplete provenances” attached? After, supposedly so utterly failing the Robertson “fake” test…

And another telling thing:

Beyond Preposterous – And why would Robertson pomposit on for hours about the importance of accuracy in provenance, and then, herself, be deliberately – or is it forgetfully? – neglectful, in NOT voluntarily telling the court, that NONE of her homilies about provenance, applied, at all, even to the paintings in the few public galleries she based her entire “expert” report on…

That their own records were also either incomplete, or missing, and these curators were supposedly the ones who had all the best proof available to them… AND THEY STILL WENT AHEAD AND BOUGHT ALL THESE WORKS…

Acts of “Provenance Terrorism” #2 – Robertson’s lawyer, for whom she wrote her “expert” report, Jonathan J Sommer backed her up in court, that provenance is utterly key in determining authenticity.

(According to her testimony on the stand, Robertson, Hearn, and Sommer have been in “contact” over the painting and the lawsuit since 2012.)

So it’s all, just another example of a lawyer loyally helping corroborate and support (direct, coach, instruct, etc.) his “expert” to reach the “proper” conclusion about the utter importance of provenance. 

What’s That Again, Please? – Better read the side-bar right, to see what Sommer really says, and does, outside court – when the judge isn’t listening –  in his private life as a lawyer, because – you know – maintaining the integrity of provenance is so important to him…

Tales of another neophyte art collector buying his first work of art, in 1962…

Another LMS from 1869 – In 1962 I was, like Hearn in 2005, a first time art buyer, and acted like one, and millions of others before me, and since. I did NOT ask about or care a damn about a fabulous painting I wanted, as a possible “investment opportunity,” a preposterous and farcical claim to make. I did NOT ask about “provenance” when I bought it. I didn’t even know what the word meant back then.*** When I sold it to the Curator at the Sigmund Samuel Library, she also did NOT ask for “provenance.” She didn’t give a damn; she loved it for what it was, not for what kind of BS I might tell her about it. EST SICUT FACTUM EST. If you go there today 56 years after I sold it, you will NOT find my name on the provenance listing for this painting. Does the omission error mean the work is “fake,” as Robertson says is the case, because of the errors in the original 2010 provenance listing for Hearn’s “Spirit Energy”? What Hearn and Robertson collaborate on claiming, is beyond absurd, and based on total ignorance in promotion of some nefarious agenda. In the some 2,000 fine art and antique auctions I’ve attended in the past decades, NONE offered information about provenance – that is who is selling an item, NOR a list of previous owners. NONE. Anyone claiming otherwise is deliberately lying. Of the 7,500 authentic historic paintings and items I subsequently bought as curator for my museum, 99.9% have NO PROVENANCE LISTING or chain of title attached because, no one ever knows, and no one ever cares, and no one ever wants to give it up even if they know, except some sneaky people who are trying to con gullible neophytes in art and memorabilia collecting. Fanciful  and self-serving stories about an item do NOT change its essence or integrity. EST SICUT FACTUM EST. “Fuck off with your provenance… that can all be faked…” TOM HOVING, MOMA, NY *** I note that Donald Robinson, the self-styled top Morrisseau expert in 2012 didn’t know either, and kept repeatedly, calling it “providence” on the stand, demonstrating he also had only a passing knowledge of a concept he was claiming was utterly important in buying art. James Holland the historian for the TV series “Hunting Nazi Treasure” was equally ignorant in referring to it repeatedly, as “providence.” And the Art Gallery of Ontario’s retail chief, Kristin Mearns, erroneously called it “providence” in her email to Kevin Hearn in 2010. No it’s not the blind leading the blind – it’s the diabolically ignorant leading the hopelessly gullible down the garden path…

The Reality of “Provenance” in Art

The Ship of Shame- MS St. Louis Leaving Hamburg 1936 ***Provenance has only recently become a public issue because Jewish families are trying to recover looted Nazi art from World War II days, and – however impossible it is – the only way they can do it is by trying to establish some kind of trail of previous ownership. So the story of provenance is NOT how vitally important it is BUT how totally expunged it is from virtually all art. The real story of Provenance is that MILLIONS of works of art – worth billions – remain lost exactly because of the total secrecy – no provenance – that is ruthlessly imposed by all people selling and buying art. The story of “Hunting Nazi Treasure” – if it were a credible series – was NOT that Goering took a few thousand paintings for three or four years – which he meticulously logged (he cared about provenance) – BUT THE MILLIONS OF ART WORKS  – WORTH BILLIONS – SECRETLY LOOTED FROM GERMAN MUSEUMS, GALLERIES, HOMES, VAULTS and MINES, DURING THE FINAL DAYS OF THE WAR AND SECRETED, AROUND THE WORLD, IN THE HOMES AND MANSIONS OF THE RICH AND SUPER RICH AMONG THE ALLIES, WHERE THEY HAVE REMAINED – totally untraceable – FOR OVER 70 YEARS. The Allied theft of art, far, far, eclipsed what even the Nazis, at their worst could only dream about. And is far, far more successful. Because the provenance has been so successfully, and totally obliterated by the rich and super rich (they know they are the recipients of stolen property), to ensure they will be able to keep their millions of stolen art works – worth billions – for themselves and their kids for the Ages. MS St. Louis – My research uncovered this fabulous original watercolour (painted in 1936) in a London, ON, antique shop where no one knew – or cared – about the ship and the story it had to tell. It was a ship full of Jewish refugees from Hitler’s Germany who were denied permission to land in Canada, only months before the outbreak of World War II. Said one top government bureaucrat, “None, is one too many.” By the way, it came with NO provenance at all. But my research – not provenance or chain of title – confirmed that it was very likely the master painting from which postcards postmarked to Nazi Germany were made in the 1930s. It may very well have been brought to Canada by a Jewish refugee at some time. (TAKE ME TO ST. LOUIS)

Table of Contents – Kudos 1 (there are many other accomplishments, NOT listed)

– killing Ritchie Sinclairs web presence on the AGO website
– publishing Judge Martial’s Judgment discrediting Sommer lawsuit
– causing the disappearance of the Sommer rant v loss of his lawsuit
– publishing Justice Sanderson’s Judgment discrediting Sommer lawsuit
– killing Bryant Ross Coghlan Art web presence at Queen’s
– killing Sinclair’s web presence in Singapore
– exposing the fraudulent anti-Morrisseau publications of Dr. Browne
– intervening with documents in Regina v Otavnik
– exposing KRG art terrorism
– exposing KRG Terror at the Elmwood Spa
– exposing KRG Terror v Joyner’s
–  exposing KRG Terror at Red Lake
– exposing KRG Fake publications in Travels book
– exposing KRG fraudulent “Provenance Manufactory” Part 1
– exposing KRG fraudulent “Provenance Manufactory” Part 2
– killing KRG’s malicious Million Dollar SLAPP suit v Matulic
– exposing the biggest Art Heist in Canadian history
– killing the Joyner’s Fine Art auction house
– exposing the Greedy White Man
– exposing that the Affidavits of Forgery were fakes
– publishing the 229 page Artistic Decline of Norval Morrisseau
– exposing the curatorial malfeasance of NGC Greg Hill
– Norval a vegetable in 2002 film

100% ULTRA RARE BDP – A typical Norval BDP (Black Drybrush Paint/Painting) from his 1970s high point, signed, titled, dated, and copyrighted by his hand, in the black dry brush paint style. In his landmark judgment of Mar. 25, 2013, Judge Martial said there was “overwhelming evidence,” that Norval signed possibly thousands of these. A conclusion affirmed by Appeal Justice Mary Anne Sanderson. And all called “fakes” by collaborating dyed-in-the-wool fraud promoters Donald Robinson and Ritchie Sinclair, collaborating with Carmen “Come Lately” Robertson, and her NMHS colleagues, all making all the same allegations, with all the same arguments formerly made by her mentor – Robinson – the man who appointed them all to the NMHS. GO FIGURE – They “believed” even after his credentials, expertise, expert reports and court testimony about everything he claimed, were thoroughly judicially and forensically discredited.  Renegade views they hold, in spite of the fact that over 150 BDPs have been authenticated by top forensic handwriting experts. (Expertise NONE of the collaborating group has.) And this BDP, is the first Norval Morrisseau painting ever to be given a “beyond DNA certainty” authenticity rating of 100%, as being painted by Norval. So, who’s the fake…?

This Blog is based on personal research into the art of Norval Morrisseau, in countless (some 2,000) Ontario fine art and antique auctions, starting in January 1999. And on reading all the related books and articles on him.

On Jan. 26, 2000, at Randy Potter Auctions, Pickering, ON Donald Robinson, calling himself the Principal Morrisseau Dealer, and telling me he “was the guy who wrote the book on Morrisseau,” was the aggressive, but disappointed losing under bidder on two of my 1976 Morrisseau BDPs, SOMA 1976, and FISH 1976. Years later they were forensically authenticated: FISH in 2012; SOMA in 2011 and 2013.

In May 2001, a year after we met, seeing the flood of genuine, but cheap Morrisseaus coming in, from small towns across northern Ontario, where Norval had lived, painted, and sold his art door-to-door, for many decades, that now hugely depressed the high prices of his own (KRG) Kinsman Robinson Galleries’ art, Robinson hit on an aggressive BOLD new art business strategy.

CALL THEM ALL FAKES… and then just surreptitiously brushing under the rug – far from prying eyes – that he, the self-described top Morrisseau expert in the world, had bought 31 huge Morrisseau BDPs himself, for $54,000 (from 1999-2000) and then sold half, as genuine and NEVER bringing a single one back to Potter Auction claiming they were fakes, OR demanding a refund…

Or, as the angry owner of Wanker #1, found out through this Blog, without even offering a refund to its clients AFTER KRG started calling them all fakes… (I guess with the usual 600% KRG markup on paintings it’s hard to give it back…)

The new KRG business strategy involved hugely sucker-punching the universally lazy, witless, and gullible scribes of the mainstream media, always eager to take packaged information, for publishing, on which they don’t need to do further research.

In a National Post article, by Murray Whyte, on May 18, 2001, Robinson discredited all the 1970s style Morrisseau BDPs which his business competitors were selling, as “fakes,” being painted on the front, and signed on the BDP backs, by forgers. Thousands of them… And in the process, allied to specious lawsuits, decimating the valuation of Morrisseau art as contaminated by “thousands of fakes by umpteen forgers.”

The gullible, witless, ill-informed, lazy and unresearched mainstream media – eagerly lapping up any free publicity handouts that sounded “cool” – mindlessly just regurgitated the fraudulent Robinson claims without further investigation.

SOMA 1976 is the most important Morrisseau in history, 1 – the world’s top Morrisseau expert was the under bidder on this BDP in 2000, 2 – was NEVER put on any Morrisseau “fakes” list or Affidavit of Forgery,   3 – is the only painting ever authenticated by TWO forensic experts, 4 – the first Morrisseau in history, and only the second ever, to get a 100% “beyond DNA” authenticity rating, 5 – is bullet proof evidence that Norval painted BDPs during his high period in the mid-1970s, 6 – is affirming proof that Judge Martial, who never saw this painting, or its evidentiary chain, was wise in ruling in 2013, that there was “overwhelming evidence” Norval painted and signed thousands of these BDPs, like “Wheel of Life 1979,” the second painting to get a 100% authenticity rating, 7 – was painted only a matter of months after “Spirit Energy of Mother Earth 1974,” that is now called a “fake,” front and back, by Carmen Robertson..

This personal Blog was started, in January 2013, by John Goldi csc, who had made his living, since 1979, by shooting, directing, and editing over 120 film, television, and educational documentaries, for which he has won over 130 international awards.

John Goldi has been a credentialed historian since 1966, and investigative television journalist since 1979. John Goldi is the sole author of the Blog, and is solely responsible for it.

All articles subscribe scrupulously to all the protocols of Truth, Fair Comment, and Responsible Communication.

There is nothing libelous or defamatory anywhere. All commentary and reviews are hugely referenced and cross-checked to court documents, forensic reports, court transcripts, art gallery and auction catalogues, media articles, books, video recordings, private notes, conversations, and phone and personally conducted interviews.

The Blog is totally protected, as substantiated comment on a “matter of public interest” under the Ontario Anti-Gag order, the Protection of Public Participation Act, of 2015.

In the five years my Blog has been DOCUMENTING and EXPOSING the greatest art fraud in Canadian history, it has established many landmark achievements, and piled up all kinds of direct and indirect casualties, simply by publishing documents, analysis, or providing links, to material on it.

How effectively? Since January 2013, when I started this Blog, not a single new lawsuit by any of Canada’s 90,000 lawyers has been launched alleging a single Morrisseau “fake.” NOT ONE…

In spite of the fact that the fraudsters say there are “thousands of fakes by umpteen forgers” out there…

Some landmark achievements, by “the random dude on the internet.”

Huge curatorial malfeasance by Art Gallery of Ontario (AGO) Director Matthew Teitelbaum’s staff, who allowed Ritchie Sinclair to dismount and discredit, a genuine Morrisseau painting at a Kevin Hearn musical show, in 2010. My alert to his AGO office in Jan. 2013, caused him to immediately dismount all promotional references to Sinclair from the AGO website.

– killing Ritchie Sinclair’s web presence, on the Art Gallery of Ontario’s website, within hours, after alerting the AGO Director Matthew Teitelbaum’s office, of the Robinson’s KRG fraud enforcer’s art terrorism activitiesJan 23, 2013

After I alerted Teitelbaum’s office to my Blog, it resulted in the immediate removal – within hours – of ALL Sinclair’s promotional materials and his self-proclaimed reference as being an expert on Morrisseau, from the AGO’s web site.

– publishing the Judgment of Deputy Judge Paul J Martial that totally discredits everything and everyone making allegations about Morrisseau “fakes” in the Hatfield v Child lawsuit – 2013

On Mar. 25, 2013, Judge Martial, while officially “rejecting” and discrediting the Plaintiff’s side, in toto, fully affirmed the trustworthiness, credibility, and expertise of the Defence (Child & Artworld) side. He found that its painting, far from being the “fake” that lawyer Sommer alleged, was 100% authentic, front and back, and furthermore that there was “overwhelming evidence” that Norval had painted and signed BDPs, probably thousands of times, NOT as the fraudsters have been alleging, “not even once…”

The judgment brought a howl of protest from losing lawyer Jonathan J Sommer, who expressed his anger, in a highly unprofessional headline grabbing rant, in the Ottawa Citizen, Apr. 8, 2013.

– causing the total disappearance of the lawyer Jonathan Sommer’s notorious, headline-grabbing rant in the Ottawa Citizen blaming the judge, etc., for Sommer’s disastrous loss of the Hatfield v Child case Apr. 8, 2013

Immediately after a disastrous loss of his Hatfield v Child lawsuit, lawyer Jonathan Sommer, launched a bad-tempered rant in a headline-grabbing slanging of the Martial judgment. This unprofessional public outburst disappeared immediately from the Citizen’s archives and all internet republishing sites, after my Blog wondered out loud why there was no professional discipline from the Law Society of Ontario (LSO) for a lawyer who attacks the work of a conscientious judge.

Though Sommer’s longtime Morrisseau “fakes” business partner – since early 2009 – Ritchie Sinclair, continued to publish the so-called “35 judicial mistakes” of Deputy Judge Martial, publicly, on his racist and defamatory website, smirking at and emphasizing Deputy Judge Martial’s Small Claims Court status – which I note is a common sneer Sinclair repeats elsewhere.

– publishing the Judgment of the Hon. Madam Justice Mary Anne Sanderson on Dec. 17, 2013 which totally supported the Martial Judgment and especially scorched Sommer’s expert, the notorious Donald Robinson, with a sarcastic reference, and numerous times chiding Sommer’s lawyering.

Perhaps a gentle rebuke for him after he reminded her – one of the hardest working, best prepared, and most respected Justices anywhere in Canada, of her shortcomings on the file:

“Sanderson: But on the face of it I would have thought that if you own a Morrisseau which has been determined by a court to be an authentic Morrisseau that would be a happy event?

Sommer: It might be… I think the reality is and I appreciate that you have obviously a limited knowledge of the total context here…

Sanderson: Well I’ve spent a great number of hours reading all of this, and reading about the different factions… (Osgoode Hall, Dec. 6, 2013: I was there; I heard it all; I saw it all sitting ten feet behind Sommer, and immediately beside his client Margaret Hatfield, and his legal advisor Ritchie Sinclair)

NOTE: Sommer went on to lose the Appeal – disastrously in every way – before Justice Mary Anne Sanderson. And AGAIN, he refused to take it lying down. Within only weeks of her judgment he took to the mainstream media, in tandem with Sinclair, in Feb 2014, saying that, in effect, Martial and Sanderson be damned, we say “Wheel of Life” is still a fake. That whatever a court decides is of no interest or moment to us.

– killing the web presence, on the Queen’s University website, of Bryant Ross’ Coghlan Arts promo pages (from Aldergrove, BC) – where the founding meeting of the Aldergove conspiracy was held in 1989 – Mar 12, 2013

“Bryant the Snake” – Norval secretly did not have a very high opinion about the ethics and morals of a man he had known and done business with from 1987 til 2007.

Since 1988, Bryant Ross, the proprietor of Coghlan Art, has been involved with Gabe Vadas, and since 1989, with Donald Robinson, in fabricating and price fixing of “new” direct-from-the-artist Morrisseau art, during Norval’s “wheelchair invalid period of painting.”

Bryant Ross is a founding collaborator, with Gabe Vadas and Donald Robinson, of the cabal’s fraudulent attacks on their business competitors, alleging their Morrisseaus are all fakes, starting in 2001.

The main target, from 1990 onwards, was the universally recognized, seniour Morrisseau expert and respected art dealer, Joe McLeod, who was an Indigenous art consultant for university collections and art galleries in Canada, the US, and in Europe.

In early 2014, as part of the Sommer/Sinclair assault on the mainstream media, to combat negative fallout from the Martial and Sanderson Judgments, Ross assisted by putting two genuine Morrisseaus he failed to sell, in the fraudulent, government-funded SAW Gallery F IS FOR FAKE exhibit, alongside the Sinclair-provided “Wheel of Life,” only weeks before it was totally affirmed as genuine by Justice Sanderson, fully supporting Judge Martial’s judgment.

“Wheel” had already been forensically authenticated with a rare 100% rating by Dr. Singla. Forensic evidence for the only other two Morrisseaus in the fraudulent exhibit, I had gathered in 2014 – by photographing the actual paintings with a hi res digital camera – and submitted for forensic testing in late 2017. Both were forensically authenticated as genuine, on Sep. 25, 2017.

Predictably, of course, the thirty year long business partner of Gabe Vadas, and 28 year long business partner of the Robinson’s KRG, Ross dutifully submitted a supporting Affidavit alongside theirs, in the Hearn v McLeod trial in Dec. 2017. I wonder what any of those are worth these days, in view of ALL my Blog’s disclosures of the destructive swath they have cut through the cultural landscape of Canada’s Indigenous art and artists?

– killing Ritchie Sinclair’s web presence at the International School, Singapore

Julie Witmer and Dr. Jonathan Browne, who hugely embarrassed themselves over their inept knowledge of Canadian art, then victimized another poor old lady, Margaret Hatfield, by encouraging her to to go down the same ignominious path – to Ritchie Sinclair… It would cost her 60 grand. How much do you think they ponied up for steering her wrong?

– exposing the malicious and fraudulent anti-Morrisseau art publications and promotions of the recklessly agressive Dr. Jonathan Browne and his wife Julie Witmer of Ottawa, ON

This apparent dung beetle expert from the National Capital Region – an especially fertile field for study – is mostly renowned for falsely slanging a genuine Morrisseau on the internet, and for referring a retired elderly old lady school teacher over to Ritchie Sinclair.

One favour deserves another, right? Sinclair had assured Dr. Browne – here we go again – that the Morrisseau BDP painting “Grandfather Speaks,” which he had bought from Joe Otavnik (as a consigner to the Bearclaw Gallery in Edmonton AB) was a “fake.” Browne was – here we go again – another art buying neophyte who easily falls into the hands of art fraudsters.

“Grandfather Speaks” which proved that just because you have a PhD. doesn’t mean you can’t also be a Dupe and a Dope.

Browne is another one of these self-loathing academics who sneer off other fellow academics and scientists.

Twice Dr. Browne refused offers to submit his painting for handwriting analysis to forensic experts – all paid for by public benefactors – and he utterly refused.

Sinclair had told him it was a fake, and so had two anonymous Ottawa members of the NMHS, who demanded secrecy about their slanging.

Why does this sound eerily similar to the backroom slanging of fellow NMHS colleague, Carmen Robertson of “Spirit Energy,” which she also wanted kept totally secret from her colleagues, etc.?

Oh, and did we mention? The painting that the Brownes, their secret NMHS confidants, and Ritchie Sinclair, claimed was a “fake,” was forensically authenticated later by a handwriting expert.

But of course their loudmouth slangings in the media had hugely damaged and depressed public confidence in Morrisseau art and so did Great Irreparable Harm to the art and artists of Canada’s Indigenous people.

– intervention with key documents, in the Regina v Otavnik trial – May 9, 2013

Otavnik found NOT GUILTY by Justice Lacavera – May 17, 2013

– exposing KRG Terror vs the Elmwood Spa Gallery art show and book launch, featuring art supplied by Joe McLeod, in Nov. 2010

– exposing KRG art terrorism v Joyner’s Canadian Fine Art that led through my exposée, and protest, to the collapse of the auction house

– exposing KRG art terrorism in buying lots of BDPs it later called fakes to promote a business attack on its Morrisseau art selling competitors

– exposing KRG art terrorism at Red Lake against genuine Morrisseaus because they belonged to KRG’s arch-enemy, the KRG conspiracy Blogger Ugo Matulic

– exposing KRG art terrorism by helping kill the vicious and malicious KRG Million Dollar SLAPP suit v Blogger Ugo Matulic  – May 16, 2013

– exposing KRG art terrorism with the existence of an aggressive, fraudulent KRG “Morrisseau Provenance Manufactory” in the basement – Feb. 24, 2015


– exposing KRG’s fake publications of five Sinclair discredited Morrisseau fakes, in Travels to the House of Invention, in 1997, all of which it removed in a re-edited second version in 2005.

exposing the Biggest Art Heist in Canadian History (2002-2009) by Gabe Vadas and Donald Robinson conspiring to remove hundreds of Norval’s paintings beyond his control, while he was out of town and unaware – Nov. 2013

While Norval was under the care of his Indigenous children in Thunder Bay – they had kidnapped him from a terminal care facility in Nanaimo, BC, – “greedy white men” Gabe Vadas and Donald Robinson, without telling the Dementia-debilitated Morrisseau, spirited away 384 of his paintings (the notorious KR-384) from storage in Nanaimo, BC, to KRG’s basement in Toronto, to keep them from possibly falling into the hands of Norval’s Indigenous children, and their lawyers.

KRG kept them for eight years, until two years after Norval died, when the Robinsons returned them to Greedy Gabe Vadas, their business partner. (Trial testimony, Hatfield v Child. I heard it; I saw it; I read it in the transcripts.)

– killing Joyner’s Canadian Fine Art auction house, from fallout after my Blog scorched its top experts for dismounting and discrediting a genuine Morrisseau painting without cause, other than to bend from KRG threats  – July 3, 2013

And a Discredited Genuine Morrisseau BDP Did It – After I scorched Joyner’s senior staff, for, suddenly, without cause, dismounting, removing, discrediting, and devaluing a genuine Morrisseau painting, only moments before an auction began, at the behest of the Robinsons and Sinclair.

Joyner-Waddingtons barred me from their properties and threatened me legally. I persisted in exposing their auction malfeasance for some more weeks.

Rather than take the heat for a decision they did not make, Joyner’s top two staff – Joyner’s left hand and his right hand – suddenly quit, causing him to immediately close down his auction house after a run of 28 years.

– exposing a notoriously damning “Indian” legend of the “Greedy White Man” (GWM) Parts 1-7 – Nov 2013

The most common words in the “Indian language,” which I’ve heard everywhere I have lived, and worked in Canada’s Indigenous villages, reserves, and towns, are “greedy white man” (GWM).

What happened to Norval, once he became mentally, physically, and artistically disabled, is a textbook example of the lowlife exploitation of a talented Indigenous artist by GWM once they realized he was money in the bank, even as a crippled indigent in a wheelchair. All they wanted from him was a pulse…

“Greedy Gabe” Vadas, whose greed for Norval’s possessions was graphically documented by Barry Ace as early as 1995, then in the CBC film in 2005, aggressively used Norval’s Power of Attorney (from 1990 on) to advance his own business initiatives and to cut out all Norval’s Indigenous children from the estate.

Years after normal caring and decent family members put their own Dementia and Parkinson’s debilitated victims into safeguarded and private rooms, these university educated white guys, ruthlessly and repeatedly, pulled Norval off his deathbed, and trundled him – a virtual quadriplegic, mute and slobbering – about in a wheelchair to front for them in selling his art in Toronto’s Kinsman Robinson Galleries.

Leading the charge was Gabe Vadas who went all out to try to make sure no one else – certainly not Norval’s Indigenous children – got a dime from the estate of the most exploited Indigenous individual in Canadian history. “I’m deserved of it all” he told the CBC’s Life & Times in 2005.

A Final Sneer – When a year later, Norval, with only a few breaths left in his body, was dragged off his deathbed and flown, as little more than cargo – a total TIBWAP – to grace the Morrisseau Retrospective in Ottawa, Donald Robinson didn’t even bother to show up, at what was supposed to Norval’s finest hour of recognition by the Ottawa “silks, satisn, suits, and snoots.”

A Robinson “no-show” for the artist that had put MILLIONS into the Robinson family pockets.

Beneath Contempt – And NONE of the white men and women exploiters, when Norval – the Golden Goose – died, bothered to call his Indigenous children or relatives, to tell them that Norval had died in Toronto. Not – lawyer Aaron Milrad, lawyer Richard Baker, Gabe Vadas, Michele Vadas, Bryant Ross, Donald and Paul Robinson, or any other member of the NMHS. NOT FOR TWO FULL DAYS would his Indigenous family hear of Norval’s death…

And then his family heard it NOT from any of “the greedy white men” but from James White, when he too finally heard about it.

And then, NOT one of these “greedy white men” (KRG & NMHS) paid a nickel to bring his children from Red Lake to claim Norval’s body. NOT ONE. It was again, James White a dealer.

And now the diabolical GWM are still at it, sucking up government grants in Norval’s name. Proving the old adage that there is nothing low enough, nothing unprincipled enough, for a GWM not to try to make a buck out of victimizing any Indian, alive or dead…

A forensically authenticated BDP, one of many now proven that Gabe Vadas fraudulently put on multiple Affidavits of Forgery 

– published that those notorious Morrisseau Affidavits of Forgery, issued with Norval’s notarized signature on them, from Mar. 14, 2003 to Apr. 8, 2005, and sent to seven of Kinsman Robinson Galleries main business competitors, denouncing hundreds of their paintings as “fakes,” ALL contain many forensically authenticated Morrisseaus.

In fact the Affidavits are shot through with countless irregularities, falsifications, inaccuracies, and ARE NOT RELIABLE by any standard. Sometimes the same painting is called fake on one list and then genuine on another.

In court on Dec. 4, 2017, Jonathan Sommer recklessly blamed only John Goldi as responsible for saying they’re faked.

In fact Judge Martial who looked at these Affidavits in detail in court, and heard the discussion between Sommer and Robinson and Brian Shiller concluded they are hopelessly incompetent as reliable documents of any kind, and rejected them. (I heard him; I saw him; I read the transcripts.) A forensic expert said they looked like “scissors and paste” compilations. I do not believe a single original Morrisseau signature was on any of them; they were all xerox copies.

A phenomenally Unique DOUBLE WHAMMY authentication (one of numerous works like this), with a forensically authenticated Norval pencil signature on the front bottom right, and an authenticated BDP on the back. And ALL put on notarized Affidavits of Forgery by Vadas and his conspirators.

Notarizations, as anyone who has done them, are a waste of time. Lies can easily be notarized. Bringing in lawyers as witnesses, as Sommer was intending to do, to testify that Norval was of sound mind and body when he signed, is a total waste of time.

Affidavits are of no use when an elder is told/forced to sign, or when an elder is signing, and knowingly lying. It happens all the time, which is why NO LAWYER will accept responsibility for notarizing any Affidavit.

Why does Mr. Sommer – who was there in court too – DELIBERATELY IGNORE Judge Martial’s finding, and try to mislead Justice Morgan, that only some “random dude on the internet” claims the notarized Affidavits are fake. When it was one of many rotted planks in his platform that sank, with everyone on it, his entire Hatfield v Child Claim.

Post trial research on the Seven Affidavits has produced at least ONE forensically authenticated Morrisseau original painting that was wrongly, accidentally, or deliberately included, in EACH OF THE NOTARIZED AFFIDAVITS.

Rendering ALL the Affidavits as even more highly suspect than Judge Martial was even aware. In fact some notarized Affidavits contain multiple authenticated paintings. And not only that some contain DOUBLE SIGNATURES that have been authenticated, BOTH pen and pencil AND black drybrush on the back.

It is a devastating and telling finding regarding not only the reliability of the notarized Affidavits, but of the honesty of Gabe Vadas and the lawyers who helped him put them together and countersigned them for Norval.

Judge Martial was NOT aware, of this new evidence, involving a public benefactor subsequently seeking out paintings on the lists, and paying for forensically examining multiple works from each notarized Affidavit. And proving that MANY authentic paintings were included by Vadas and supposedly Norval, on each of these SEVEN NOTARIZED AFFIDAVITS OF FORGERY from 2003 to 2005.

Putty in their hands… A full two years BEFORE his handlers finally consigned Norval to terminal care…

– publishing the 229 page White Paper on: “The Physical, Mental & Artistic Decline of Norval Morrisseau 1980s-2007” – Nov 27, 2013

A mammoth landmark compilation of all the developments in the history of the HOAX, indexed to all the key events, the key players, and the key documents, in the twilight years of Canada’s top Indigenous – and its only “World Class” – artist.

– publishing the continuing multi-level curatorial malfeasance by the National Gallery of Canada’s Curator, Greg Hill, against the genuine art of Norval Morrisseau, and so doing Great Irreparable Harm to the art and artists of Canada’s Indigenous people. 

“Moose with Ancestral Figure: Heart & Fish 2002” – Isn’t it just amazing what a year in a terminal care facility for Parkinson’s and Dementia patients can do…? And Hill published two other similarly detailed ones from the same 2002 period of Norval’s artistic inspiration. All exquisitely executed on small, 24 x 32 cm sheets of paper… Now, do you have some choice words for the National Gallery of Canada’s Greg Hill?

Who’s Greg’s Sweetheart? It’s far worse than even you imagined.

Sweetheart Deal for Whom…? Shame on the National Gallery of Canada’s Greg Hill for putting these in the catalogue for the 2006 Morrisseau Retrospective show, and for buying them, with my tax money and yours… without first, vetting them with Common Sense. Proving, in spades, exactly what Norval said many years before: “White man’s paper’s no fucking good.” (Jack Pollock, Dear M, p 39)

These three totally impossible 9 x 12 inch, works, supposedly by Norval, and claimed to be done by him in 2002, were actually – you won’t believe this – purchased by Greg Hill for the National Gallery of Canada in 2005, from an undisclosed source, as he was prepping the Morrisseau Retrospective that would open in Feb. 2006.

Wow! How many tens of thousands of tax dollars went into someone’s pocket for these, whatever the hell they are?

Wait! It’s worse than that.

Hill published and mounted multiple huge Morrisseau acrylics on canvas, from Gabe Vadas etc., for which he had NO FIRM PURPORTED DATE OF SUPPOSED CREATION…

Greg Hill of the National Gallery of Canada. He has made numerous false evaluations on genuine Morrisseaus that both judges and forensic scientists have ruled are genuine. He lives in the town that relies on scientists more than any other in Canada, and yet he, and his NMHS cronies – all university-trained themselves – Phillips, Hill, Baker, etc. – openly sneer at judges and the expertise of forensic scientists in validating signatures in art. They prefer the work of American Dr. Wang…

So he just preposterously said these huge works were painted circa 1995,  or c 1996, etc… and just making up an approximate date… And this is the guy whose longtime handler and advisor, Don Robinson, pomposited publicly that careful notes and foolproof records are the only way to vet a painting as authentic. Otherwise it’s fake… Well what about all these big Hill/Vadas paintings in the NGC show?

I wouldn’t buy them! Would you?

So how come the recent small Moose drawings, are exactly dated?

All three of these exquisitely small drawings, Hill has each, firmly dated in multiple places in his catalogue, as 2002 – a year after Norval had been tossed into terminal care as a completely unmanageable mental and physical vegetable by Gabe Vadas…

And finally, some elementary common sense, for those who are extra thick: it’s far easier for a Parkinson’s-addled brush – Norval was now eight years into Advanced Parkinson’s – to do large arm motions used to make a large painting – however messy the result – than for advanced Parkinson’s addled finger tips to do the exquisitely tiny motor movements, on a small piece of paper, with a small pen, like was used to make these three finely executed drawings.

Go back and look at the videos of 1997 and 2002 and check out Norval’s finger and hand dexterity…

Are you happy with what your tax dollars are doing at the National Gallery of Canada? Now do you know why we keep asking: Just what will it take before the National Gallery of Canada fires Curator Greg Hill, also long an active founding member of KRG’s fraud promoting NMHS?

The “Moose Fiasco” is just one of the many damning curatorial malfeasances*** we have exposed NGC Curator Greg Hill as being involved in, in his eagerness to help promote the KRG NMHS art fraud.

(*** Including forging false entries in the 2006 catalogue to benefit KRG; repeatedly, maliciously, discrediting and devaluing, numerous judicially and forensically authentic Morrisseaus (Red Lake, SAW Gallery, Dr. Browne, etc.); accepting for show and purchase, highly questionable, alleged recent Morrisseaus, with highly uncertain and questionable provenance;*** refusing to be transparent and publish, or make available for research, the Wanker 16; repeatedly breaking his fiduciary trust to the people of Canada, and placing his duties at the NGC second, to his overwhelming fealty to KRG and its NMHS branch plant operation against Morrisseau BDP art..)

***It is utterly unbelievable and unacceptable to me that the NGC has no firm dates, even of the years of creation, of huge major Morrisseau artworks from the 1990s, when I can tell you the exact day, month, and year in which each and every one of ALL my 7,500 museum acquisitions since 1988 were made… And that includes for every postcard… What the hell are Hill and his cronies up to, at the NGC?

Moving the Goalposts for Kinsman Robinson Galleries – So, what do you think is going on? I’ll tell you what:

In 1987, said Lloyd Comber, an old Norval crony: “I noticed that his art wasn’t as good as it used to be.” (Stevens, Picasso, p193)

A typical cautionary for prospective Morrisseau art buyers is the universally accepted comment by Gail Fikis from the days when the Thunder Bay Art Gallery was trustworthy:

“I have always told people, if you have work from the 60s, you’re laughing to the bank, the 70s, OK, but into the late 80s, questions, 90s and on, anything goes…”
– Gail Fikis, Registrar, Thunder Bay Art Gallery, 1983-2007

All testifying that the mental, physical, and artistic decline of Norval Morrisseau was well underway by the late 1980s.

(I own eight huge Morrisseaus, all 1970s BDPs. Like almost all the collectors I know, I would never buy anything with a 1988 date or after. The Vadas “Morrisseau studio,” post-1990, was documented – by Karl Burrows, the studio’s own hired artist – as notoriously backdating paintings to years when Norval was still relatively healthy. Obviously to help sales among more skeptical or suspicious buyers.)

Four more years of dramatically progressive Dementia and Parkinson’s didn’t slow down Norval one bit… In 2002 he drew Greg Hill’s exquisitely detailed “mooses” and four years later, founded the NMHS, wrote its mission statement, picked its all-Canadian members, and instructed them on which fakes to target, and where they could find them…. If this is Dementia and Parkinson’s I want some, and so do you…

You can view Norval’s disastrous physical, mental and artistic decline, in a hokey Bear Dance video shot in 1997, featuring two entirely white, but notorious Indian imposter/impersonators – who else? Ritchie Sinclair and Gabe Vadas – playing dress-up Indian, as Norval, in a wheelchair, and barely able to speak intelligibly, shudders ferociously even when gripping metal handlebars.

Does anyone, in their right mind, see Norval ready to draw Greg Hill’s exquisitely detailed “Moose” drawing on a small sheet of paper, after they go inside?

Now add another seven years of creeping Dementia, Alcohol Dementia, Parkinson’s, Alzheimer’s and associated mental and physical deteriorations. Guess, how good an artist was Norval in 2002, when Hill says Norval did the Moose?

Norval Filmed in Action in 2002 – You can ask Greg Hill and his cronies… or you can view this video shot in April 2002, probably within days or weeks of apparently doing – Hill would have you believe – the three exquisite Greg Hill “Mooses” on 9 x 12″ pieces of paper.

And watch Norval having to be manipulated even to do large signatures on his huge paintings. NOT the tiny exquisitely executed signatures that are shown on the small sheets of paper with the moose. Seeing all the huge handling assistance he needed, on big pieces of tough canvas, how much crumpling, ripping, smudging, blotching, and holing, do you think Norval, in this condition, would inflict on small pieces of paper that he supposedly spent hours drawing on?

Now do you see, why neither the Robinsons nor the NMHS, ever produced any video footage showing Norval at work painting his huge canvases in the 1990s. NONE…

Neither Hill nor his cronies expected that my Blog would ever show up to report what’s going on behind the scenes in the world of Morrisseau “fakes.”

So they embarked on a campaign to seize the goalposts from Comber and Fikis, moving them forward fifteen years, and replanting them firmly in 2002, saying, those two are wrong, look how finely detailed the work of Norval was in 2002! Because they know, with some dupes or dopes, it will work.

And of course everything from the Morrisseau “studio,” in the fifteen years in between, would then be validated, and which just happens to be for sale from Kinsman Robinson Galleries, Gabe Vadas, and Bryant Ross’ Coghlan Art, maybe even from Richard Baker…?

You can guess away who you think put Greg Hill up to the fraud.

I only care about what I know and can prove, and that is that the Curator at the National Gallery of Canada, was the malicious and conspiring enabler, using my tax money – and yours – to do the bidding of his secret handlers, to move the goalposts publicly in a prominent tax payer funded publication.

And doing it by using three questionable little drawings, he sneakily added in, on page 164, on the second last page of illustrations of the exhibition catalogue. He did it! It’s there For the Ages… What’s his game? What’s his aim?

We also don’t know what Hill paid, for moving and entrenching the goalposts – obviously for KRG’s, Vadas’, Ross’, and Baker’s benefit – in the National Gallery of Canada?

But I’ll step out on a limb and say this: I’ll bet my last dollar that the valuator for the sale was none other than Donald Robinson, the notorious Master of the House of Invention and creator of the NMHS and who peopled it with pliable collaborators. After all, he’s the only one – in the world – that lawyer Richard Baker, in a signed NMHS letter, acknowledged as the only go to guy for trustworthy Morrisseau valuations.

Richard Baker sent this letter in support of fellow lawyer Aaron Milrad and his client Gabe Vadas, to help them boost their false claim that Moniz’s Morrisseaus were fakes. Prominent Toronto lawyer Peter Jacobsen, took one look at this Baker letter, Milrad’s and Vadas’ claims, Robinson’s “expert report” claiming Moniz’s art was “fake,” and dumped them ALL – that’s the claims of two lawyers – in the trash. Instead he believed Moniz’s independent forensic scientist, saying the paintings were authentic, and recommended the Globe pay off the libeled and defamed Moniz with $25,000. And yes the man who wrote #13 and #14, has a university education.

And the only one Richard Baker and his NMHS cronies stand behind is Donald Robinson of KRG and his son…

Remember Pop Robinson? He’s the one whose self-serving Morrisseau valuations of 1986, at $1.1 million, for 216 lawyer-donated paintings, were scorched by three justices in top Canadian courts in 1996, and 1999, and ruthlessly cut in half. In 2005 Robinson hand-picked Greg Hill as a founding member of the NMHS. Do you think he was a worthwhile pick?

Greg Hill also entered an Affidavit in the Hearn v McLeod trial. Guess what that’s worth? Answer: as much as the Affidavit of Donald Robinson, sitting cheek to jowl, right beside it in the same box… Do I know, and care what this longtime collaborating duo (over 13 years) say about Hearn’s “Spirit Energy…?” Yes and no. They’re – sight unseen – as predictable as gas is in gastrointestinal. But I’ll read them anyway, because research is what I do, wherever it takes me. And not even bad gas will stop me from uncovering what reeks.