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”
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
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…”
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…
The Reality of “Provenance” in Art
– killing Ritchie Sinclair’s 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
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.
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.
Some landmark achievements, by “the random dude on the internet.”
– 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 activities – Jan 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.
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…”
– 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
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?
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.
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
– 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 with the existence of an aggressive, fraudulent KRG “Morrisseau Provenance Manufactory” in the basement – Feb. 24, 2015
– 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.
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…
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, 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…
– 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.
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.
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.
Who’s Greg’s Sweetheart? It’s far worse than even you imagined.
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…
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?
(*** 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.)
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.
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.
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