My Mother the Forger…

Sordid Family Secrets Outed…

“AKA Hans Werner” – Unfortunately larceny runs in the family. I tried to cover up my real identity too, when I sneakily changed my name from Hans to John in 1950, when we came to Canada. Alas, you can’t hide your criminal past forever. 67 years after the last time I ever used that name, lawyer Jonathan Sommer’s sleuthing outed, in a court document, another sordid family secret from the Goldi past… my original foreigner name as a deliberately deceptive “AKA.” (Above Ruth Lüchow-Suter Göldi (1917-2014) and Hans Werner Göldi on the Bodensee, Switzerland, in April 1942. 12 kms across the lake, Allied bombers are incinerating Germany, and Mom’s relatives.)

My mother was an art forger, you know…

Attending the Hearn v McLeod trial reminded me of this.

It’s long been a dirty family secret, but Mom is dead now – she died at 97 in 2014 – so I feel I can reveal her sordid past for the public good.

I’m sure, if she were still living, Mr. Sommer would have been pleased to put her in his line-up of self-confessing art forgers.

When Mr. Sommer would ask her “Did you forge paintings, Mrs. Goldi? I remind you not telling the truth is a serious offence. I caution you, you are not a lawyer,” she would have said, “Yes, Mr. Sommer, I did. I’m sorry but I did.”

As well as being a good artist, she was an honest person, of sorts, aside from forging paintings, that is.

When Mr. Sommer would ask her,

“Now Mrs. Goldi, tell the court exactly when, and how you forged “Spirit Energy of Mother Earth 1974,” I’m sure Mom would have done her very best to try to be helpful.

After all Mr. Sommer had been nice to her, and paid for her plane fare, her hotel bills, and expenses… And a free trip across the country… So she would do what any decent person in her position would, try to please her benefactor.

Schloss Werdenberg, the medieval Goldi castle in the Rhine Valley, Switzerland. The Rhine is in the mist beyond; the mountains are Austria. (A Christmas present 1969, when my wife and I had just returned from serving two years as high school teacher and adult education teaching volunteers, on local salary, for CUSO, in remote northern Uganda.  From my Mom, Ruth Lüchow-Suter Goldi.)

The telltale back of a painting, which is almost always the key determinant in helping establish if what is on the other side is genuine. Why? Because every artist – like my Mom and Yours – want to leave something personally identifiable for the Ages.  Artists, like Mom and Norval, are proud craftspeople and don’t want to leave Blanks AKA Blank Backs behind to mark their passing. Not, at all, the case with Morrisseau, as ALL Morrisseau fraudsters absurdly claim: that Norval left only Blank backs… with, on rare occasions, a pen or pencil notation… Really? Both Mom and Simpson’s say the fraudsters are wrong…

Virtually the only pen and pencil writing you will ever see on the back of paintings are by the framer. The fraudsters have their story orchestrated, claiming Norval sometimes wrote in this crimped, introspective, retiring, minimalist scratching on the back of his art with pen or pencil. HARDLY LIKELY. Maybe a very few times. BUT Norval had a personality bigger than life, was hugely overbearing, sexually aggressive, opinionated, and wildly over-the-top in his habits, behaviour, and actions. And only signed like a shy schoolmarm the very odd time? OR NOT AT ALL… It’s an idiotic claim to make because the two things do NOT at all jibe. And sure enough, some 150 forensic reports of BDPs show Norval’s signature on the back was as big and blowsy as the guy who painted the front, who in his off hours, wrecked houses, motels, went on brawls, etc. No he didn’t go to sharpen a pencil… Norval lived life large, painted large on the front, and signed large, with a monstrous BDP, as big as his personality, on the back… Certainly no blank on the back for Norval, the biggest personality and most egotistically over-the-top artist Canada has ever produced.

Even Simpson’s tells you they know what every artist wants to leave For the Ages, and so it has provided a special place on the BACK of ALL IT’S ARTISTS’ PRIMED CANVAS PANELS, to make it easy for my Mom  and Yours, to do what ALL artists WANT TO DO. Remember only fraudsters and their operatives – not any artists you or I have ever known – want Blank backs and secrecy… AND FORGERIES… BDPs do not denote or hide forgers – they expose them.

“Well, I can’t say if I forged that one exactly, but I did lots of others Mr. Sommer. Isn’t that a nice one I did of the Goldi castle?”

“No, Mrs. Goldi, you’ve really got to try harder. Forging others you may have done, is of no use to me. I need to prove that you have direct involvement in forging “Spirit Energy.” I have to prove THAT painting is a fake, NOT all those others you may have forged. That’s really immaterial and of no use to me in what I have to prove here.”

“Now, try again Mrs. Goldi. Can’t you recollect, for me please, painting Spirit Energy?”

I was some pissed off to discover, years later, that Mom had, unforgivably, forged my painting from this postcard. I wonder, how many other Moms have done this to their kids…?

“Well, I can’t really say. But wait, I’ll ask Mary, my neighbour; she used to paint with me. Maybe she did it. Would that be helpful to you Mr. Sommer?”


“But you know, when I come to think of it again, that “Spirit” one looks far too good. I mean it looks like it was painted by a real artist. And it was so long ago. I mean, it just doesn’t look like something small time art forgers like Mary and I could do… I’m sorry Mr. Sommer.”

“That will be all, Mrs. Goldi… And because you refused to be more helpful, I’m going to have to Gag your son.”

“Spirit Energy of Mother Earth 1974” – A typical 1970s BDP of which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in this way. (By the fall of 2017, over 150 forensic reports, by different independent handwriting experts, have affirmed what a wise judge he was.) On Sep. 25, 2017, a forensic report from a professional handwriting expert, proved “Spirit” was authentically signed and painted by Norval Morrisseau, NOT by my mother, Mrs. Goldi… Sorry Ma, no credit for you. Your Goldi castle’s good, but not this good…

A Personal Note

I have always hated “Spirit Energy of Mother Earth 1974,” having only seen it, for years – you know like Professor Robertson – from lowlife internet jpegs. And the colours looked, OK, frankly awful… It’s NOT a Morrisseau I would ever have wanted to buy.

Then on October 2, 2017, I saw it in a courtroom for the first time, up close and personal, and received – Wow – a pleasant and total surprise. It looked nothing like the dupes I had seen for years…

I returned to my seat and turned around to Kevin Hearn, the owner of the painting, sitting immediately behind me and said, “Holy cow, that painting is a great surprise, after only seeing it on internet dupes. It’s actually a very wonderful painting. Amazing! A Great Canadian Heritage Treasure.”

Kevin dryly replied, “I’ll sell it to you for $25,000.”

I replied, “Sorry Kevin, but you and your lawsuit claiming, for years, that it’s a “fake,” have destroyed its value for the Ages. Don Robinson says “fakes” are worth nothing.”

Kevin said nothing. I turned around. 

Two decorative Wascana Floaters, something Professor Robertson says in her report that Norval never painted; that a forger painted the seven in all, on “Spirit Energy of Mother Earth.”

I would caution any of you, thinking of buying a Russian mail order bride, only from seeing a picture in a catalogue or book – again a favourite methodology of Professor Robertson in authenticating original paintings. It could prove to be a major disappointment, once you got your hands on the real thing…

Or a wonderful surprise. Just as happened to me with “Spirit Energy.”

It’s a telling cautionary that NO ONE – with or without Lakota DNA – should make judgments about original paintings they have NOT SEEN IN HAND, UP CLOSE AND PERSONAL, just based on picture books or internet jpegs.

“Wascana Floaters” I wished I’s seen before I published…”

Wot the hell is this? Explain please Professor Robertson… Does that look like Norval to you, say about 1963, maybe in Kenora? And gol blimey, do you think those are Wascana Floaters…? And SIX of them… Wow! And four are decorative! But professor I thought you said…

And is of course why professional forensic scientists and handwriting analysis experts want to see the real thing in hand, not a dupe, before assessing an original of any kind. So that they avoid falling into the trap that Professor Robertson set for herself…

By pointing out those seven Wascana Floaters that she says are ironclad proof – based on her expertise – that the painting’s a fake.

Blissfully unaware that photos exist of Norval with paintings with Wascana Floaters. And that ALL her colleagues have published numerous paintings over the years, as genuine Morrisseaus, scores of which contain many, many Wascana Floaters…

And the Canadian Museum of History’s own coat of arms features both, a CONNECTED “divided circle,” that Robertson says are the only genuine ones, and a Wascana Floater – DISCONNECTED WITH LINES TO OTHER PICTURE ELEMENTS, that she says are sure signs of a fake.

So, who’s right? The Professor or the Canadian Museum of History?

If Professor Robertson had only remembered a few basic cautionaries she would not have called a “fake,” a painting found to be authentic by a  handwriting expert, who possesses scientific skills she admits – in her own report – she has NO, NONE, ZIP, NADA expertise.

The Daring Professor – But it didn’t stop the daring professor from saying all kinds of things regarding authenticity based on a sample group of 44 paintings, of which she had only “observed” 8 – that’s eight folks – in the flesh.

And those eight she had only observed years before she wrote this report, doing it all from patches of memory of three, four, five years before…


Not one.

Choosing to rely, instead, on her memory, which served her so badly…

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Key PDFs to Download – Hearn v McLeod Estate, Dec. 2017

PDFs to Die For – “The pen is mightier than the sword.” 
For ALL the Morrisseau-related PDFs
Go to our PDF BIN in the Header Menu

 PDF5 Defence – Hearn v McLeod – Shiller – Feb 2013
– “A voice from the grave” by a lawyer with “heart”
– Shiller defending an honourable guy and his genuine Morrisseau art

PDF14 Defence of Responsible Communication – M Geist

PDF15 Protection of Public Participation – Anti-Gag – Section 137

PDF16 KRG Million Dollar SLAPP SUIT Release Absolving Ugo Matulic

Brian Shiller, the Defendant’s Counsel, and champion of “Wheel of Life 1979” as a genuine work – not a “fake” – by Norval Morrisseau won his case hands down in every detail, delivering a total knock-out to the Plaintiff’s lawyer  Jonathan Sommer, and his witnesses, Margaret Hatfield, Donald Robinson, and his longtime business associate, and fraud enforcer Ritchie Sinclair.

A Lawyer with “Heart…”

For those of you who are tittering at this point, let me introduce you to Brian Shiller, winner of all the Morrisseau “fakes” related lawsuits, and a ruthlessly effective vanquisher of their proponents.

Shiller roundly discredited in every way possible, the claims, and people put forward as “experts,” or “witnesses” (Donald Robinson and Ritchie Sinclair) by Jonathan Sommer, before multiple judges in multiple courts, including in: Hatfield v Child (the trial), Hatfield v Child (the Appeal), McDermott v McLeod (abandoned by McDermott), and White v Sinclair. Multiple Slam Dunks, all by Shiller… and ALL against the art fraudsters and their enabling lawyer.

On Dec. 4, 2017 the Hearn v McLeod trial started without McLeod, who died in May, and without Shiller.

But Jonathan Sommer is back and going to give it another try – the job pays very well – in only the second such try to claim a Morrisseau “fake” ever attempted by any lawyer in Canadian history. The first, also Sommer’s, was Hatfield v Child which spectacularly failed on every front possible, in two courts before two judges.

Till Joe died, Shiller represented Joe McLeod. And had written his Defence.

After years of ruthless attacks*** by conspiring art fraudsters behind Kevin Hearn, Joe McLeod, in his late 80s, and with his declining years totally destroyed by Sommer’s specious lawsuits (Hatfield, McDermott, Hearn) using the same totally discredited witnesses (Sinclair and Donald Robinson) whom he had used for years, sat down with Brian Shiller, who wrote down his Defence against the malicious fraudsters.

(***Including physical threats by Ritchie Sinclair, from June to December 2010. Police warned him to stop in September. When he ignored them and persisted, Toronto Police charged him with multiple counts of Criminal Harassment on Dec. 10, 2010.)

“Like Joe, talking from the grave…”

While sitting down with the 87 year-old, and ailing, Joe McLeod, I believe Brian Shiller truly wrote from the heart. Some years later, after Joe had died, in responding to a positive comment on the written defence, Shiller shyly confessed, in a rare moment of self-effacing introspection rare to find in lawyers, “I kind of consider it like Joe, talking from the grave.”

And besides writing a devastating Defence, Shiller wrote, what I consider to be a heartfelt plea against an art fraud that maliciously, and without substantiation, victimized a universally respected and very decent old man, for a lowlife pecuniary gain.

Besides doing Great Irreparable Harm to the Indigenous art and artists of Canada, decimating a small cottage industry that Judge Martial estimated to in the $50 million range. Others estimate the damage to be closer to $100 million.

The Defence, is in effect, the Last Will and Testament of the man who had, for decades, a decidedly soft spot in his heart for Indigenous art and artists, and was, for decades respected as the most senior and knowledgeable Morrisseau expert.

PDF1 Secret Report – Carmen Robertson – “Spirit Energy of Mother Earth 1974”

In a court document file box, in March 2017, I discovered a secret, unpublished copy of Carmen Robertson’s so-called “expert” report, in which she slanged – without substantiation – multiple (six) specific paintings she had never even seen, as “fakes.” (Robertson is a teacher of Visual Arts at the University of Regina.)

She slanged four of the Otavnik/Seetner family’s authenticated Morrisseaus (a highly vetted family Canada Revenue Agency tax credit donation, in 2004, to the Thunder Bay Art Gallery), as fakes, and so alleged Joe Otavnik’s family was knowingly involved in some kind of art and tax fraud.

After researching the notorious Robertson’s report in detail, I uncovered and exposed countless acts of academic malfeasance, illustrative of Robertson’s work as a so-called “researcher,” in her secret “expert” report.

I concluded that this unsubstantiated and fraudulent secret report was doing little more than fronting for a fraud, and doing GREAT IRREPARABLE HARM to the art and artists of Canada’s Indigenous people.

And there in the middle of the front page of the secret Robertson “expert” report, was hugely emblazoned the imprimatur of the University of Regina, its Department of Visual Arts, and its address, and postal code…

Robertson clearly was deliberately making aggressive use of the University of Regina’s backing, either with or without the university’s approval.

This usage of the university imprimatur was NOT a bio reference for Robertson as a university employee, which is customarily written in the back of books in the bio section. This was clearly a deliberate and huge promotional banner, designed to invoke, aggressively up front, the power of the university, and use its imprimatur front and centre of page one to try to give the contents of her secret report the apparent legitimacy and prominent backing of the university.

Defence of Responsible Communication – Before publishing my research data, I wanted to avail myself of the Defence of Responsible Communication, issued by the Hon. Chief Justice Beverley McLachlin, and her colleagues on the Supreme Court of Canada, in 2009, in Grant v Torstar.

Of tangential importance, Chief Justice McLachlin had written the Defence, as an endorsed representative of the Supreme Court of Canada, writing the majority report on behalf of her colleagues, NOT as a private citizen, off on a lark, by herself…, giving her opinion.

To intentionally give her “expert report” more weight than if she just signed it as “Beverley.” That, I consider an approved usage of institutional backing.

Similarly, it was clear that Robertson was intentionally, likewise also, prominently bannering her report, on page one, as if it too was a report, in which she was speaking – not as a private individual – but as a representative of the university, and with the endorsement of the university.

I intended to verify if this was true. Or whether it was an unapproved and intentionally false usage.

I also intended to conform to all the protocols the Supreme Court justices wrote that were incumbent on anyone intending to write on matters of “public interest.” So writers could do so freely without fear of SLAPP suits from unhappy respondents.

PDF14 Defence of Responsible Communication – M Geist

Legal expert, Michael Geist, has written, regarding the various protocols of the Defence, defined and detailed in Grant v Torstar, that:

“Citizen journalists should take particular note of the factor… that is, whether they have sought the plaintiff’s side of the story. In Grant the Court cautions that “in most cases, it is inherently unfair to publish defamatory allegations of fact without giving the target an opportunity to respond.”
(Michael Geist).

I note that Carmen Robertson, over and over again, refused to avail herself of this Defence BEFORE setting out to slang people and their art, and especially in attacking the “provenance” of their art as forged or fraudulent.

Specifically Robertson was malfeasant in NOT contacting Joe McLeod and Joe Otavnik to get their response, and clarification on the provenance of their paintings, etc., BEFORE publishing. She also did NOT contact the consigner of this art, David Voss, or the auctioneer, Randy Potter of Kahn Auctions.

And then it gets worse.

Why did Robertson NOT insist that the painting’s BDP signature be examined by a professional handwriting expert, as any reasonable and duly diligent academic, prosecutor, or police investigator would demand? You know, check the blood evidence, the fingerprints, and the DNA on the murder weapon BEFORE sending someone to the gallows.

Was Robertson not seeking or interested in discovering the truth?

Clearly she had her mind made up ahead of time – she wanted these paintings to be fake – and she was NOT interested in the response of the people who were far more knowledgeable about the paintings than she was, or even to check if her opinion could be substantiated in any way, by any of them.

It’s not the sign of a good or credible academic researcher anywhere.

Predictably, it is why she ended up making herself look totally ludicrous with her preposterous claims about provenance related to “Spirit Energy of Mother Earth.” In fact Ritchie Sinclair’s own email in Sommer’s evidence box (the lawyer she prepared the report for) shows that Robertson was completely falsely – I believe purposively – mixing up Robert and David Voss, just to slang McLeod. The email shows Sinclair was boldly on McLeod’s side against Robertson’s slanging, citing definitively that McLeod was referencing “David” not the “Robert” Voss, as Robertson alleged, as the provenance source for the Hearn painting.

A couple of Due Diligent phone calls to McLeod, Otavnik, or Voss, could have saved Robertson tons of embarrassment and loss of face as a credible researcher, investigative journalist, and academic publisher.

I determined NOT to be similarly malfeasant.

Dr. Timmons did NOT reply to my letters asking for clarification before publishing.

So, on Aug. 30, 2017, I wrote a registered letter expressing my concerns to President Vianne Timmons of the University of Regina.

I asked if the university was aware of this Robertson publication, and whether the university backed it, or paid for it? That, as a Duly Diligent investigative journalist, I wanted a clarifying comment from the university on its involvement – its name was bannered front and centre – before I published.

Dr. Timmons did not respond.

I sent a second follow-up email and registered letter on Sep. 12, 2017.

Dr. Timmons again did not respond.

Clearly it appeared to me that neither the President, nor the University, cared about this report on a huge issue of public importance and national interest, that was, thanks to one of its professors, doing Great Irreparable Harm to the art and artists of Canada’s Indigenous people, all under the imprimatur of the University of Regina.

Backstabber – I received another shock on Oct. 2, 2017, when a copy of my letter, asking for information and clarification – as per my professional duty as stipulated by the Supreme Court of Canada’s “Defence of Responsible Communication” – appeared in court as a hostile weapon against my being granted intervener status in the Hearn v McLeod trial.

Who, from the University of Regina, sent this letter to the Plaintiff’s lawyer Jonathan Sommer, intending to do its secret, underhanded, and dirty deed against me, is unknown to me. It did, however, once more, indicate the direct involvement of lawyer Sommer in commissioning the Robertson report.

The letter – to which I had failed to get a university response – was now openly being used to back a fraud, on behalf of a specious lawsuit, and to attack the journalist, and public communicator, who had been front and centre in exposing the art fraud and the Morrisseau “fakes” HOAX, with spectacular success, since January 2013.

A Telling Blogging Achievement – Since I started my highly documented, single issue Blog, in January 2013, and in the five years since, the Jonathan Sommer/Sinclair combine had NOT found any new Morrisseau “fakes” cases to bring to court. NOT EVEN A SINGLE ONE…

Which is highly telling of my effectiveness as a public communicator, because both Sinclair and Sommer and their NMHS and KRG fraud collaborators claim that there are literally “thousands of fakes by umpteen forgers,” out there. Then where the hell is the beef?

Brian Shiller is the lawyer who has won ALL his Morrisseau related court actions against both Sommer and Sinclair.

National Post journalist Tristin Hopper asked Brian Shiller, who represented all the clients Sommer had targeted, to respond to Jonathan J Sommer’s claims of “fakes.” Shiller tellingly replied as quoted in full from the article:

“He noted that Mr. Sommer ‘has been making the allegation of a fraud ring for a long time now’ and that ‘we have asked him for any evidence to support the claim but no evidence has been forthcoming.” (National Post, Tristin Hopper, Feb. 3, 2014)

There have been thousands of claims filed against pedophilic priests in Canada by countless lawyers.

But Sommer remains the only lawyer – out of 90,000 in Canada – to have ever filed a Morrisseau “fakes” claim. With predictable disastrous and discreditable consequences for his claims and the people he uses as “experts,” in Hatfield v Child, where both the trial Judge and the appeal Justice “rejected” them all.

Now, with the Hearn v McLeod trial about to begin, I had available a forensic report authenticating, with DNA certainty, the same painting that Sommer’s “expert” was slanging – without credible substantiation or evidence – as “fake.”

My invoking the Responsible Communication Defence in seeking information – as Justice McLachlin and Michael Geist both had demanded – had now backfired. It – and my demand for accountability – was now being used to badass me… By people who were intent on keeping everything as secret as possible from the public.

And who were apparently totally unaware of the Ontario Protection of Public Participation Act of 2015 (Also known as the anti-SLAPP suit act.) It was designed to prevent proceedings that attempt to limit Freedom of Expression on Matters of Public Interest, aka “gag proceedings.”

On Oct. 3, I published, on my Blog, the full unedited copy of the secret Robertson report and provided the public with a downloadable pdf copy, along with my insights and further critique of the work.

After reading it, many readers expressed their outrage at the contents of this secret report.

PDF2 Plaintiff’s Claim – Otavnik v Robertson – Nov 2017

One of the first readers of my Robertson report blog posting was Joe Otavnik.

As a longtime Morrisseau collector, and art dealer, Joe Otavnik was also outraged by what he read, especially as regards Robertson’s very pointed and public comments regarding his family’s 2004 donation to the Thunder Bay Art Gallery. He was outraged that the university was so publicly bannered, on the front page, as being involved in backing a secret report he came to regard as libelous and defamatory.

In early October, Mr. Otavnik, told me he also wrote Dr. Timmons a letter of intent to sue the university. Apparently the university lawyer replied that the university was NOT involved, that Robertson wrote this report on her own, as a private citizen.

On Nov. 3, 2017, Otavnik filed suit against Robertson for Libel and Defamation.

The Secret Robertson Report – The highly secretive Robertson Report, of 67 pages, was the second biggest book Ms. Robertson had ever written by herself. It is also the biggest illustrative book she has ever written.

Which makes it suspiciously astonishing, when I discovered she had taken great care to deliberately hide ALL mention of it, anywhere on all her other professional publications, footnotes, sources, and bios, on ALL of her publicly published or internet platforms.

Why would a reputable, or proud academic, do this, with a professional work into which she has spent so much time, money, and effort to fabricate?

This was especially odd when, in her own “sources” for the expert report, she noted a bio listing every sneeze, burp, or cough she had ever made as a writer – seven pages worth, in small script – listing every two to three page article she had ever penned.

Yet she pointedly ignores, and makes no mention anywhere – in fact deliberately makes every possible effort to hide its existence – of a huge 67 page academic tome, lavishly illustrated with dozens of colour photos, which she had written expressly for, and secretly supplied, to help Jonathan Sommer with what I consider a specious lawsuit attacking Joe McLeod and a genuine Morrisseau painting.

And against every standard of ethical research, and requisite protocol demanded by Responsible Communication, Robertson did not even talk to Joe McLeod, before aggressively slanging him and his painting – secretly of course, so he would hopefully not find out till it was too late…

The aim of Robertson’s secret report was obviously twofold:

First, to discredit and defame Joe McLeod, formerly the Dean of English at Seneca College, and latterly the owner of the Maslak McLeod Gallery, in Toronto. McLeod had spent his early years teaching in small communities in Northern Ontario. Based on his experience with Indigenous art and artists, starting in 1959, he became known as Canada’s senior Morrisseau expert, and maintained till his death, contact with Norval’s Indigenous children.

When McLeod was artistic director of the Seneca College galleries and theatre, he had helped boost Norval’s career by arranging for him to become an artist-in-residence at the college. Joe built a well-deserved reputation, as second to none, in promoting, through his gallery, Indigenous art and artists, both First Nations and Inuit.

Second – Robertson was trying to prove the painting “Spirit Energy of Mother Earth 1974,” which Joe had acquired and sold as a genuine Morrisseau to Kevin Hearn, was a “fake.”

The possible purpose – try to dethrone Joe McLeod as the world’s top Morrisseau expert, a title she had started to claim for herself. Nice…

The Report Exposed – It quickly becomes clear, by my close reading of the report, that the intent is clearly NOT, as a real expert is supposed to do, carry out unbiased research to establish the Truth, but to pull out all the stops to “prove” the painting is a “fake” and Joe is a crook. Not nice…

Robertson was commissioned to write the report to help out the specious Hearn v McLeod lawsuit. Doing so secretly, I believe, she was hoping to escape being professionally tainted by her helping out by claiming the painting involved was a “fake.”

When Ms. Robertson very well knew, or ought to have known*** that ALL five paintings she slanged as “fakes,” to be helpful and obliging, were genuine. Unless the internet has not yet reached Wascana Creek.

***From the long published dossier of supporting experts affirming ALL four Otavnik/Seetner paintings. From the widely published results of the Hatfield v Child Trial Judgment by Judge Martial (Mar. 25, 2013) and the Appeal Judgment by Justice Sanderson (Dec. 17, 2013) regarding Sommer’s only other (and totally disastrous) court outing claiming a Morrisseau painting was “fake.”

I believe she was trying too hard to be amenable to the wishes and win the approval of her colleagues who were clearly fronting for a documented fraud.

Robertson, as well as slanging, the four Otavnik/Seetner paintings as fakes***, and the family as some kind of art and tax fraudsters, primarily slanged “Spirit Energy of Mother Earth,” another painting she had not seen, as a fake, and the dealer who sold it, Joe McLeod as some kind of deliberate fraudster and crook. A man, as I said, she never even bothered to talk to.

***Without the public or acknowledged approval of TBAG Director Sharon Godwin, entirely on her own, Robertson published that she had discredited the formerly “authentic” paintings, down to “attributed,” the most devastating reclassification an original work can undergo in the fine art world. Meaning someone now merely “claims” it is by the artist, when everyone knows it is not… but could merely, and more likely, be a look-alike by someone unknown. In auction parlance, “attributed” means “fake.” Robertson knew it and did it deliberately to slang both genuine paintings and decent people who donated them.

The Canada Revenue Agency DOES NOT grant tax status to paintings that are merely “attributed” by someone to someone… Doing so is tax fraud.

My investigation of the Robertson report had exposed over 66 incidents of academic malfeasance. It is no mystery to me, why she took such deliberate steps to hide all public knowledge of what she did behind closed doors, clearly in aid of a specious lawsuit and a documented fraud.

That’s what the Robertson report is based on: paintings she’s never seen, people she has not talked to; documents she has not read; judicial judgments she’s sneered off and totally ignored; experts she has not consulted; and lots of dupes and pictures in books she has thumbed her way through, back home in Wascana Creek.

And a report she has secretly tried in every way, to make sure that it leaves no damaging ripple effects, anywhere in her professional academic bios.

It’s quite clear that Mr. Sommer who secretly commissioned her to fabricate her “expert” report, had failed to tell Robertson – who lives in far-off, and remote Wascana Creek, SK – of two important Ontario Court regulations, she was clearly totally ignorant of, and she believed would never apply to her and her report:

the Ontario Protection of Public Participation Act of 2015 (Section 137 of the Courts of Justice Act), which allows the public access to ALL court documents in any case deemed to be of “public interest,” which the Hearn v McLeod lawsuit certainly is, and encourages publication of information that keeps the public informed about important public issues.

the Ontario Rules of Civil Procedure – Rule 4.1 Duty of an Expert, that demands anyone claiming to be an “expert” must conform to it.

4.1.01(1)It is the duty of every expert engaged by or on behalf of a party to provide evidence in relation to a proceeding under these rules,

(a) to provide opinion evidence that is fair, objective and non-partisan;

(b) to provide opinion evidence that is related only to matters that are within the expert’s area of expertiseand

Duty Prevails

(2)The duty in subrule (1) prevails over any obligation owed by the expert to the party by whom or on whose behalf he or she is engaged. O.Reg. 438/08, s.8.

It is beyond me, how any professional, intending to be an “expert” in a court proceeding would not research the Court Rules governing the Duties of an Expert, so she could comport with its strictures… But then Robertson, again and again, just disdainfully dismisses and willfully ignores anyone and anything she disagrees with, including multiple judges, justices, forensic experts, and independent authorities, auctioneers, gallery operators, and fine art collectors.

I know of no other academic who so aggressively sports her partisan passions on the sleeve of her supposed “arm’s length” expertise.

PDF3 Forensic Report – Davies – “Spirit Energy of Mother Earth 1974″

Note: I had been gathering or taking high resolution photos of the backs of FOUR key Morrisseau BDP paintings over the years, to take to a forensic expert. This was one. When, after several years, I found a public benefactor to pay for it, I provided my high res photos. All FOUR paintings were found to be authentic Morrisseaus.

A completed forensic report on “Spirit Energy” of Sep. 25, 2017, which I produced for the court on Oct. 2, 2017, proved the painting was authentic.


It is my belief, that since the subject painting “Spirit Energy of Mother Earth” has now been proven to be a genuine work by Norval Morrisseau, by an independent handwriting professional, the forensic report killed the lawsuit entirely, in every particular – it cannot succeed on any front – because:

IT EXTINGUISHED ANY POSSIBLE “CLOUD OF TITLE” (i.e. doubt) regarding the authorship of the art, (as Justice Sanderson told Jonathan Sommer discussing the same topic regarding “Wheel of Life” in Hatfield v Child) and that therefore:

– the lawsuit has No Cause of Action left on any level:

UNSUBSTANTIATED ALLEGATIONS BY HEARN IT WAS “FAKE” are no longer supportable for a forensically authenticated work

NO FRAUD WAS COMMITTED by the seller, in selling a client a proven genuine Morrisseau painting

LACK OF DETAILED, OR ACCURATE PROVENANCE IS IMMATERIAL regarding a proven genuine work by the artist, and plays no supportive or denigrating role, whatever, about its authenticity

NOTE: NOT DISCLOSING – aka REFUSING – PROVENANCE is the universal custom in the Canadian fine art industry for a whole host of reasons. For one thing, owners do NOT want their name disclosed, to prevent burglars from breaking in. The most common term, used thousands of times in countless thousands of fine art catalogue descriptions, every year, to describe Provenance, is “Private Collection.” The “privates” are NEVER disclosed.

I have bought thousands of art and memorabilia items – including many valuable paintings – from most of Canada’s top fine art auctioneers. In not a single case would the auction house disclose who owned it before I got it. Even though I got very insistent.

If they did ‘fess up, the auction house or gallery would immediately lose that client, and every other who heard about these privacy disclosures made to buyers.

– THE EXISTENCE OR NOT, OF OTHER PURPORTED “FAKES” IS IMMATERIAL regarding this proven genuine work by the artist

– FURTHERMORE: The Hiroshima & Nagasaki Bombshell – With lawyer Jonathan Sommer, suddenly (on Oct. 3, 2017), in a stunning “bombshell” announcement, saying he was dropping from the lawsuit, the Sommer “Dream Team Duo” – Donald Robinson the “expert,” his “expert” report, and Ritchie Sinclair, the chief enabler for the lawsuit, and the chief witness – the foundational evidence, and top witnesses for the case, totally disappear from support for the Plaintiff’s Claim.

By strategically dumping the Dream Team Duo, who for nine years have been the backbone of Sommer’s two Morrisseau “fakes” cases (Hatfield v Child & Hearn v McLeod) – and the only two in Canadian history – they escape entirely, being held accountable to demonstrate their “evidence” for their fraudulent charges and their libelous and defamatory claims.

So effectively preventing cross-examination accountability that would embarrass anyone involved in setting up this fraud…

The Sommer/Sinclair Combine – Both (two) Sommer/Sinclair combine lawsuits were engineered by Ritchie Sinclair, who, in each case, convinced a person who had bought a Morrisseau painting from a gallery that had turned Sinclair down as a gallery artist, that it was a “fake,” and that they should sue the gallery. And that they should hire Jonathan Sommer, from remote rural Sutton, Quebec, as their lawyer.

Thus, thanks only to Sinclair’s engineering, Sommer became the only lawyer in Canada – out of 90,000 – to ever take a Morrisseau “fakes” case to court, the Hatfield v Child case in 2011, and “Wheel of Life 1979.” (Which Sommer disastrously lost, both at trial and in the Appeal, in 2013.)

Now he’s going to give it one more try, with Hearn v McLeod in 2017, and “Spirit Energy of Mother Earth 1974.”

Then in his Nagasaki follow-up, Sommer killed off the man, Ritchie Sinclair, who had started it all, and swept his longtime collaborator and convicted art terrorist, out of sight, leaving some minor players to fill in as witnesses.

Suddenly, the only two people with direct knowledge of the painting and its alleged “AGO” (Art Gallery of Ontario) dismounting, but who don’t want to say it, are replaced by a patch work of minor players who know nothing, but are eager to tell it…

A balloon without air… offers to take you for a ride on Dec. 4, 2017… when the Hearn v McLeod Estate trial is set to begin.

PDF4 Judgment – Hatfield v Child – Trial Judge Martial – Mar 2013

The Hatfield v Child trial was the longest fine art trial in Canadian history. In his judgment Deputy Judge Paul J Martial totally dismissed and rejected in every possible way the claims of Jonathan Sommer, his “expert,” Donald Robinson, his “expert report,” and his chief witness Ritchie Sinclair, on Mar. 25, 2013.

Martial’s judgment totally killed any pretence that Sommer and his Dream Team – at best – had a clue about what they were talking about, and – at worst – were total fraudsters because they had spectacularly failed to produce for the court, an iota of evidence for what they were saying. And that astonishing failure, was on A “FAKE” PAINTING OF THEIR OWN CHOICE… And which, turned out to be ruled 100% genuine both front and back by both the trial judge, and the Appeal Justice, as well as the forensic expert.

Judge Martial chided the Plaintiff’s lawyer, Jonathan Sommer, for failing to produce the kind and quality of witnesses he expected to see in a court case. (It was the fourth time – out of four attempts – that an “expert report” produced by Donald Robinson for a lawsuit was rejected.)

And yet, unforgivably to my mind, Jonathan Sommer appealed Judge Martial’s judgment, for his client, the gullible and deluded Margaret Hatfield.

PDF5 Judgment – Hatfield v Child – Appeal Justice Sanderson – Dec 2013

Combined with her personal scorching – I saw her; I heard her – of the Plaintiff’s Claim, the Plaintiff, and Mr. Sommer’s arguments, Justice Mary Anne Sanderson, issued a withering judgment, that totally supported Judge Martial’s claim and found that: the painting the Sommer Dream Team called fake was 100% genuine, front and back, the Plaintiff misguided, the witnesses not believable, that none had produced credible evidence of any kind, and the lawyer as having utterly failed to produce any proof or substantiation for the claim.

Justice Sanderson targeted for special scorn (certainly, I believe, unusual for a Justice), Sommer’s “expert” Donald Robinson, who said Norval never signed a single BDP. When Judge Martial said there was “overwhelming evidence” that Norval signed possibly thousands of BDPs.

In fact documents prove Robinson had bought 31 BDPs for $54,000 from Potter auctions, and sold many as genuine Morrisseaus including Wanker #1. In fact, auctioneer Randy Potter had sold some 2,000 Morrisseaus over the years. And not a single one was ever returned as a “fake.” And no one ever demanded money back. And that includes Donald Robinson who never returned a single one of his 31 BDPs demanding a refund.

PDF6 Forensic Report – Dr. Singla – “SOMA 1976”

A key forensic corroborative resource for the Hatfield v Child lawsuit, regarding the authenticity of “Wheel of Life 1979,” was my own SOMA 1976.

The Deiter Voss Affidavit had provided two original BDP signatures that were authenticated as being signed by Morrisseau. SOMA 1976, provided a third authentic BDP signature, because Donald Robinson, the self-styled “world’s top Morrisseau expert,” had been the under bidder on this painting on Jan. 26, 2000.

In fact SOMA 1976, became the first Morrisseau painting to be given an authenticity rating of 100% by a forensic handwriting expert Dr. Atul K Singla PhD (Forensics). It is also, I believe, the only Morrisseau painting to have been authenticated, years apart, by two different forensic experts.

The Martial Trial, and the Sanderson Appeal had hugely, judicially established that there was “overwhelming evidence” that Norval signed possibly thousands of BDP signatures on the backs of his paintings. Both judges hugely scorched the Morrisseau “fakes” case, and quality of witnesses (uncredentialed, unqualified, untrustworthy and rejected) that Jonathan Sommer had brought to court.

By the fall of 2017 some 150 plus forensic reports had been completed, ALL finding that BDPs were authentically signed by Morrisseau. Without a single failing.

In preparation for the Hearn v McLeod trial I had sought out four specific paintings for forensic analysis, the results of which I hoped to introduce into the proceedings at some point.

The Intervener Fails; the Intervention is Highly Successful – On Oct. 2, 2017 I managed to make the court aware that I had the forensic proof that the painting called a “fake” in the Hearn trial was genuine. Justice Morgan pointed the way to get this done so it would be acceptable to the procedure. My intervention was highly successful, even though I failed to win intervener status. My forensic authentication document would be formally introduced into court by another party.

PDF7 Endorsement – Justice Morgan – Oct 2017

Two other people were ruthlessly determined to ignore BDP forensics of any kind, to get in their way of slanging people and their art.

Carmen Robertson, who has a long record of ignoring determinative judicial judgments, that interfere with her opinion, refused to have “Spirit Energy of Mother Earth,” a painting she had not even seen, forensically tested, before starting to slang it, and its signature as fake.

At the same time, Sommer, her commissioning lawyer, said he would NOT be using BDP forensics as part of the Hearn v McLeod case, this time around.

As preposterous as it sounds, this lawyer was saying (in, that, this time around, he was going to ignore the forensic evidence on the back of the Hearn painting, which featured a huge Morrisseau BDP signature highly suitable for scientific testing.

This was tantamount to a lawyer or prosecutor saying they were just going to ignore and NOT use the blood, the DNA, and the fingerprints on the murder weapon, this time around, in trying a defendant for murder…

And to prevent the forensics from being introduced in his court case Jonathan Sommer was ruthless in trying to get his way to prevent others from doing so.

He moved ruthlessly to try to:

– on Aug. 14, 2017 angrily yelling at John Goldi, multiple times, to “get out of the courtroom or I’ll have you thrown out” before Justice Grant R Dow entered court, where I had quietly sat down with my wife

– demand that Justice Dow throw me out of court – he refused

– block John Goldi from getting intervener status on Oct. 2, 2017

– prevent John Goldi from entering his four forensic reports to the court, especially the one authenticating the subject painting that Sommer called “fake,” as an authentic work

– prevent John Goldi from getting access to court records

– shut down John Goldi’s blog

– prevent John Goldi from attending court to stop his reporting

– demand that John Goldi be “Gagged,” fined, and incarcerated

– attack John Goldi personally, and through Sommer’s collaborators, by targeting his wife Joan Goldi who is not, and never has been, or is in any way noted or responsible in any way for

Vile Gender Bigotry – I note, in the ultimate absurdity, Carmen Robertson as the ultimate gender bigot in writing repeatedly, as she does, about Joan and John Goldi, or “the Goldis” when she has never met or contacted either my wife or myself. And though Joan Goldi is one of Canada’s most honoured award-winning film and television producers in history***, she has NEVER been noted anywhere as in any way involved in my private Blog. From where is Robertson regurgitating this mean-mouthed “wife-of” drivel?

*** I know of no other Canadian television producer who has won 130 international film and television awards. I know of no other Canadian who has won four Gold Medals for a documentary program, at an international festival. I know of no other Canadian who has won the PLATINUM super prize for Investigative Journalism at the world’s largest film and TV festival. I know of no other Canadian film or television producer who has won DOUBLE GOLDS, even once… And Joan Goldi did it three times with different programs, at three different American international film and television festivals, with one of her Silver Medalists being beaten out by one of her own Gold Medalists. 

Joan Goldi clearly has enough on her plate without taking part in my own private Blog.

PDF8 Judgment – White v Sinclair – Judge Kilian

Longtime Sommer business partner and unceremoniously dethroned Dream Team member, the notorious art terrorist, Ritchie Sinclair, who had been discredited by judge after judge, was finally fined the maximum – $28,750 – in Small Claims Court for his libelous and defamatory web postings against James White and his genuine Morrisseau BDP art.
Wrote Judge Kilian

“… he (Sinclair) presented no evidence of any experts to substantiate his assertion.The fact that he had worked with Norval Morrisseau does not automatically make him an expert and his testimony clearly showed he is not…

“His (Sinclair’s) comments were made recklessly with total disregard for the truth or their consequences… I am satisfied that the drastic drop in the Plaintiff’s business was in large part due to the Defendant’s website… Because of his (Sinclair’s) reckless false allegations disseminated on a world-wide media…”
– Judgment, Deputy Judge CW Kilian, Toronto, Aug. 5, 2015

PDF9 Judgment – Dealers v Sinclair – Justice Lederer – Dec 2008

Justice Lederer, in 2008, was already warning the world about the clearly libelous and defamatory information that Sinclair had on his website, noting that Sinclair was making allegations about paintings he had never even seen. And was making wild conjectures about the backs of paintings for which no pictures were even published. And, said Justice Lederer, he doubted that Sinclair would ever be able to substantiate any of his claims because of the sheer number of paintings involved, none of which he had even seen, or would ever be able to.

In fact, years later, an incredulous Judge Martial also expressed his derision about Sinclair’s self-proclaimed ability to decide a painting is a fake without even seeing it.

Copycat on Wascana Creek – In fact the heart of Carmen Robertson’s secret report, and her academic research modus operandi is clearly copied from the school dropout and convicted Libeler and Defamer Sinclair. Her ludicrously small determinative database of ONLY 44 paintings includes ONLY EIGHT PAINTINGS SHE SAYS SHE HAS “OBSERVED.” The rest she has only SEEN AS DUPES in picture books or as low res jpegs. And then on that basis going on to libel and slander genuine paintings and good people.

It’s exactly what Sinclair did that got him in hot water with multiple judges and resulted in him becoming a convicted art terrorist.

I Dream of Morrisseau – It’s actually worse than that with Robertson. The evidence is ABSOLUTELY CLEAR that Robertson DID NOT EVEN SEE OR EXAMINE THOSE EIGHT “OBSERVED” PAINTINGS for the purposes of her secret slanging report. She, lists them herself, as having actually “OBSERVED” them YEARS BEFORE SHE WAS EVEN GIVEN THE JOB OF WRITING THIS REPORT BY JONATHAN SOMMER, to help him with his specious Hearn v McLeod lawsuit.

To belabour a point, Robertson – by her own documentation – makes clear that she DID NOT “examine in hand” a single painting for the purposes of this report. NOT ONE. That is academic research malfeasance of the highest order.

Convicted art terrorist Ritchie Sinclair at least was working from low res jpegs; Robertson is boldly and brashly just going on memory, TO SLANG GOOD PEOPLE AND THEIR GENUINE ART. And then wants us to take her seriously as an academic… or a Morrisseau scholar. It ain’t gonna happen.

I wouldn’t let her near any of my Morrisseaus, and knew few who would…

The Stunning Reality – This is the ONLY lawsuit in the world alleging a Morrisseau “fake.” And only the second in world history, the previous one also filed by the same Sommer/Sinclair combine.

Where’s the Smoke; Where’s the Fire – There are – as we speak – 56, that’s 56 folks, lawsuits against pedophile priests IN NEW BRUNSWICK ALONE.

Finally, even though, faced with what he clearly considered a Libeler and Defamatory publisher, Justice Lederer said FREE SPEECH was, for him, the imperative governing credo, and must stand, until the issue could be properly aired and settled in court. In spite of Sinclair publishing vile racist, libelous and defamatory stuff – for which he had NO PROOF – Justice Lederer refused to grant an injunction ordering Sinclair to take down his website and banning Sinclair from publishing.

And in fact it would take seven years until another Judge, CW Kilian, was able to look at the evidence in the spin-off from the lawsuit Justice Lederer commented on, White v Sinclair. And angrily fined Sinclair the maximum, for Libel and Defamation.

PDF10 Judgment – Reg v Otavnik – Lacavera – May 2013

Only weeks after Judge Martial scorched Jonathan Sommer’s Dream Team in Hatfield v Child (Mar. 25, 2013) another Justice took a crack at Ritchie Sinclair, Sommer’s longtime business partner and legal advisor (May 17, 2013)

In early 2010, Sinclair had lied to Toronto Police about Joe Otavnik as being DANGEROUS, and MAKING HIM FEAR FOR HIS LIFE. And swore out a criminal complaint.

The Fraudsters in Overdrive – In fact, on Apr. 9, 2010, Sinclair had mocked up a false document for police which listed some eight people as involved in a criminal conspiracy to carry out art fraud. Sinclair listed my name, along with Joe McLeod, Ugo Matulic, Joe Otavnik, Jim White, Wolf Morrisseau, and Michael Moniz as the heart of the criminal syndicate. THAT’S SEVEN PEOPLE, NOT A SINGLE ONE OF WHOM I HAD EVEN EVER MET, AND ALSO NEVER EVEN TALKED TO ON THE PHONE, OR EMAILED. It would be months, and in some cases, years before I ever met a single one of them. 

Blaming the Victim – Justice Lacavera – I heard him; I saw him – said in his judgment that Sinclair’s claims to police and his testimony on the stand were unbelievable, and repeatedly belied by his own actions, time and again. That far from Otavnik being the so-called stalker, it was Sinclair who was the stalker and the aggressor in all their encounters, and who, despite court rules, kept aggressively photographing Otavnik in courtrooms.

In fact a key document in that court proceeding was a Site Meter printout that traced a Death Threat against Ugo Matulic to Sinclair’s own home computer. Matulic reported it to the Calgary Police.

This was in 2010 when Sinclair’s physical harassment of people – including of me in a courtroom foyer – ultimately led Toronto Police to arrest him and charge him with multiple counts of Criminally Harassing the 82 year old Joe McLeod, Dec. 18, 2010.

Nothing would stop Sinclair from aggressively stalking, harassing, and physically intimidating and attacking people. In another courtroom foyer, on Mar. 7, 2014, Sinclair, this time with his roommate Garth Cole physically assaulted my witness Joe Otavnik by throwing heavy legal binders at him, on behalf of the Sommer Law Firm, while Otavnik was pulling a cart. Then Cole threw more heavy binders at my wife, as she came out of a courtroom carrying boxes. He hit her on the back shouting, “Take that you fucking bitch.”

All the while Sinclair was taking photos of the mayhem, as people looked on in amazement. I had court security force Sinclair to delete his illegal photos.

Both were working as delivery men for Jonathan Sommer’s Law Firm on that occasion.

PDF11 Forensic Report – Davies – Wanker #1 – “Warriors in Circle of Life”

Note: Another forensic report based on high resolution photos I provided.

A forensic report on “Warriors” of Sep. 25, 2017, which I brought to court on Oct. 2, 2017, proved the painting was authentic.

Wanker #1 front and back exactly as I saw them both as I examined the painting and the signature closely in Robbie’s home.

Robbie, a reader of my blog, using information and documents he found there, called me to inform me that he owned the first Morrisseau BDP painting Donald Robinson of Kinsman Robinson Galleries, had bought at Potter’s Kahn auction in 1999, “Warriors in Circle of Life 1974.” So I called it KRG “Wanker #1.” A few months later Paul Robinson, marked it up 700% and sold it to Robbie’s wife.

Wanker – Wanker comes from my compression of names of two publishers of fraudulent Morrisseau “fakes” reports – Professor Wang – one of three professors hired by the Robinsons to mock up a fakes report for them, and KR from Kinsman Robinson Galleries, therefore WangKR or Wanker.

KRG bought 31 Wankers (the Wanker 31) at Potter’s auction in 1999-2000. When the flood of cheap Morrisseaus from northern Ontario depressed the high prices he charged at his Toronto gallery Robinson knew desperate measures were called for as his business competitors outsold him. His own customers bought elsewhere.

So Robinson publicized all such BDP paintings as “fakes.” The Robinsons sold the Wanker 15 to unwitting dupes; they gave the Wanker 16 to the NMHS to use as templates to indoctrinate them with what kind of paintings KRG operatives wanted them to recognize and call “fakes,” and send to the ovens for disposal.

Mr. Robinson told Judge Martial, lamely, and with his usual dash of insincerity – I heard him; I saw him; I read it in the transcripts – he had tried to make restitution to the unhappy KRG clients who had paid big time for “fakes,” but that his records were sketchy. So was his grip on the truth. Robbie’s wife never got a call to offer restitution.

Robbie invited me over to his house to talk, and take pictures, and tried to sell Wanker #1 to me – among others he had already approached. He knew it would totally demolish Robinson and KRG as dishonest, for starters. (I told him I don’t do cheque book journalism.)

He was right. In one fell swoop Wanker #1 totally discredited Robinson as a serial perjurer before Judge Martial, and Kinsman Robinson Galleries as a hugely malfeasant and deceptive art gallery which victimizes its clients, by knowingly selling them fakes and refusing to make restitution.

It hugely proved Robinson lied to Judge Martial, about his knowledge and records of what happened to the Wankers, as sketchy, and that he sold them for “a small profit” – in fact he had marked up Warriors by 709% for resale.

And 15 years after buying the painting Robbie’s wife discovered KRG had all her vital statistics and contact information in their computer all along…

When I told Robbie that I would update the Wanker story, he was unhappy, even though he had already sent images and the information to other parties including another blogger…

BLOCKED FOR LIFE – The author of the vilest letter I have ever received.

Then, astonishingly and literally out of the blue, I received a very nasty, denigrating and discrediting threatening letter from Kevin Hearn lawyer Jonathan Sommer warning me of the direst consequences if I published the story of what Robbie had told me about Wanker #1, the Robinsons, and Kinsman Robinson Galleries.

It was the most aggressively vile and threatening letter I have ever received in 50 years of professional life. (It is one of the reasons I have, for years, BLOCKED the emails of Sommer and his business partner Ritchie Sinclair, from our email service. They share the notoriety, that in the entire email universe of countless hundreds of emails I receive every day from all over the world, they are the ONLY TWO accorded this distinction.)

Sommer’s sudden appearance related to Wanker #1, was astonishing, since Sommer had nothing to do with this story, and had not even been a topic of conversation with Robbie. In fact, Robbie did NOT care a hoot about the HOAX or the Hearn lawsuit.

Robbie was single-mindedly, and ONLY interested in exploiting a situation he had lucked into – thanks to my blog; he told me so – that could turn his painting into a giant cash cow for himself and his wife.

All our talk was about the Robinsons lying in front of Judge Martial, and KRG’s glaring art gallery malfeasance and deception. And discussing Robbie’s keen interest to what he repeatedly referred to as “leveraging them,” to get the maximum out of the Robinsons. I called it blackmail.

And Robbie clearly had the goods to do it.

After an hour of discussion, Robbie began to see that I was an impediment in that process. I refused to buy his painting, and intended to publish.

It turned out that Robbie recruited Sommer and saw him as an aggressive intervener to prevent me from publishing, so he could ramp up the pressure on the Robinsons to pay him top dollar to make “Wanker #1” disappear from the face of the earth…

Sommer was clearly pulling out all stops to prevent his chief “expert” and “expert report” writer, in the Hearn v McLeod, from being exposed as a serial perjurer, a liar, and a discredited art gallery operator. If I published what I had learned, he knew his top “expert” would never survive a cross-examination.

I ignored Sommer’s invective and threats and published all about Wanker #1, the Robinsons and Kinsman Robinson Galleries.

Donald Robinson, whom Ritchie Sinclair – his longtime fraud enforcer – calls, “My Mentor,” have been hugely and totally discredited, without a single failing, by some 12 court decisions and lawsuit settlements, as exposed on my Blog. On Oct. 3, 2017 Jonathan Sommer finally came to the same conclusion: they are too much damaged goods, and dumped BOTH members of his nine-year long Dream Team promoting the Morrisseau “fakes” fraud. And went looking for new people to take their place.

Nothing happened to me.

Thanks to my academic and journalistic rigour in publishing only the Truth, always being sure of my facts, my research, and the documents I have, with which I can back up everything I say. And because I follow stringently the terms of the Supreme Court of Canada’s “Defence of Responsible Communication” and the “Defence of Fair Comment” both defined in 2009.

The Hiroshima Moment But I believe what I exposed about Robinson in the past two years, on my blog, including the latest Forensic Report authenticating a painting Robinson called “fake,” created the Hiroshima moment on Oct. 3, 2017 when Jonathan Sommer told Justice Morgan that Robinson, his nine year long “expert” on the Sommer Dream Team, would NOT be appearing with his expert report in the Hearn v McLeod trial.

An appearance the world had been looking forward to for six long years…

Go To LINK – Robinson Discredited
Go Ask Robbie to Show You His #1 Wanker

PDF16 KRG Million Dollar SLAPP SUIT Release Absolving Ugo Matulic

Shucks. Now no cross-examination… to come up with answers for questions raised by my blog… from the world’s most discredited “art expert.”

Canada’s own Donald Robinson launched the biggest act of cultural genocide against the Indigenous art and artists of Canada in history.

PDF12 Forensic Report – Davies – “Water Spirits 1976”
PDF13 Forensic Report – Davies – “Upper & Lower Worlds 1976”

Note: Two more forensic reports based on high resolution photos I provided.

A forensic report on “Water Spirits” and “Upper & Lower Worlds” of Sep. 25, 2017, which I brought to court on Oct. 2, 2017, proved the paintings were both authentic.

“Water Spirits” was a key Morrisseau BDP, which Bryant Ross of Coghlan Art, in Aldergrove, BC, tried to sell for years (late 1990s-2010) as a “direct-from-the-artist” Morrisseau for $12,500.

His friend Ritchie Sinclair blogged that it was a wonderful Morrisseau in 2008. (Ross had been a business collaborator with KRG, since c 1989, but especially after 2001, when Donald Robinson launched the Morrisseau “fakes” fraud in the National Post.)

For his contribution to support the Morrisseau “fakes” HOAX, in 2010 Ross publicly destroyed “Water Spirits,” by painting a red cross over it before the television cameras in Vancouver. In 2014 Ross and Sinclair put “Water Spirits” into the Ottawa SAW Gallery’s “F IS FOR FAKE” exhibition, where I saw it, and surreptitiously photographed it. Three years later I found a public benefactor to pay for a forensic examination. It proved genuine.

“Upper & Lower Worlds” was another Ross painting he had failed to sell, so, taking a leaf out of the Robinson’s play book, he just called it fake. Ross put it up in the SAW Gallery F IS FOR FAKE exhibit, all paid for by public funds and grant money. To attack decent, honest, reputable commercial art dealers on behalf of a lowlife art fraud.

I also photographed it, both front and back. It came back as genuine also.

The notorious and malicious “F IS FOR FAKE” exhibition just exposes a whole host of fraudsters in suits who had a hand in mounting this vile anti-Indigenous art and artists exhibition: Greg Hill, chief advisor from the National Gallery of Canada, Jason St-Laurent, curator, with a hate-on for commercial art galleries; Bryant Ross, Coghlan art huckster; and again, convicted art terrorist Ritchie Sinclair.

Dismount “Wheel of Life” & Public Apology – When I alerted Artworld to the calumny by the fraudsters, it forced the machinating curator, Jason St-Laurent and the SAW Gallery, to dismount “Wheel of Life” from the exhibit, and put a public apology in the Ottawa Citizen, on Sep. 3, 2014.

A Damning Slam-Dunk Against the Establishment Fraudsters – With these two new, additional forensic reports (of Sep. 2017) it proves that ALL THREE PAINTINGS that Jason St-Laurent, Greg Hill, and Ritchie Sinclair and their sneaky and anonymous “entertainment lawyer” advisor, maliciously called “fake,” were IN FACT ALL genuine Morrisseau BDP paintings.

A collection of sneaky people, at Ottawa’s SAW Gallery, maliciously and deliberately attacking three genunine Morrisseau paintings, reputable business people, and Canada’s Indigenous fine art heritage, all funded entirely by the Canadian tax-paying public. Where’s the public outrage? I say fire the lot and close down the damn gallery… Stamp out the institutional racism and let them try and make an honest living on their own dollar…

Vicious Cultural Genocide – And they damn well knew it, but had only one interest – self-interest and promoting a fraud… no matter how much cultural destruction they were leaving in their wake…

If this is not the grossest slap in the face of the National Gallery of Canada, and its continuing malfeasance in allowing its employees to front and promote a fraud that has done Great Irreparable Harm to the Indigenous art and artists of Canada’s Indigenous people I don’t know what is…

Where are the parliamentarians in enforcing decency and ethics on employees in federal government institutions to stop their racist victimizing of Canada’s Indigenous peoples?

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Canada’s Dirty Little Secret – Exposed by Forensics, Sep. 2017

MORE “CANADA AT 150” Things to Celebrate…

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A Malicious Vendetta v McLeod & Otavnik Art – 2008-2017

Last Update Nov. 17 – On November 3, 2017 longtime, respected Canadian art dealer, Joe Otavnik filed suit against Professor Carmen Robertson, of the University of Regina’s Department of Visual Arts, for Libel and Defamation – Plaintiff’s Claim – below

Racism & Cultural Genocide Go Hand in Hand in Ottawa – It’s nothing if not sickening in the extreme, that the Ottawa cultural establishment continues to be so viciously racist, in 2017, that they can collaborate and use public funds, to display and denigrate three genuine paintings of Norval Morrisseau as “fakes,” just because they continue to harbour the same old traditional sneering “white” attitude towards Canada’s Indigenous art and artists… which kept them out of the National Gallery of Canada for 126 years… That’s the continuing reality for Canada’s Indigenous people, and the real “Canada at 150…”

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Professor Robertson’s Telltale Table of Dupe Research

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“After Life Spirit of the Fourth, 1958” TBAG – Part 1

Last Major Update – Oct. 25

U of Regina Prof Intimates the Thunder Bay Art Gallery is Malfeasantly Promoting and Showcasing a Fake Morrisseau Painting 

“A University of Regina Professor of Visual Arts & Member of the Norval Morrisseau Heritage Society (NMHS), Carmen Robertson, damningly indicates that longtime Director of the Thunder Bay Art Gallery (TBAG), Sharon Godwin, is being an unwitting agent in malfeasantly promoting and showcasing a lowlife Morrisseau fake, “After Life Spirit of the Fourth, 1958.”

“After Life Spirit of the Fourth 1958″ the jewel in the crown of the TBAG”s Morrisseau collection, contains FOUR Wascana Floaters, and so, in Professor Robertson’s learned “expert” opinion, is a totally “fake” Morrisseau. 

In an “expert report,” filed with a Toronto court, in which she lays out her “proof” for why a Morrisseau painting, owned by Kevin Hearn, is a fake, University of Regina Visual Arts Associate Professor Carmen Robertson, also makes, what can only be described as an explosive and totally damning case, that longtime Director of the Thunder Bay Art Gallery, Sharon Godwin, made a terrible mistake in promoting and publicizing “After Life Spirit of the Fourth, 1958” in a 2010 TBAG show “Copper Thunderbird – Thirty Years – organized by the Thunder Bay Art Gallery.”

Two Decorative Wascana Floaters, unconnected, floating about on Kevin Hearn’s “Spirit Energy of Mother Earth.”  It’s a damning thing Professor Robertson claims in her “expert report,” that only a forger would ever do. And certainly NEVER Norval.

Introducing the “Wascana Floater Test” of Authenticity – In her “expert report” filed in a Toronto court case, Professor Robertson lays out what she claims is her primary proof, of how to tell a fake Morrisseau.

And she documents the source for her own personal “expert” Morrisseau “fakes yardstick,” specifically, Norval Morrisseau’s use of the “Divided Circle” in his paintings.

She prominently notes, in at least two of her major publications, that, in a 1964 letter to fellow artist Susan Ross, Norval told Ross the Divided Circle was his favourite painting sign. And Norval apparently drew Ross a picture OF EXACTLY WHAT HE WAS TALKING ABOUT. (Robertson “expert” report on “Spirit Energy…”, p 37, fn 24)

Professor Robertson’s version of what she says Norval always painted and NEVER diverged from. Unfortunately for her, her own colleagues have published countless paintings they call genuine that proves her claim is ludicrous and her Wascana Floater test of authenticity laughable. So her own colleagues totally undermine her foundational argument that claims Kevin Hearn’s painting is fake…

From this primary archival source*** Professor Robertson developed her claim that Norval used his favourite sign often – no one I know of, disputes that – BUT SHE CLAIMS, ALWAYS connected by “Lines of Communication” to other elements in a painting. Which is her totally unsubstantiated claim – and a demonstrably farcical one – that Norval, according to Robertson, never used “unconnected” or “unlinked” Divided Circles floating loosely and unfettered, about on ANY of his canvases.

***This is, in fact, one of the very few actual “primary” sources that Professor Robertson uses, to substantiate a claim she makes. Almost everything else she refers to are “secondary” sources – dupes from picture books, dupes of paintings she has not seen – or “observed” as she calls it – or dupes of opinions from friends and colleagues (95% her only listed sources), or those who have commissioned her to say things.

Primary sources, are the basic building blocks professional historians and serious researching academics use, being the actual certified documents actually used or issued by historical actors, as opposed to third party hearsay accounts of what commentators think might have been going on.

Secondary sources, or evidence, whether of picture, text, or conversations, are always a lesser, and notoriously unreliable standard of evidence, of the hearsay variety. Professor Robertson’s malfeasance as an academic, in this regard, is further hugely displayed in that she virtually never even researches or tests her secondary source claims or respondents.

And chronically, just ignores any inconvenient evidence, interview sources, primary documents (contrary judgments, forensics, experts, publications) which she dislikes, or undermine her fabricated thesis. She simply pretends that they don’t exist… As a historian, as an investigative reporter, and a Canadian heritage blogger, I find this an unacceptable lapse in academic scholarship.

However this may wash on Wascana Creek…

In fact, her entire book “Mythologizing Norval Morrisseau,” is nothing but a mindless collage of undigested and unresearched and unvetted, let alone tested newspaper articles, which she invariable quotes and accepts at face value. Including her fraudulent claim about those “Morrisseau fakes” out there.

The book is worthless as academic scholarship for this reason, and for mindlessly repeating and perpetuating tons of utterly false history, that does a huge disservice to serious Morrisseau scholarship.

In fact her central thesis in the book, claiming that Norval was somehow a victim of “colonialism” and a hapless and helpless victim of white media (the press and filmmakers), is so utterly ludicrous it is beneath contempt. If there was ever any person who was NOT colonialized or victimized by anyone, in any way, shape or form, that person was Norval Morrisseau. He summed up his view of the surrounding white society in which he grew up.

“White man’s paper’s no fucking good.” (Pollock, Dear M, p39)

In every way, and every day, Norval showed that if anyone ever was NOT colonialized or bound by a single social convention that might have restricted him, that was Norval Morrisseau. If any Canadian ever lived life totally outside the bounds of any moral or ethical, sexual, or societal constraint, that person was Norval Morrisseau.

“I’ve experienced it all, bestiality, animals, homosexuality, men, heterosexuality, women. The only thing I’ve never fucked is a turtle.” Then we both broke out laughing at the outrageousness of his comment.” (Stevens, Picasso p158)

Why does Robertson ignore Stevens or Pollock, which she notes, as references, but apparently forgot to read. Is it because they totally destroy her contrived pet thesis?

And a final sign off on the “poor Norval thesis,” by Pollock himself, who wrote, of the wild man in his life, whom no one could control, Norval Morrisseau.

He’s caused me more problems than any other single human being on the face of the earth. (Pollock, Dear M, p42)

Death-bed Will or Crass Manipulation? – It’s been two years since Norval’s old drinking buddy Gary Lamont (2005) said Norval couldn’t recognize him at all when he stared into his eyes. (Confirmed by Norval’s own son Christian in 2006). Read the will dated only a month before Norval died. Does it sound like an “Indian’s” “sharing” will, or the possessive craziness of “greedy white men?” (Gabe Vadas who had been wielding Norval’s Power of Attorney since 1990, and Don Robinson since 2004.) Is there really anyone, in this world or the next, who thinks Norval was mentally alert enough to have had anything to do with this? Or that signature? NOTICE how the NMHS is hugely involved and compromised in this vile document that totally cuts out ALL Norval’s Indigenous children from being beneficiaries of his personal estate. Reserving ALL he has left, to the control of a greedy, grasping, group of white manipulators. Call it what you will; I call it elder abuse.

This startling encomium to Norval’s ruthlessness, even to people who meant him well, Pollock claimed, amazingly enough, to rank as more troublesome than the behaviour of the man who gave him HIV Aids, and caused his premature death…

Because if there ever was a human being who did it “my way,” that was Norval Morrisseau, who never was anyone’s patsy, anyone’s stooge, and certainly never ever a victim of colonialism.

Or bound by anything else either, like even basic duties  to his long-suffering wife, family, and his own seven Indigenous children, ALL OF WHOM, WITH HIS LAST WILL AND TESTAMENT, HE TOTALLY DISOWNED, WITH HIS DYING BREATH…

Norval always made sure that people around him were the victims, never he…

The Worst Case of Elder Abuse in Canadian History

TOP – a normal signature from when Norval was healthy in the 1970s. MIDDLE – a Dementia-debilitated and Parkinson’s Twitch distorted signature from May 17, 2001, the very time that Norval’s care givers had had enough and had placed the artist in a terminal care facility. It’s the signature passed off as Norval’s by Donald Robinson himself, when he told Jim White all 23 of his BDPs were fakes. “Cause Norval said so.” No forensic scientist can possibly tell if it is a fake or real signature, it is so degraded. So we will never know who really did it. BOTTOM – Six Dementia-debilitated years later, this miraculously smooth signature appears on Norval’s Last Will & Testament, two months before he died. If this is how Dementia and Alzheimer’s progresses, I want the cure… And so do you…

In fact the only time Norval was ever a victim of “colonial exploitation,” was when his white caretakers confined, what was left of him, to a terminal care facility in 2001, at the exact same time that they launched the HOAX alleging “Norval says” there are “thousands of fakes by umpteen forgers” out there, and that they all happen to be in the hands of Kinsman Robinson Galleries’ business competitors…

His legal guardians, using Norval’s Power of Attorney, were Gabe Vadas (since 1990) and KRG’s Donald Robinson (since 2004).

Shown two years before he was placed in terminal care… Norval’s Indigenous family has contended Norval was manipulated into disinheriting his children in 2007, and was a gross victim of elder abuse in his declining years. The British Columbia Supreme Court agreed, vacated the Alleged Will and restored half of all Norval owned, to his Indigenous children.

I have written and documented,*** that in 2001, at the moment Norval had the most debilitated Dementia and Parkinson’s ravaged mind and body of any leading Canadian personality in history, he also became a victim of the worst case of elder abuse in Canadian history.

***“A 229 page White Paper on the Physical, Mental, & Artistic Decline of Norval Morrisseau (1980s-2007) (CLICK ME)

Using Norval as a Prop – Greg Hill of the National Gallery of Canada, has made countless false evaluations on genuine Morrisseaus that forensic scientists have totally overturned. He hails from Ottawa, the town that relies on scientists more than any other in Canada, and yet he sneers at their expertise in validating signatures in art. Why the NGC hasn’t fired him for his many acts of cultural genocide  against genuine works of Morrisseau art is inexplicable to me.

And a helpless victim of a white Canadian art establishment (Kinsman Robinson Galleries, the Norval Morrisseau Heritage Society, the National Gallery of Canada, etc.) determined to exploit what was little more than a TIBWAP (insentient body with a pulse), mercilessly for their own selfish purposes.

And the National Gallery of Canada’s Greg Hill was as bad as it gets in this regard, having Norval dragged from his death-bed, so he could prop him up in Ottawa – asleep; he was already dead to the world*** – in front of an assordid gala of “silks, satins, suits, and snoots,” to celebrate the Retrospective of a dying and Demented Indigenous artist, whom NGC bureaucrats and curators had racially barred from exhibiting any of his work – even refusing to buy any – during his entire painting lifetime of some fifty years.

***If you don’t believe me look at photos and videos of the event in Feb. 2006. Or review the CBC news footage of Norval making the acceptance speech, and of the post-gala interviews he gave. PS – Don’t waste your time, there are none. Norval hadn’t been able to remember things, or really communicate anything very intelligible, for years, since 2001-2002. (According to testimony of his brother Wolf.) Now do you know why his white handlers, in desperation, put him in terminal care in 2001? And only brought him out on “special occasions” as a prop, to promote their art sales… In fact at the gala, I am certain that Michele Vadas, who was responsible for Norval’s “meds,” heavily drugged and sedated him before they wheeled him out to the audience, you know, so Norval wouldn’t drool, loll his tongue about, make unseemly noises, or flop his heard around… and embarrass all the nice white folks watching… 

And Norval had not a clue, or did he, that he was being used by the white Colonial Establishment and their collaborating operatives?

Though Norval was always “up front” to help Robinson make a buck selling his paintings, Robinson would not back up Norval in his hour of need, at the National Gallery gala, or when he died. Robinson, who was the first to learn of Norval’s death, did NOT notify Norval’s Indigenous children that he had died.

One noticeable “no show” at the gala, which was supposed to be the crowning peak of Norval’s career as a top Canadian artist, was Donald Robinson of Toronto’s Kinsman Robinson Galleries. The man whose family had made millions off Norval, representing him and manipulating him for 16 years, very well knew there was “nobody home” inside Norval’s head anymore. And he would never know if Robinson skipped out on him, or be aware of the highly inappropriate snub by his “exclusive” dealer.

One is tempted to think that even for Robinson the way that Norval was dragged off his death-bed, and drugged up so he could be displayed by NGC propagandists, was beneath contempt.

Perhaps even he didn’t want to be associated with this gross and vile act of elder abuse, just to advance a bureaucratic agenda at the NGC trying to erase its – very recent – racist past, in excluding Indigenous art and artists from its hallowed halls.

He transcended Canada…

The final rebuff to the “poor Norval was colonialized” canard is that Norval – exactly because he was never bent, or bowed, or cowed by anyone, did something no other Canadian artist, white or non-white ever managed to do. With his renegade-fueled dismissal, of any yoke of colonial convention imposed by his white artistic colleagues, from the unfettered and unsubmissive depths of his own consciousness, he founded and bestowed to the world community of artists, an entirely new language of artistic expression. Ranking him among the ultra few artists in world history – and the only Canadian – to have done so, and so ranking as the equal of Picasso.

Norval even managed to transcend being a Canadian…

Despite his racist establishment detractors at home***, he soared far beyond and above that local and minimalist national restriction.

Norval Morrisseau was truly in a class by himself – a world class artist.

***”I wouldn’t hang that shit in my house.”
– matronly Eaton family heiress

“Tears of My Grandmother 1976” – I believe this huge canvas is the finest Morrisseau painting I have ever seen – anywhere. It soars far above, even his best representational art, by tackling better than any other artist has ever done, the cultural genocide carried out by a colonial white society against a helpless minority population. It is this unique form of artistic expression, which never existed anywhere in the world before, that Norval invented and contributed to the art of mankind. And need I add, there, sitting totally ignored, are a couple of Professor Carmen Robertson’s damnable “Wascana Floaters.” I bought it – you won’t believe this – from a man Kinsman Robinson Galleries and its enforcer Ritchie Sinclair, long said DID NOT EXIST, and was a fictional invention of Randy Potter. And so a man Professor Robertson also did NOT bother to seek out, or interview, before writing her “expert”report. That man is David Voss, who is an utterly key witness regarding the source of the Hearn painting and the flood of other genuine Morrisseaus that arrived in the Toronto area from 1999-2009. For some reason I had no trouble at all in finding and talking to Voss… This fictional guy even cashed my cheque…

A Victim of Colonialism? – If Professor Robertson wanted someone  to try out her pet thesis on, about artists who had become hopeless victims of “colonialism,” she would have had MUCH more fertile ground by exploring the Indigenous artist who drew the following two works, exhibited recently in a feature Indigenous artists show in the McMaster University Art Gallery. To little interest. I spent an hour looking at 18 works. Nobody else came into the gallery.

Sir John A Macdonald hagiography? – Canada’s First Prime Minister – Title: “In his hands he’s got the whole world.”

American Pop Cowboy Song – Title: “Mamas, Don’t Let Your Babies Grow Up to be Cowboys” 

The name of the artist – sometime Art Gallery of Ontario Curator Gerald McMaster who was the point man of the AGO’s desecration of Kevin Hearn’s genuine Morrisseau painting, “Spirit Energy of Mother Earth 1974” in 2010.

(“McMaster is a Plains Cree and Blackfoot curator, artist, and author. He is enrolled in the Siksika First Nation.” (Wik))

Banished at the AGO?*** These are the two people who orchestrated the biggest act of cultural genocide in the Art Gallery of Ontario’s history: Jennifer Bhogal, who ran the AGO art rental shop, and a guy off the street, notorious art terrorist and onetime contract lover of Norval Morrisseau, Ritchie Sinclair. It is in hands like theirs, that key decisions about major paintings by Indigenous artists are left at the AGO. THESE ARE THE TWO PEOPLE – NO ONE ELSE – WHO DECIDED THAT KEVIN HEARN’S PAINTING WAS A “FAKE” AND DISMOUNTED, DISCREDITED, AND DEVALUED IT, AT THE AGO, ALL ON THEIR OWN… Teitelbaum was probably in Boston interviewing for a possible job; and McMaster was probably in Cluny, exploring his Siksika roots, so leaving the field free for Bhogal and Sinclair to create AGO policy for its exhibitions. Bhogal may have the excuse that Sinclair conned her by saying he was a member of the “Heritage Society” (NMHS) which possibly motivated her to collaborate. Except that it was NOT true. It was the same total lie that only two months before, Sinclair had, with great success, also hoodwinked Toronto Police with, in a fraudulent document he provided them. Leading them to file criminal charges against Joe Otavnik. (Which were totally dismissed in 2013 by Justice Lacavera.) Sometime later, Professor Robertson was commissioned to fabricate a more scholarly rationalization for what Bhogal and Sinclair did. And yes, the Canadian fine art scene is as surreally idiotic and conspiratorial as this…***Bhogal “left” a good job at the AGO in the aftermath of this brouhaha that washed over the gallery in the summer and fall of 2010. Sinclair’s Faux-nishinaabe websites were later also obliterated from all AGO websites, by Matthew Teitelbaum’s office, after I complained and told them to read this Blog and get an education…

Now do you see why, with his background in US  and Canadian pop art, it was easy for McMaster, as the Art Gallery of Ontario’s Curator of Canadian Art in 2010, to become embroiled – as both victim and perp – in the biggest act of cultural genocide in the AGO’s history.

He allowed the aggressive art terrorist Ritchie Sinclair to get Jennifer Bhogal, the AGO’s boss of the Art Rental Department, to dismount Norval Morrisseau’s “Spirit Energy of Mother Earth 1974,” belonging to celebrity ivory tickler Kevin Hearn, as a “fake.” And then proceeded, to do… nothing… to rectify matters, when the $h!t hit the fan.

McMaster and Director Matthew Teitelbaum were BOTH hugely guilty of allowing themselves to be sucker punched by Ritchie Sinclair, and hugely curatorially malfeasant, by going with the flow, and hiding from responsibility in what Sinclair had precipitated.

How cultural genocide starts, when a school dropout and racist art terrorist Ritchie Sinclair aggressively cons a gullible AGO art rental boss to dismount, and so discredit and devalue, a genuine Morrisseau. And then go on to con Kevin Hearn into suing Joe McLeod whom he has terrorized for years, and delivers the wealthy Hearn into the lap of lawyer Jonathan J Sommer, and pay him to launch a specious lawsuit.

Both resolutely refused to answer Joe McLeod’s registered letters demanding to know what the AGO’s Top Duo, had done with his (Norval’s) art, and why?

Both were shameful NO SHOWS, when, as a basic matter of decency and principle alone, they should have replied professionally.

Conspiratorially, neither Teitelbaum nor McMaster left any written trail of their complicity in this utter curatorial fiasco at the AGO’s highest levels.

Teitelbaum’s woeful ignorance about Indigenous art is excusable, even if his curatorial behaviour is NOT.

The self-proclaimed Indigenous artist, McMaster, has no defence. His ignorance about Norval’s art – he clearly seems to be more knowledgeable and more interested in American gun-slinging cowboys in Montana, and Prime Ministers of Canada – was evident in hearsay emails written by Kevin Hearn and Ritchie Sinclair during the fiasco.

DISCLOSURE 1 – Note this account is based heavily on original documents filed with the Toronto court. And a long personal conversation I had with Joe McLeod sitting in his apartment, on Mar. 2, 2013. With considerable anguish that blighted his declining years, he told me the whole story regarding Hearn and the AGO fiasco and his inability to get any kind of decent professional response of any kind whatsoever, from AGO Director Matthew Teitelbaum or his Curator of Canadian Art, Gerald McMaster. They had gone to ground, for personal reasons. And were notoriously shirking their fiduciary duty to the Board of the Art Gallery and the people of Ontario.

DISCLOSURE 2 – This meeting also led by accident, directly to the ending of the parallel Sommer lawsuit of McDermott v McLeod. Joe, in considerable personal anguish told me he was being harassed constantly by celebrity singer John McDermott alleging Joe had sold him fakes. Joe was 82 and on the waiting list for heart surgery, and suffering great personal turmoil. I told him I would try something to stop the nasty phone calls. I sleuthed out a McDermott email, that apparently reached his wife, whom I told – anonymously – to read this Blog. She replied “very interesting, who are you? I said it did not matter, to read on, and educate yourself, to pay for a forensic examination of your art instead of spending untold thousands on dead end lawsuits.

I told Joe what I had done. He told me the nasty phone calls stopped.

When the McDermott lawsuit was announced in the Globe in Oct. 2013, I immediately reconnected to the McDermotts by anonymous email again, and sent them the Martial Judgement on Sommer’s disastrous Hatfield v Child lawsuit, that had recently come out. They were clearly not aware of it. Strange that Sommer would not have given them a copy.

Within days of receiving my emails, the McDermotts cancelled their lawsuit against Joe McLeod.

DISCLOSURE 3 – As Joe talked he was sitting in front of – you won’t believe this – a virtual total clone of the painting Kevin Hearn called “fake.” (In fact you can see it on a CBC tape, in the background, as Peter Mansbridge interviews Joseph Boyden.) And below.

It boggles the mind that an old man, and a lifelong booster of Canadian Indigenous art, now in the confined space of his living room, would hang another fake Morrisseau that he would walk by a thousand times a day. Yes, the Canadian fine art world is as surreally idiotic as this…

Kevin Hearn will eat crow for the rest of his life, for NOT practicing even minimal DUE DILIGENCE before publicly calling a genuine Morrisseau a fake. But don’t feel sorry for him; feel sorry for the countless Indigenous artists across Canada to whom his highly publicized fraudulent, and malicious lawsuit has done Great Irreparable Harm, over many years.

Guilty as Charged – The Hearn emails also make clear that Kevin Hearn was hugely guilty of NOT practicing even minimal DUE DILIGENCE after Sinclair told him he and Bhogal – the art rental boss – had dismounted, and discredited his painting at the AGO.

It is exactly what Deputy Judge Martial scorched Margaret Hatfield for – relying solely on her friends (Sinclair and Robinson) instead of seeking out better, more qualified, and more independent witnesses, before deciding to launch a lawsuit. Her negligence cost her some $60,000 and utterly discredited her name in the history of Canadian art, for the Great Irreparable Harm her wrong-headed lawsuit caused to the art and artists of Canada’s Indigenous people.

I believe Hearn is as guilty of exactly the same thing as Hatfield: relying on the say-so of a few friends and cronies; NOT educating himself properly, and NOT seeking professional input, before going public with totally unsubstantiated charges, about “fake Morrisseaus,” and publicly slanging a genuine painting and an honourable art dealer and decent human being.

There is, in fact, no formal letter of any kind, or affidavit, that I can find, from any top AGO official saying that, in their opinion, the Hearn painting is fake, and so validating his lawsuit on the basis of a claim by highly credentialed AGO experts. 

The lawsuit is there ONLY because “Ritchie Sinclair” Canada’s most discredited “Faux-nishinaabe” Indian imposter/impersonator says it’s fake… NO ONE ELSE.

And Sinclair was fabricating, once more, a lucrative lawsuit for delivery into the lap of his longtime business collaborator, lawyer Jonathan Sommer, in the same way that he had also delivered the hapless and gullible Margaret Hatfield into Sommer’s lap in 2009. With disastrous consequences for her and her pocketbook.

These are the only two lawsuits (Hatfield & Hearn) alleging Morrisseau “fakes,” ever to reach a Canadian court. Both were filed by Jonathan Sommer – the only lawyer in Canada, out of 90,000 ever to have done so; both were initiated, fabricated, and delivered to him by Ritchie Sinclair, after he had “groomed” both art collecting neophytes, Hatfield and Hearn, into believing their paintings were fake, and the best thing to do was to sue, and to hire his associate in the Morrisseau “fakes” business, Jonathan Sommer, to file the claim. (All hugely documented on this Blog.)

And then it gets worse…

Hearn DID NOT even bother to tell McLeod that his painting had been dismounted, discredited, and devalued, FOR SEVEN LONG DAYS after it had been dumped. The decent thing to do – I would have done it – is call up Joe, immediately, after getting the Sinclair email, and say, “Hey, Joe, have you seen this? We got a problem! What should we do?”

Instead, all the while, Hearn and AGO staffers were childishly sneering about McLeod behind his back, as the emails in the court records confirm. When any responsible person would have called McLeod immediately after receiving the Sinclair email on June 22. Inexplicably, only on June 28, did Hearn finally call Joe with the bad news.

Hearn was sneaky in another way. He did NOT tell McLeod, that it was Ritchie Sinclair – NOT TEITELBAUM OR McMASTER aka the AGO – who had, in fact, dumped his painting… (See the email above: Sinclair appears to be a chum of Hearn’s.)

In other words, not dumped by those formally vetted by the AGO as having the requisite credentials to carry out such actions.

If Hearn had been forthright and honest in telling McLeod of Sinclair’s – and only Sinclair’s – direct involvement, McLeod would have understood. Sinclair had been viciously harassing McLeod for years. That this was NOT about the painting being “fake,” at all, but of Sinclair seeking revenge to discredit Joe McLeod in any way and wherever he could.

(Within weeks, Sinclair would be warned by Toronto Police to stop physically harassing the 82 year old McLeod, in the street, at his business, and at his residence. (McLeod was part of a multi-dealer lawsuit against Sinclair and his racist and defamatory website.) When Sinclair refused to stop, only a few months later, in Dec. 2010, he would be charged by Toronto Police with Criminal Harassment of Joe McLeod. Sinclair’s vendetta had accelerated after McLeod turned Sinclair down as a gallery artist. Joe did NOT like white men posing as “Indians,” like Sinclair, and creating pseudo-Indigenous aka “Faux-nishinaabe” art. Joe called it “ersatz.” More recently vocal Indigenous artists denounce it as “cultural appropriation.”)

McLeod, clearly thunderstruck, about BOTH the dismounting of his painting – Hearn misled him into believing it was by the AGO – and the utterly passive behaviour of Hearn in response, himself made the proper professional response, and immediately called Bhogal. She assured McLeod it was all a misunderstanding, that there were no issues with his painting, no investigation, and that a written apology would soon be issued by the AGO brass. McLeod emailed this to Hearn.

NOTE: This is the second time that Bhogal – just the AGO art rental boss, malfeasantly acted as if she were the Director of the AGO, or the Curator of Canadian Art, at the Art Gallery of Ontario, and improperly usurped their roles, and landed the AGO and its principals in damning compromising dire straits: first by acting with Sinclair to dismount genuine art, and now by communicating with McLeod and admitting the AGO had erred and would be apologizing in writing to him. BOTH of which reflected very, very, badly on Teitelbaum and McMaster. Not a good move, Jennifer…

Bhogal “left” the employ of the Art Gallery of Ontario, shortly after this brouhaha boiled over the AGO in the summer and fall of 2010. Do you see a connection?

Days passed. The Bhogal promised apology never came. When McLeod realized this may not be happening expeditiously, he wrote McMaster demanding that if there was any investigation he, McLeod, wanted to be involved. The feckless McMaster did not reply.

Mr. Marshmallow to the Rescue – What is clear from reading the email documentation in the Court’s evidence box, is that while AGO staff were clearly scared of the strongly professional proactive stance that McLeod was taking – and with whom they were prepared to settle in writing – they soon realized that Hearn was the total opposite, as utterly pliable, and totally malleable. And of course utterly unknowledgeable about the business of handling fine art. Or how to relate professionally or responsibly with people dealing with it.

Teitelbaum and McMaster decided to count on the wishy-washy Hearn to save their asses… Hearn, who was asking for NOTHING in writing from them, about what they had done to his art. Hearn who asked for NO explanation; Hearn who had NO lawyer at the door making requests or legal threats. It was just “good old Kev!!!”

They decided to ignore McLeod, go into active cover-up mode of their previous negligence and curatorial malfeasance, and count on good old Kev to help them ride out the scandal WITHOUT ever having to go on the record, at any time, to anyone, about anything…

McLeod knew immediately what the diabolical formal AGO plot was.

So Joe McLeod asked Hearn to demand an accounting from AGO’s Teitelbaum and McMaster for what the AGO had done to his painting. Hearn, exhibiting all the character of a ripe marshmallow, refused, and hid from his responsibilities. He clearly looked on the AGO bosses as his buddies; they had given him a gig as a “Celebrity Curator.” So he was looking to place the blame for what they had done to his art – were responsible for doing – on someone else.

McLeod complained he couldn’t reach Hearn. Desperate – obviously – over Hearn’s fecklessness in responding to a major crisis regarding his art, begged permission to reach out himself, to the AGO bosses. Hearn passively agreed.

Joe McLeod, the only decent human being in this entire fiasco, and knowing the low level of professionalism among all the AGO parties involved, registered his letters to Teitelbaum and McMaster. He knew they got them. True to form, they refused to answer them.

Exactly like Richard Nixon in 1972, they were now in full cover-up mode, to attempt to hide the clearly malfeasant behaviour at the AGO in the handling of the Indigenous art of Norval Morrisseau.

McMaster’s feckless behaviour, after just participating in dismounting, discrediting, and devaluing genuine Morrisseau paintings, is damningly noted in Hearn emails. After passively accepting the dismounting of the genuine Morrisseau paintings, McMaster apparently asked Hearn for some more weeks/months to examine his painting, and also have more time to have a colleague look at it, before deciding about whether his painting is fake or real.

Eh Wot? Hey Dude… you’ve already shot the guy dead! Doing an autopsy won’t bring an innocent man back to life…

McMaster – again very much the Waylon Jennings cowboy gun-slinger – blew the smoke from the end of his pistol, and said he had a “gut feeling” he wanted to check out further, regarding the guy he had just shot. Then, sometime down the road get back to Hearn about his conclusions regarding the painting…

Malfeasantly leaving the genuine Morrisseau painting, and Joe McLeod, a decent and reputable guy, to twist in the wind and become enveloped in an establishment-authorized, incriminating cloud of forgery and fraud.

It’s all despicable on many levels.

This is very American, and very colonial – shoot the suspect first, and THEN spend weeks or months, to investigate whether you have killed the right guy or not… So McMaster, not only in his art, but in his establishment approach to dealing with Indigenous art, is nothing if not “colonialism” run amok.

If Teitelbaum and McMaster were the professionals they claim to be, they would have immediately demanded a forensic handwriting examination of the painting’s signature, BEFORE dismounting, discrediting, and devaluing it in such a totally unprofessional manner. And then compounding the infamy, by hiding from responsibility, when asked professionally, by Joe McLeod, for an explanation.

They would have done it, bet your bottom dollar, if questions had arisen involving a Krieghoff, a Harris, or a Carr. But hell, Norval’s only an “Indian.”

In fact all those involved in the dismounting, are guilty of woefully dismissive unprofessionalism, on many levels, but especially in refusing, repeatedly, to EVER sending the painting for a forensic examination to see if it was really the “fake” which Sinclair said it was, or Teitelbaum and McMaster – out of understandable ignorance – feared it might be.

Before taking precipitate and woefully damning action that would desecrate an Indigenous art treasure and discredit a decent man.

Neither Hearn or his lawyer ever had the forensics done either, during the entire six years their lawsuit has slanged a genuine work of Morrisseau art and a decent and reputable Canadian art dealer. For obvious reasons – they feared what a forensic examination would reveal. And Sommer would have had to abandon his very lucrative lawsuit. (In pre-trial documents (Dec. 2015) McLeod lawyer Brian Shiller expressed his incredulity that Hearn was spending some $200,000 to pursue such an ill-founded and meretricious lawsuit.)

I might add WITHOUT DOING THE STANDARD FINE ART FORENSICS ON THE BDP SIGNATURE. That’s like police investigators charging a guy with murder, without testing the fingerprints, the blood samples, and the DNA left on the murder weapon. And yes the Canadian fine art scene is as surreally idiotic as this.

Disclosure In fact it was I, who finally had the forensics analysis done, by finding a public benefactor to pay for it. On Sep. 25, 2017, the Hearn painting’s signature received the highest rating of authenticity possible (90%) working from high resolution digital photos.

I consider that this finding, by an independent professional handwriting expert, renders the lawsuit as HAVING NO CAUSE OF ACTION.

As the Hon. Madam Justice Mary Anne Sanderson already told Sommer once before in Superior Court – I heard her; I saw her – that if a painting is ruled genuine, there is NO CLOUD OF TITLE over it. In other words his Hearn v McLeod Estate lawsuit, alleging it is “fake” CANNOT succeed. Now do you know why neither Sommer nor Hearn wanted the signature forensically tested over six long years…?

On Oct. 2, 2017, I asked Justice Edward M. Morgan, twice, to order the painting delivered to me – I presented the forensic report, orally, in court – so I could send it to the forensic scientist to see if he could – with the original in hand – raise the level of authenticity to the industry’s top rating of “above 90%.” No ruling was made.

It’s what Teitelbaum, and McMaster should have done in 2010, instead of aiding and abetting and fueling the HOAX that has decimated the Indigenous art industry and caused Great Irreparable Harm to the Art and Artists of Canada’s Indigenous people.

They are BOTH guilty of treating the Hearn painting as a lowlife “fake,” not even worthy of a forensic examination. And so allowing Hearn to BELIEVE he had  a fake on his hands. Leading him – with some justification – to mount a totally specious lawsuit (2012-2018) resulting in him spending gazillions trying to prove a genuine Morrisseau is a “fake.” Which is always a predictable dead end.

And so compounding the Art Gallery of Ontario’s egregious act of Cultural Genocide and exponentially expanding the Great Irreparable Harm done to the art and artists of Canada’s Indigenous people by publicizing – with a celebrity – the fraudulent claims, year, after year, after year…

On Sep. 25, 2017, Kevin Hearn’s Morrisseau painting, “Spirit Energy of Mother Earth 1974” received the highest authenticity level (90%) permitted by a handwriting expert working from high res digital images. It was the first time in 12 years anyone had done a forensic examination of this painting, that the dastardly trio above, had collaborating in dismounting, discrediting, and devaluing at the Art Gallery of Ontario in 2010. It’s the worst act of cultural genocide in the AGO’s history.

I believe that Kevin Hearn has a very strong case for launching a Million Dollar Lawsuit, against the Art Gallery of Ontario, and Matthew Teitelbaum and Gerald McMaster, for their reckless and negligent acts of curatorial malfeasance, that has totally destroyed the value of Hearn’s genuine Morrisseau painting by senior AGO officials treating it – entirely without cause or justification – as a lowlife “fake.” And prompting him to launch a dead end lawsuit.

In the end it was Gerald McMaster, who became the agent of establishment colonialism, in dismissing as worthless, and of minimal importance, a genuine fine art work by Canada’s leading Indigenous artist and its only world class one.

And no amount of apologizing will ever wipe out this stain from the curatorial bios of the AGO’s top agents of Colonial repression of Norval Morrisseau’s art.

Disclosure – Blog to the Rescue #1: I can disclose that after I found out that Sinclair had somehow wiggled web-space for his Faux-nishinaabe art blatherings  on the Art Gallery of Ontario’s educational spaces, I contacted AGO Director Teitelbaum by email, and talked to his staff. Demanding: how can you people possibly post educational materials by this racist art terrorist on AGO web-space. Sure I was angry. These were public officials using tax payers’ money to do GREAT IRREPARABLE HARM to the art and artists of Canada’s Indigenous people.

I told them. Read the Blog, and educate yourself about who Ritchie Sinclair really is.

Literally within hours, all traces of Ritchie Sinclair disappeared from the AGO website.

Disclosure – Blog to the Rescue #2: It was the same educational tactic I had used when I intervened – anonymously – and brought to a similar total ignominious end the McDermott v McLeod lawsuit, alleging Joe McLeod had sold the celebrity singer fake Morrisseaus.

Without disclosing who I was I emailed Mrs. McDermott to get her husband to read the Blog, entitled “He can sing; but he can’t Read.” A day after obviously doing so, she replied “You are right.” They killed the lawsuit immediately after, only days after having launched it in late October, 2013. It did not endear me to Jonathan Sommer who lost a very lucrative client from his Morrisseau “fakes” business.

A new tactic in lawyering from Sutton, Quebec: cancel an expert witness who knows the whole story, and replace him with a faux “expert” who knows nothing… 

A new Sutton, Quebec Legal Tactic – On Oct. 3, 2017 lawyer Jonathan Sommer, in an astonishing Hiroshima and Nagasaki obliterating moment, made jaws drop in the public gallery, when he suddenly announced, in quick succession, that the only TWO witnesses who know anything about the AGO dismounting of the Hearn painting in 2010 – art terrorist Ritchie Sinclair, and his mentor and longtime business partner Donald Robinson, who wrote the “expert” report for Sommer, declaring the Hearn painting a fake – would NOT BE APPEARING AS WITNESSES AT TRIAL.

WOW! After they had been on the books as his principal witness and expert witness FOR SIX LONG YEARS, and as they BOTH had been during his previous Hatfield v Child trial (2011-2013) which ended so disastrously for them all, and so victoriously for collectors of genuine Norval Morrisseau BDP paintings.

In what can only be regarded as an amazing innovation in legal tactics, Sommer – clearly, with this seismic 11th hour change, in a panic mode – is replacing his two longtime lead witnesses from Toronto who know something – but don’t want to tell it – with a replacement “expert,” from far-off Wascana Creek, who knows nothing, but is more than eager to share it…

“Gone, Gone, Gone; Gone, Gone, Gone; Crying won’t bring them back” – Both Donald Robinson, whom Ritchie Sinclair calls, “My Mentor,” and Sinclair, have been hugely and totally discredited, without a single failing, by some 12 court decisions and/or lawsuit settlements from 2008-2017 regarding Norval Morrisseau.

Like when she wrote, in her report: 

“After Hearn was informed of the questionable authenticity of his painting by the Art Gallery of Ontario…” (Robertson report, p.13)

I do not know where Robertson got this, or who was feeding her this line. It is certainly NOT based on any documented research. Because it is untrue; it never happened. Neither the AGO, or Teitelbaum or McMaster, ever issued any official AGO letter of any kind, to ANYONE, supposedly making that Robertson claim. There is no such letter, or office memo, or internal “From the Director’s Desk” alert,  in the 241 exhibits that Jonathan Sommer has in his evidence box.

Joe McLeod was, by far, the most senior and trusted Morrisseau expert on the planet, having a personal relationship to the artist, his work, and his family, that goes back to 1959. And far more Morrisseau related knowledge than Teitelbaum and McMaster combined. Since 1990, Joe was the target of a Robinson family vendetta, that accelerated in 1993, and terrorized the last two decades of his life. 

The AGO, and Teitelbaum and McMaster were, in fact, so totally non-disclosing or forthcoming that, in desperation, Joe McLeod even wrote registered letters, to both AGO principals, demanding a response on this very topic. They totally refused to respond.

The evidence is clear, that far from what Robertson claims, both Teitelbaum and McMaster skated as far and as fast as they could, from any possible taint of complicity in what Bhogal and Sinclair had done, while they were otherwise occupied. And despite all the office gossip between AGO shop and rental clerks and Hearn, there is NO documentary evidence tying Teitelbaum or McMaster as active agents in anything of the kind Robertson claims.

Their biggest fault is not one of commission, but of deliberate negligence of their professional curatorial and fiduciary duties, to allow a fiasco like this to happen to Great Canadian heritage treasures while in their care, on their watch.

Hell, the new kid on the block, Professor Robertson, wasn’t even anywhere around when that foundational, landmark, and totally rash AGO act happened in 2010, so precipitating the lawsuit. So she’s obviously the perfect “expert” witness to play the plausible deniability card.

The cross-examination, presumably, will go like this. “So Professor Robertson, what do you know about the dismounting of the Hearn painting as a fake?”

Her reply: “Sorry, I was not there Your Honour. I had nothing to do with it. That is an unfair question. That question is more properly put to Mr. Sinclair and Mr. Robinson who were.”

Mr. Sommer’s rejoinder: “Your Honour, the questioning is highly improper. My friend is badgering the witness with questions on matters she clearly has no knowledge of.”

Those who do, of course, have that knowledge, have also been protected by Mr. Sommer. THEY WILL NOT BE AVAILABLE as witnesses for cross-examination, which he signaled with his Hiroshima and Nagasaki legal tactic.

In this way Mr. Sommer carefully prevents the Defence from exposing how a guy off the street, and an art rental gal at the AGO, ALONE, precipitated the worst act of cultural genocide in AGO history. NEITHER OF THEM BEING CREDIBLE, CREDENTIALED OR COMPETENT ART OR MORRISSEAU EXPERTS, ON ANY LEVEL.

Compare: When the Thunder Bay Art Gallery sponsored a donation of paintings by the Otavnik family in 2004, some 17 different art experts – not a couple of wild cards, like at the AGO – were involved in vetting the paintings as authentic, before accepting them for the TBAG permanent collection.

So the cross-examination will have to deal with something Professor Robertson does claim to be an expert on, like Wascana Floaters…

Presenting the “Wascana Floater Test” of Authenticity – One usage of Norval’s “favourite sign,” which Professor Robertson stridently disapproves of, I have called Wascana Floaters***. Which Professor Robertson claims are an incontrovertible indicator of a “fake” Morrisseau. Any painting, she says with unshakable conviction, that contains a single Wascana Floater, is NOT by Norval, but by a forger.

***Wascana Floater” is a term I coined for the “authenticity test” concocted by University of Regina Visual Arts Professor Carmen Robertson, who works on the remote banks of Wascana Creek, where she invented this concept. And “floaters” because this describes how, in her application, Norval’s favourite circular painting sign, is shown just “floating” about freely, anywhere on a canvas, and is totally unattached, and NOT connected, with dark “lines of communication” to any other elements in the painting. Something she says Norval never did. And only a forger would have.

If you will, “Wascana Floaters” are like loose life rings floating about on the water; a Robertson derivative, the “Connected Divided Circles” are more like buoys or channel markers held fast with anchor lines to some surrounding attachment place.

Hiding Primary Source Evidence – It is telling – very telling – and I consider a major academic malfeasance by Professor Robertson, that she cites this archival source for her claim, at least TWICE in different publications – it is that important to her – but INEXPLICABLY DOES NOT PUBLISH the picture of exactly what Norval meant, and drew specifically for Susan Ross” education.

Apparently Professor Robertson does NOT want the public to be educated about what exactly Norval drew. And SHE IS NOT THE ONLY ONE…

In her report Professor Robertson then goes on to “speak for Norval” and publishes her own illustration table, of exactly what she claims she “learned” from Norval’s drawing, and what it means in her report. Her table features a single Wascana floater she got from Kevin Hearn’s painting (top right below), which she says proves it’s fake, and adding FIVE other contrasting illustrations, showing connected Divided Circles, which she says are the only genuine usages done by Norval, as he illustrated in the Ross letter.

In her published table, below, a totally conspiratorial omission is the divided circle Norval drew for Ross. Can you figure out why the Professor has totally, and inexplicably NOT published it as her defining illustration from Norval? 

The answer is obvious: because, by doing so, she would have been shown as deliberately distorting her primary research to fit in with her concocted “play for pay” thesis. She very well knew nobody in this world or the next, would ever bother to go into the TBAG archives to look at the Susan Ross letter.

Unfortunately on July 17, 2017 I tried to do exactly that. And then all hell broke loose…

Who’s the Fake? – Robertson says the Wascana Floater, an “unconnected divided circle,” top right is DOUBLY a fake, compared to the others, ALL trailing “dark lines of communication,” which ARE genuine Morrisseaus. Besides being a “floater” she says, it is ALSO “DECORATIVE,” in comparison, something she also denies Norval  ever did. The trouble with her claim is that many of her friends and colleagues at KRG, the National Gallery of Canada, the Canadian Museum of History, the Art Gallery of Ontario, the Thunder Bay Art Gallery, etc., have all published dozens of paintings they say are authentic, and contain lots of Wascana Floaters AND decorative ones at that… How, you may well ask, did Professor Robertson ever miss them all before she fabricated her own “Wascana floater authenticity test,” that is so discredited by the Morrisseau-related publications of all her friends and colleagues?” My current count exposing her deliberately ignoring her own Wascana Floater test, when it applies to her colleagues is 43 – that is 43 paintings, containing well over 100 Wascana Floaters, many damningly decorative, as well. Perhaps you might allow a wayward professor – I wouldn’t – a single, careless false call. But over 100, on at least 43 paintings…? Something else is going on here… And the professor is deeply involved in it.

I didn’t believe Professor Robertson, and I certainly did NOT at all, trust her research skills, her transparency, or her honesty as a credible or trustworthy reporter.

I believe I am the only Canadian ever to win the Super Prize for Investigative Journalism  at the world’s largest film & television competition.

PLATINUM AWARD FOR INVESTIGATIVE JOURNALISM*** – So, as an aggressive investigative journalist***, I obviously wanted to see Professor Robertson’s primary source for what she claimed about the Wascana floater, namely the illustration Norval put in the Susan Ross letter.

And I called the TBAG curator to get the ball rolling on accessing the records in the TBAG archives, in exactly the same way that Professor Robertson had obviously also accessed them before me. Now I was checking up on her, by testing her credibility and her research, BUT I was not letting anyone know what I was doing, or why.

***As a longtime professional historian, I am a ferocious researcher of primary sources, so I can weigh the actual evidence, the stuff of history, NOT second hand gossip, before I write. Which is why I am the ONLY journalist of any kind, who spent multiple days going through the court files box, and making hundreds of copies of the original materials submitted by Jonathan Sommer to support his allegations that Kevin Hearn’s painting “Spirit Energy” is a fake. Because this Hoax has done Great Irreparable Harm, to the art and artists of Canada’s Indigenous people, and devalued Norval’s art valuations by tens of millions of dollars.

It is also why I am the only person to have attended all the Morrisseau-related court hearings since 2010. And that involves a lot of days, time, money, and effort on my part to try and get at the Truth as displayed by ALL THE PARTIES.  I have NEVER, EVER seen supposed Morrisseau researcher Professor Carmen Robertson, at a single one of them. What the hell is the Sage of Wascana Creek, basing her research on?  Because she certainly DELIBERATELY IGNORES THEM ALL, AND DOES NOT refer to any of them in her supposed “expert” report.

The professor just sneers off all the judges, as she sneers off all the forensic experts, as she sneers off anyone who disagrees with her fraudulently concocted “expert” report.

I am also the only person to have read and researched and quoted the trial transcripts for the Morrisseau-related court cases. Another key and absolutely indispensable primary source, that Professor Robertson totally and mysteriously ignores in their totality.

CONCLUSION The conclusion is inescapable: the Sage from Wascana Creek is NOT ACTUALLY DOING RESEARCH AT ALL but is just dutifully concocting, fabricating, and regurgitating, the utter bumf she is told to write by her handlers in Toronto. Her “expert” report is little more than a “play for pay” commission from a Quebec lawyer, on behalf of his profitable lawsuit, to slang a Morrisseau painting they both know is genuine, as a “fake.”

***NOTE: Under the “Defence of Responsible Communication,” set up by the Supreme Court of Canada by Chief Justice Beverley McLachlin, in 2009, one defence must be that you must have, and seek, evidence – like the Ross letter – for what you say, and show that you made an honest effort to reach out to, and get the response from the party involved. It’s part of being a “responsible” journalist (i.e. as of 2009, a “responsible communicator.”)

The new Act specifically dispensed with the word “journalist,” as a recognition of the huge decline in print media scribes, and the explosion of internet publishers and Bloggers like myself, and grant them equal legal status under the law, by setting up standard rules ALL writers of published material involved in “communication,” must follow to avail themselves of the Defence.

ACADEMIC ALERT – One other primary document that University of Regina Professor Carmen Robertson seems to be totally unaware of is the “Defence of Responsible Communication,” BECAUSE SHE IS IN TOTAL AND FLAGRANT VIOLATION OF VIRTUALLY EVERY ONE OF ITS MANDATORY PROTOCOLS.

Does that explain why she has taken so many steps to keep so much about her so-called “expert” report, a secret, unpublished, and destined only to fool a judge who may not have a clue about art, fakes, or Morrisseau, but respects “university professors” and would never believe they could just fabricate total BS to con a court?


I would be in for a shock…

The curator was not in. I was transferred to Sharon Godwin.

In this original phone contact with Godwin I cheerily asked about the operations of the TBAG and its general procedures on changing the status of any paintings in its holdings. I think it was only a one-line question – “Has the Thunder Bay Art Gallery ever delisted or downgraded any painting from authentic?” I did NOT mention ANY specific paintings, NOR ANY specific artists, or anything else.

NOTE: I am not telling you why I was, out the gate, asking such a weird question, or what I was about, so you are as perplexed and unguarded as TBAG Director Sharon Godwin was, when, out of the blue, I asked my question. (To keep you as mystified as I tried to keep her, I will explain in a later article.)

And I certainly did NOT mention Morrisseau, or BDPs, or Professor Robertson, or anything even remotely related.

So, I was totally taken aback when the Director of the Thunder Bay Art Gallery Sharon Godwin, instantly bristled and brusquely, and immediately, and firmly, said she would NOT answer ANY of my questions.

And harshly said the conversation was over. I managed to humour her, to keep her talking, without getting anywhere. I did prevent her from hanging up on me as she clearly intended to do.

Still, I was utterly blown away by her harsh, aggressive and defensive tone, and inexplicably hostile behaviour to me, stemming only from one simple question regarding an innocent gallery policy procedure from a top TBAG official.

I then asked her if the TBAG could please send me a copy of a specific dated Susan Ross*** letter it has in its archives, and for which I told her I would pay ALL required expenses. I did NOT say why, or what I was about, or why I was interested in it. (***Ross was a Thunder Bay artist, who, in 1962, introduced Norval to Jack Pollock, who made Norval famous.)

For obvious reasons, as any good investigative journalist or police investigator can tell you, I did NOT show my hand. I was just an archival customer wanting a copy of a single letter from 1964, donated to the TBAG by Susan Ross. That’s all…

I could tell from Godwin’s demeanor that she was suspicious and more than guarded.

She uneasily, first, said it would be “a couple of days;” I cheerily said, OK with me… And I thanked her and cheerily took polite leave of her.

A couple of days, turned into weeks, and another cheery phone enquiry from me.

Godwin, awkwardly I could tell, asked for more time. I cheerily said fine… again… That I could wait. No problem. But to please send me billing information for the TBAG archival service.

Personal Disclosure -Throughout ALL my phone contact with Godwin I was unerringly polite in response to her inexplicably harsh rudeness. I have always found that gritting one’s teeth and smiling through with disarming politeness, will work wonders. I was to find that that would NOT be the case with Godwin.

At NO TIME, in any conversation with Godwin did I mention the name Morrisseau, or Professor Robertson, or her report, or even anything related to a Hoax I was investigating, or even why I wanted the Ross letter. She had NOT a clue of what I was about; she only had her own suspicions, from wherever she got them. It was not from me.

I thought, like in dealing with Archives Canada, etc., as I have done over the past 40 years, numerous times, you send in your request, send your money, and NO QUESTIONS ASKED, some archivist digs up a copy of what you want and sends it to you.

I was astonished to learn that that was NOT how things are done, at all, at the Thunder Bay Art Gallery, under the regime of Director Sharon Godwin.

19 days – not two as Godwin originally promised – after my original request for an archival copy, finally came a harsh letter from TBAG Director Sharon Godwin herself, saying that the delay was because she had to consult with other people before she could respond to my request for an archival copy of a letter… What…!!!

TBAG Director Sharon Godwin considers Robertson “the best.”

Her response was, now, another thunderclap, brusque and utterly rude and defamatory; that she and her collaborators would NOT send me a copy of the Ross letter, and ordering me NOT to contact her or the TBAG again.

In print, she now brought up a name neither of us had previously mentioned – at all – in phone calls or emails, but had apparently become the 900 pound gorilla in the room for her…

Writing that “we consider (Carmen Robertson) one of the best academic experts on Norval Morrisseau and an honest person and accomplished researcher…”

Note: The Supreme Court of Canada’s “Defence of Responsible Communication” only demands that a journalist make the attempt to get a response from a subject of an investigation. So that they could demonstrate that the investigator tried his/her best.

The Defence does NOT demand, or require, that contacted subjects answer any of your questions, respond professionally, or even be polite to you. In fact investigative journalists (like on CBC, NBC, ABC, or CNN) routinely encounter interview subjects – like in my case – who are non-disclosing, hostile, and utterly rude. From respondents exercising their free speech rights… And, of course, having to put up with people like that, is the stock in trade of every investigative journalist’s profession.

Now can you understand my total bewilderment at such a response to a request for one copy of a simple letter in the TBAG archives?

A simple request that I, and thousands of other Canadian television, book, and website publishers, have routinely made on a daily basis, to get copies of archival materials held in public libraries, public museums, and public galleries. I have purchased countless archival materials in this way, for decades, for use in my publications and programs.

I believe this photo of Norval dates from the very period in which Norval wrote his letter to Susan Ross and illustrated, for her, his idea of the “divided circle” as his favourite painting sign. Can you hazard a guess on what his drawing, in the Ross letter, looked like, and why TBAG Director Sharon Godwin is so desperate to keep it out of my hands? Does it have anything to do with covering up for a friend, hiding slipshod research, and the deceptive misuse of archival materials in a publication?

Sharon Godwin is the very first, and the only one, ever, to have turned me down for an archival request in forty years…

Just what was TBAG Director Sharon Godwin, and her collaborators hiding? And why?

I very well know why that Ross letter is important. Godwin obviously had discovered why it was too. And why it had taken weeks to consult with someone… I wonder who?

Someone who also knew what I wanted it for. And the group consensus, apparently was: we’ve got to get into cover-up mode… and do not provide a copy of a historic document to the investigative journalist and historian, with a strong will to publish.

Why not? Can you guess? Wouldn’t you, also, now – for damn sure – also want to see that Ross letter which Sharon Godwin and her collaborators are so defensively and aggressively sitting on? Even as they refer to it as gospel…

Norval Drew a Wascana Floater NIAOBs – We all know now – without any of us even seeing the Ross letter – that what, in fact, Norval had probably drawn there, was a simple divided circle, WITHOUT ANY LINES STICKING OUT THE SIDES.

Norval had, in fact, drawn a “Wascana Floater…”

A Double Whammy totally discrediting Robertson’s Wascana Floater test. Here is a genuine Wascana Floater and a decorative one at that, painted by Norval c 1960, on a painting (shown in full below) authenticated by her longtime colleague, the NGC’s Greg Hill, and the Canadian Museum of History. How could she have missed it, and then falsely applied her research mistake to discredit the Hearn painting as fake, because it too has Decorative Wascana Floaters similar to this one…? And NO, it is NOT a single research mistake. I have found 43 paintings so far – all published by her colleagues – which feature over 100 Wascana Floaters, which Professor Robertson somehow missed in her “research” and unseemly eagerness to help someone “prove” Kevin Hearn’s painting a fake.

And so had himself, in the Ross letter drawing, totally discredited Professor Robertson’s claim that a Wascana Floater was NEVER drawn or painted by Norval.

And so totally discredited her foundational proof on why she claims the Kevin Hearn painting is fake.

Norval did NOT draw for Ross, the Robertson-fabricated version of his “favourite sign.” Norval, I am absolutely positive, drew an “unattached circle,” exactly like the Wascana floater that Robertson denounces as a fake and uses to discredit the Hearn painting.

In fact, I believe the Ross letter evidence will show that Norval drew the Wascana Floater as his favourite sign. And NOT what Professor Robertson alleges. And it would prove that ALL paintings that contain floaters, like Norval drew, are ALL genuine Morrisseaus – courtesy of the hidden Ross letter, that Godwin and company are so desperate to hide from public scrutiny.

It proves that my suspicions regarding Professor Robertson’s lamentable research skills and deceptive and devious reporting skills are more than justified.

I believe that disclosure would show that she had malevolently and malfeasantly twisted Norval’s own original drawn circle, into something with arms that she wanted to use so she could slang the Hearn painting and any others which had Wascana floaters.

And that would also explain why she DID NOT provide an illustration of Norval’s drawing of a divided circle in her “expert” report, though she mentions the Ross source in two of her “books.”

Why? Because even people with single digit IQs would have said, “Hey! What you say is NOT what Norval drew, AT ALL!”

So if I am wrong, prove it! Show me the Ross evidence that says I am wrong…

And I’ll apologize… But, believe me, I am confident that no apology will ever be needed…

In the meantime, far better evidence, than the Ross letter, has surfaced of exactly what Norval drew. That is far more damning of the supposed Morrisseau expertise of BOTH Professor Robertson and Director Godwin.

Why? Read on…

A Happy Day at the Thunder Bay Art Gallery

“After Life of the Fourth 1958”

In 2010, the TBAG Newsletter, announced a Morrisseau show, from June 4 to Sep 5. The TBAG centered out for special attention, “After Life Spirit of the Fourth 1958” as “the jewel in the crown” of its Morrisseau collection.

“The earliest piece held by the Gallery is a small painting on birch bark from 1958 depicting a fish in an early attempt at the now familiar ‘x-ray style’ invented by Norval Morrisseau. This piece, as well as a number of acrylic paintings on kraft paper and millboard introduce viewers to the early works of Morrisseau.”

TBAG bragging rights (2010) about “After Life of the Fourth 1958” acquired in 2002.

Then the Professor Robertson “expert report” hit town – and was published on the internet for the first time on this Blog (on Oct. 3, 2017) which announced her “expert” professorial “proof of fakes,” her claim, that the Wascana floater is a damning “proof” of a Morrisseau forgery.

Remember, one fingerprint, one spec of DNA, one drop of blood, on a murder weapon is enough to send you to the gallows.

And, in fact, “After Life” contains, not just one, but FOUR – count ‘em folks, four – damning Robertson so-called proofs of a “fake” Morrisseau – four Wascana floaters.

Her template for her “proof of fakes” are the Wascana Floaters in Kevin Hearn’s “Spirit Energy of Mother Earth.”

But, by previously applying the same Wascana floater standard, invented by Professor Robertson, I have shown – and documented – that she has previously totally discredited numerous other Morrisseau paintings as forgeries including, many that were vetted as authentic by her own close friends and collaborating colleagues including:

This Morrisseau, displayed by Jean-Hubert Martin, at the Centre Pompidou, in Paris in 1989, fails the Robertson Wascana Floater test, TWICE.

– Jean-Hubert Martin’s “Untitled Morrisseau” – with two floaters in one Morrisseau in his Magiciens de la Terre show, in Paris, France, 1989

– Kinsman Robinson Galleries – Damning Wascana floaters decorated no fewer than 20 paintings KRG has offered for sale. In its 2014 Morrisseau Retrospective, the painting it promoted for sale with a two page spread, featured no fewer than FIVE huge Wascana floaters.

So KRG suffered a quintuple whammy of Robertson rejection.

This feature Morrisseau displayed by KRG in 2014, fails the Robertson Wascana Floater test, FIVE times.

– McLuhan & Hill – 6 paintings featuring multiple Wascana Floaters shown & published in Imagemakers in 1984. (I will publish this soon.)

– Greg Hill & Ruth Phillips – 10 paintings featuring multiple Wascana Floaters shown & published in the Norval Morrisseau: Shaman Artist catalogue & retrospective 2006. (I will publish this soon.)

Triple Whammy – Some paintings that hugely fail the Wascana Floater test, are in fact published as genuine Morrisseaus by several of Robertson’s own colleagues. “Shaman Rider” was published by: Pollock and Sinclair in 1979; by McLuhan & Hill in 1984; by Hill & Phillips in 2006.

This embarrassing Triple Whammy against her professorial expertise, features TWO Wascana Floaters, and was published in her favourite book, the Pollock and Sinclair bible from which she picked 28 dupes as genuine Morrisseaus, out of her database of 38 paintings.

There are 10 – that’s ten, folks – paintings in the Pollock Sinclair picture book, alone, that contain some 28 damning Wascana Floaters. Robertson should not have farmed out her reading and picture research to unemployed itinerant workers out on Wascana Creek. Better to pay more and hire picture researchers who are not visually impaired.

“Shaman Rider” which contains TWO Wascana Floaters Professor Robertson entirely missed, when she flipped through the pages of three books written by her colleagues. The painting is pictured in all of them…

– There are, of course, hundreds of other Wascana floaters on hundreds of authenticated paintings (scores, also forensically authenticated) in the hands of other Morrisseau collectors around the world, which I don’t bother with, because they are just sneered off by Robertson and her collaborating colleagues as “fakes.”

I am only interested in what she and her friends “Show and Tell.” So no one can accuse me of “cooking the books,” and being ignorant or dismissive of their own academic publication records.

This feature Morrisseau, displayed in the National Gallery of Canada, Morrisseau show and cataloque, in 2006, is damning on many levels besides failing the Robertson Wascana Floater test, THREE glaring times. Dating from c 1958 it pre-dates the Ross letter of Norval’s drawing by some six years. Confirming – despite what Robertson dogmatically maintains – that, in fact, Norval was, already painting Wascana Floaters years before he drew something (undisclosed) for Ross. And not only that, painting highly decorative floaters, which Robertson also says he never did, only forgers did. Decorative floaters (above) even more gaudy than the Hearn ones she dismisses as not by Norval. This NGC painting from the reputable Weinstein collection in the Canadian Museum of History, and published by her colleague Greg Hill, alone, totally undermines anything worth listening to about Morrisseau fakes or divided circles, or anything else, that Professor Robertson claims to know. How will her “expert report” fare, in cross-examination?

McLuhan & Hill “Wascana Floater” Preview from “the Image Makers, Art Gallery of Ontario, show and catalogue, 1984.

How many Wascana Floaters can you see in this McLuhan & Hill published “Medicine Snake Motif” c 1958-61, in the possession of the Canadian Museum of History, Ottawa, ON. It shows that years before Norval wrote and drew his divided circle for Susan Ross in 1964, he had long before, already included multiple Wascana Floaters in countless paintings.

Which is why I picked as examples of her Morrisseau research incompetence, ENTIRELY and ONLY paintings her friends and colleagues have vetted as authentic in their books, exhibitions, or catalogues.

The birch bark jewel in the crown of the TBAG’s Morrisseau collection, “After Life of the Fourth 1958,” fails the Robertson Wascana Floater Test FOUR glaring times… I believe what Norval drew for Ross was one of these round divided circles – AKA Wascana floaters…

The birch bark Morrisseau “fake,” targeted by Robertson’s claim, clearly shows a devastating FOUR, if you can believe this, four totally disconnected Wascana floaters, that this Morrisseau scholar says is a certain “quadruple” proof of a Morrisseau fake.

The “After Life” telltale Wascana floaters are completely free of any connectivity with lines of communication to any adjoining pictorial elements – hence a Wascana Floater – something the professor assures us – without producing a smidgen of proof for her claim that Norval never painted them.

The documented behaviour of TBAG Director Sharon Godwin raises huge questions in my mind about the degree she has undermined her TBAG fiduciary trust, in order to promote a private agenda with a friend, on behalf of a documented art fraud… 

I ask you: why do we let Morrisseau faux “experts” like Godwin meddle in Canada’s art heritage?

If we had just let the University of Regina’s Visual Arts Department and Professor Robertson handle this, in the first place, none of this embarrassment would ever have happened to the Thunder Bay Art Gallery or to its Director, Sharon Godwin.

There is no word yet of a response from the TBAG or Sharon Godwin, to this damning development and accusation, courtesy of Professor Robertson’s “expert” report.

Godwin had been, of course, directly involved in acquiring and vetting “After Life” in 2002 and praising it to the skies, as a wonderful genuine Morrisseau acquisition, along with then Curator Glenn Allison.

Godwin must now be hugely embarrassed to have her judgment as an art expert, museum curator, and Morrisseau “expert” so publicly impugned and discredited by an expert she praises to the skies.

Sharon Godwin wrote me, personally (Aug. 4, 2017) that “we consider (Carmen Robertson) one of the best academic experts on Norval Morrisseau and an honest person and accomplished researcher…”

Hey Professor, do you see that? It looks to me like a Wascana Floater sneaked in on the Coat of Arms of the Canadian Museum of History. Are they celebrating a forgery? Better call them and demand they remove it, immediately… Their experts seem to think BOTH versions of the divided circle are iconic with Norval… And have been, from the beginning… And I would bet they believe the lower “Wascana Floater,” predated the upper “attached divided circle,” which you claim is all Norval ever painted…

Will the TBAG now disown and dismount this Morrisseau that Professor Robertson has so loudly and totally discredited according to her “Wascana floater standard” she has outlined in her “expert report?”

Will Sharon Godwin now go down into her vaults, pick up “After Life,” box it and send it to Professor Robertson and her NMHS friends, so they can burn it?

Along with the other Wanker 16 paintings I have for years claimed they have already destroyed.

NOTE: The NMHS members, reportedly, have not been actively burning cultural property since 2012, so no one has smelled smoke in the vicinity of their kaffeeklatsches for a few years. They claim they could not contact Norval’s Indigenous family members – and his legal heirs – to carry on.

Good for Norval’s kids! For refusing to have anything to do with these white elitist cultural vandals, involved in discrediting and devaluing their father”s art. And for giving the brush off to these pompositing collection of academic “silks, satins, suits, and snoots” that they so richly deserve. And putting them in their proper place.

In total and perpetual disgrace for the Ages, among the lowest agents of Cultural Genocide in Canadian history, for doing Great Irreparable Harm to the art and artists of Canada’s Indigenous people.

This is the only photograph ever found that shows a few of the paintings Donald Robinson called fakes (the Wanker 16) which he instructed the NMHS to use as benchmarks for which paintings they were to “burn.” (The upper body ID’s of the people have been conspiratorially cut out before the NMHS released this photo.) Donald Robinson claims Norval was the director of events on this occasion. But in fact Norval was totally comatose in his wheelchair, after six years in terminal care. The real directors were Robinson, who stayed out of camera range, and Gabe Vadas (top right) with whom he had collaborated since 1990, to manipulate Norval for their own private commercial purposes. Vadas is pointing out the Wanker “fakes” to his dutiful disciple, the National Gallery of Canada’s own Greg Hill (in red). THESE ARE THE FAMOUS WANKER 16 PAINTINGS THAT FORENSIC SCIENTISTS WOULD LOVE TO GET A HOLD OF, BUT CAN’T. THEY HAVE BEEN LOCKED UP – I BELIEVE, ALREADY BURNED – TO PREVENT THE PUBLIC FROM DISCOVERING THE TRUTH: THAT THE ROBINSONS & NMHS SO-CALLED FAKES – The Wanker 16, ARE IN FACT, GENUINE MORRISSEAUS. And to hide the fact, the photo shows them selecting those that will be sent to the ovens. It’s called Cultural Genocide… So, don’t talk to me of the Taliban bombing the Bamiyan Buddhas, or ISIL blowing up Palmyra… We have our own hi falutin’ cultural vandals right here at home…

Secrets of a Cabal of Fraudsters – As NMHS lawyer Aaron Milrad was quoted, as saying (by art book publisher Anthony Westbridge, in 2005) its members reserve the right to destroy Morrisseaus they call “fakes.” And Milrad said he would provide legal cover for them to prevent blowback from potentially angry collectors whose art they may have sent to the incinerator. (After collectors had been encouraged to send them in for NMHS “authentication.”

The Apostles of the worst act of cultural genocide in Canadian history. The Wanker 16 paintings on a bonfire at a gleeful NMHS kaffeeklatsch with the 900 pound gorilla in the room, hanging about in the background… Every country has people like this: if they were in Syria they would have driven bulldozers amok at Palmyra; if in Afghanistan they would have pushed the plunger that exploded the Bamiyan Buddhas.

(NOTE – Professor Robertson became a member of the NMHS secret society, in 2009, hand-picked by her mentor, Donald Robinson. The NMHS operatives have always been a totally secret society, and hugely documented as doing Great Irreparable Harm to the art and artists of Canada’s Indigenous people, in private so they can’t be held to account.)

Why have these Wanker 16 Morrisseau paintings, been completely hidden from public view, for 16 years, by Donald Robinson and the Norval Morrisseau Heritage Society?

Demand for Academic Transparency and Disclosure, Dismissed – for Years – I have demanded for years, that the NMHS demonstrate academic honesty and transparency, regarding the Wanker 16, but its members have utterly refused to provide, either to me, or any other independent expert, any evidence that the paintings – the Wanker 16 – which I accuse them of “burning,” in order to hide their collaboration in an art fraud, and cultural genocide, still exist.

They DO NOT, I am firmly convinced; and have never been contradicted or proven wrong by any disclosure from either the NMHS or KRG, BECAUSE I BELIEVE THEY CANNOT DISCLOSE ANYTHING BUT ASHES…

The Wanker 16, are of course, the 16 paintings Kinsman Robinson Galleries gave to the NMHS as the templates they were to use to discredit other Morrisseau BDPs as “fakes.” KRG and the NMHS claim they are “fakes” but have always refused to disclose their proof, or to provide investigators with photos of the fronts and backs of the paintings.

And they have utterly refused to have any independent forensic examinations done on any of the BDP signatures or to publish ANY photos of the fronts and backs. (In fact, in her expert report Professor Robertson also hides – refuses to disclose – photos of the backs of all her database examples, only publishing the backs of the six paintings she wants to defames as fakes.)

Why all the non-disclosure by NMHS operatives? For three very good reasons:

– Warriors in Circle of Life 1974

– Shaman Envelopes SOMA 1976

– Medicine Being from Sacred Fish Stomach 1976 

I can vouch that I have NOT burned or destroyed SOMA or FISH. But I cannot vouch that the top painting “Warriors in Circle of Life” whose existence proves multi-level perjury by Donald Robinson, and malfeasant gallery practices by his son Paul’s Kinsman Robinson Galleries, has NOT been destroyed in agreement with Robbie B., the owner, at whose house I was invited to see the painting on Apr. 28, 2015. Robbie, after saying he spent days reading my Blog, thought it was a damning indictment of the Robinsons, and was keen to show – and sell it to me for a high price – because he knew I recognized its historic importance. In a long and friendly conversation, in his living room, it became clear he had already been busy setting up a four-way bidding competition between Kinsman Robinson Galleries – who clearly wanted it gone –  blogger Ugo Matulic, auctioneer Randy Potter, and myself. I believe that KRG ended up with it… Was it burned like all the other Wankers that ended up in Paul and Donald Robinson’s hands? ASK THEM… Forensics, based on the high resolution photos I took that day, at Robbie’s invitation, authenticated the painting, on Sept. 25, 2017, as a genuine BDP signed by Norval Morrisseau. It is also damning in another way. Though this painting was sold by KRG as genuine, and has been published, front and back, along with its history, for years, it somehow escaped Professor Robertson’s attention… She, who claims to have focused her research on genuine Morrisseau paintings from 1973-1975, says she NEVER found a single genuine Morrisseau BDP from that period, or any other. How could she completely miss this very well publicized, genuine Morrisseau BDP from 1974? But then this wayward professor also made a totally false call on Kevin Hearn’s painting too, also from 1974. It too has been forensically authenticated as a genuine Morrisseau.

All three of these Morrisseau 1970s BDPs passed through Donald Robinson’s hands at exactly the same time, and in the same place as the Wanker 16, and but for fortunate accidents of history, that saved them for posterity, they would have been burned along with the other sixteen notorious Robinson “Wankers.”

These three genuine Morrisseaus give mute, but damning forensic proof, that the Robinsons and their NMHS operatives deliberately destroyed genuine Morrisseau paintings that were bought at the same time, at the same place, from the same source, were all BDP signed on the back, and all dating from the same Morrisseau time period, and are examples of exactly the type of Morrisseaus that were immolated.

I own two of those genuine Morrisseaus, which would have been burned as Wanker 17 and 18, but were only saved from the funeral pyre, by me outbidding Donald Robinson for them on Jan. 26, 2000. At a time he told me they were “wonderful Morrisseaus” and that he was the aggressive underbidder who made them win the highest bids of the night.

Both were forensically authenticated, years later, as genuine Morrisseaus, one – SOMA – with a certainty rating of 100%. It was also authenticated by TWO forensic experts as totally genuine, probably the only Morrisseau ever separately vetted by two forensic experts.

If I hadn’t bought them both would have gone home with Robinson, like the other Wanker 16, and would also be ashes today…

Burning even one Canadian heritage treasure is unforgivable.

And destroying THREE… let alone SIXTEEN… It’s cultural genocide on a massive scale.

It’s merely Canadian copycatting, and rivaling what the Nazi cultural vandals were doing to “inferior” books of opponents in the 1930s; what ISIL was ruthlessly bulldozing in Palmyra; and what the Taliban did in blowing up the Bamiyan Buddhas.

Except that these are “our” cultural vandals, and Canadians will have to figure out how to deal with their Culturally Genocidal depredations against Indigenous art and artists.

And if they want to claim that my accusations of destruction of genuine Morrisseau paintings is not true, let them produce the Wanker 16. And let an independent forensic expert, examine their BDP backs…

Three that escaped the NMHS bonfire immolating Canadian heritage artworks, my two forensically authenticated paintings, and one other, “Warriors in Circle of Life,” which is actually Wanker #1***, are damning evidence that KRG and the NMHS were collaborating to destroy genuine Morrisseau paintings. 

And so were doing Great Irreparable Harm to the art and artists of Canada’s Indigenous people.

(***Bought by Donald Robinson at Khan Auctions, on Sep. 29, 1999, for $1,200 and sold six months later tagged at $8,500 to Jane Brown of Toronto.)

A Hate Crime – I regard this as a Hate Crime.

That it is aided and abetted by employees of the Thunder Bay Art Gallery, will do nothing to rehabilitate Thunder Bay’s national reputation regarding its treatment of Indigenous people.

Hate Capital of Canada – The mainstream media has already called Thunder Bay, Ontario, the Hate Capital – against Indigenous people – of Canada.

In 2015, Statistics Canada, published that 29% of all Canadian Hate Crimes happen in Thunder Bay, the worst urban offender in all of Canada, against Indigenous people.

And Norval Morrisseau is a special victim not only because of the establishment elite’s attack on his art. But of racist attacks on his children and grandchildren.

In 2009, Norval’s grandson, Kyle Morrisseau, a blossoming artist himself, while attending school in Thunder Bay, was found bruised and dead, floating in the McIntyre River. One of seven Indigenous students who had recently died under suspicious circumstances in that city, giving rise to one of the biggest inquests in Ontario history.

Then Kyle’s father, Christian Morrisseau, as well as losing a son there, became a racist target again, along with other members of his family, when the Painted Turtle art supply shop, in Thunder Bay, turned over 151 private invoices, complete with private credit card info, to a Quebec lawyer Jonathan Sommer, to use in his discredited court case targeting a single authenticated Morrisseau as a supposed “fake.”

Quebec lawyer Jonathan Sommer, the only lawyer out of 90,000 in Canada, litigating that he has found a “fake” Morrisseau. This is now the second time that he has had the misfortune to pick on a second forensically authenticated Morrisseau. 

I found the private materials destined for supporting “proof” for defamatory allegations about Norval’s Indigenous children, in Sommer’s evidence box for use in his Hearn v McLeod Estate trial.

Sommer, whose business office is in remote rural Sutton, Quebec, some 743 kms from Toronto, is the only lawyer – out of 90,000 in Canada – flogging a case claiming he has a Morrisseau “fake.”

It is only the second such case ever heard in a Canadian court. The first – the only other one on record in Canadian history – was also launched by Jonathan Sommer, and disastrously lost and discredited on all levels by two eminent Ontario judges.

Brian Shiller, the Defendant’s Counsel, and champion of “Wheel of Life 1979” as a genuine BDP work by Norval Morrisseau, won his case, and the subsequent Appeal, hands down in every detail, delivering a total knock-out to Jonathan Sommer and his witnesses, Margaret Hatfield, Donald Robinson, and his business associate, Ritchie Sinclair.

Noted a biting comment by McLeod’s, then lawyer, Brian Shiller, in 2014.

“Mr. Sommer “has been making the allegation of a fraud ring for a long time now” and that “we have asked him for any evidence to support the claim but no evidence has been forthcoming.” (National Post, Hopper, Feb. 3, 2014)

Mr. Sommer suggests these private invoices showing that Indigenous artists in Thunder Bay buy paint supplies – I suppose rather than steal them – are the elusive “proof” that he has been looking for…

I have no idea what Mr. Shiller would say to this Sommer standard of proof…

KEY UPDATE: In fact, on Sep. 25, 2017 a forensic scientist authenticates as genuine, with DNA certainty, the very painting Sommer and his paid contract expert, Professor Robertson, claims is “fake.”

Tellingly Hearn the Plaintiff, Sommer, his lawyer, and Robertson, their “expert,” have utterly refused, in the past seven years, they claim the painting is fake, to take its BDP signature for a forensic examination. I managed to get it done, thanks to a public benefactor who paid.

And now you know what this trio of plotters, very well knew, and were hiding, all along…

Now these maliciously provided, pile of private invoices, were apparently to be Sommer’s “proof,” showing that from 2004 to 2011, these well-known, and prolific Morrisseau artists – Christian, Benjamin, and Eugene, had bought painting supplies from Lorraine Cull, and were therefore – follow me on this please – members of a forgery syndicate, making thousands of Morrisseau fakes in Thunder Bay!!!!

Cull, told me she had provided the pile of invoices in a “play for pay” deal for money paid by a lawyer, whom she refused to identify. His name was merely a suspicion, until I miraculously found a DVD with pictures of her pile of private papers in the court’s evidence box where Jonathan Sommer’s “proof” is stored in the Toronto court house.

And follow me on this please: since Christian, well known in Toronto circles as an Indigenous artist, apparently bought art supplies in Thunder Bay, the inference is intentional, he was probably the guy involved in forging the Hearn/Sommer painting…

Oh – and did I mention? – the subject painting was just forensically authenticated by a professional handwriting expert, as genuine art painted and signed by Christian’s own father…

This is the kind of stuff Canadian courts are clogged up with…

Better hope that your local car dealer, is more reputable than the owners of the Painted Turtle shop, and doesn’t hand out for publication, your private documents, complete with your name, transaction data, and your credit card number, for the car you purchased there…

Because it could very well end up in some lawyer’s hands, and be used as proof to denounce you as guilty of using the car to run a cross the border immigrant smuggling ring, or for ferrying prostitutes to high paying clients.

It’s all part of the daily life of being an Indigenous person living in Thunder Bay and being victimized, without cause, by racist people intent on doing:

Great Irreparable Harm to the Art and Artists of Canada’s Indigenous People.

And then it gets worse… Read “After Life Spirit of the Fourth, 1958” – Part 2

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The TBAG Painting That Alone, Totally Damns Professor Robertson’s “Expert” Report – Malfeasance #65

Who is this beautiful girl?

Credo Update:

Do you know why Professor Robertson lives in mortal fear of this painting?

Norval Morrisseau’s “After Life Spirit of the Fourth” 1958. A prized possession in the holdings of the Thunder Bay Art Gallery vetted, as 100% totally authentic, by former curator Glenn Allison and TBAG Director Sharon Godwin.

In fact, this painting is one of the most powerful forensic documents in the entire history of Norval Morrisseau art. Wouldn’t you like to know why?

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IN MEMORIAM – “Why We Fight…”

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Professor Robertson’s Astonishing Kevin Hearn “Expert Report”


World Premiere – “Wascana Creek Academic Event of the Year”
Unveiling the Professor Robertson Report

“As an Indigenous Art Historian who has studied, taught, and researched contemporary Indigenous art since 2001 in a university context, I have brought a solid scholarly context to my analysis. My Lakota-Scottish ancestry drew me to contemporary Aboriginal art… It is from this context that I shall offer my opinion on the painting in question.
(Professor Carmen Robertson, Visual Arts, Univ. of Regina, expert report p3)

Until I released it to the public on Oct. 3, 2017, I was one of only two or three people who had ever seen, let alone read, the notorious Professor Carmen Robertson, so-called “Expert Report” calling Kevin Hearn’s Morrisseau painting, “Spirit Energy of Mother Earth,” a fake, and maliciously and deliberately Libeling the good and highly reputable, the late Joe McLeod, as some kind of fraudulent seller of crooked forgeries.



So many people have requested to see the actual report, I am offering its World Premiere here, so you can see how many other Academic Malfeasances you can discover to add to my list of 64.


Professor C. Robertson “expert report” on Hearn’s “Spirit Energy”

Duped by Dupes: Colour – Brush Strokes – Impasto…

Petocahhanawawin or Poundmaker, is simply the most fabulous portrait of a Canadian Indian chief ever painted (pastel on paper), by Edmund Morris before he died in 1913. Today “his Indian portraits are now considered priceless.” Only three original copies Edmund painted of this portrait, are known to exist, in Archives Canada, Museum London, and in the celebrated “Hall of the Chiefs” in the Saskatchewan Legislature. There was no provenance or chain of title*** that came with this fabulous original work, on which I was reliably informed that the unhappy under bidder was the Royal Ontario Museum. ***This is, of course, the case with 99% of ALL the thousands of paintings sold at fine art auctions across Canada every year. So, it is also the case with Morrisseaus. Especially since most of his were sold on the street or door to door. Anyone claiming to have credible provenance, like KRG says it offers, on ALL their Morrisseaus, better suspect a “motivated seller” NOT an honest broker…

I believe my original Morris pastel of Poundmaker is superior to the one in the Saskatchewan legislature. Based on my “in-hand” examination of BOTH originals.

I am the only person who has ever done this, so I am the only person who can make this claim.

Because NONE of you know whether the colours, hues, sharpness, tone, exposure and contrast, etc. which I processed into the picture (right) before I published it here, accurately reflect – at all – what is on the original painting I have before me as I write. It would be utterly foolish for anyone to claim otherwise.

Which is why I refuse to pomposit about and make judgments of originals – let alone slang people and paintings – from pictures in books, or low res files of art or memorabilia of which I have not seen the original in hand.

Which is, unfortunately, a terrible habit unique to Professor Robertson, and her hopelessly flawed methodology of judging original paintings, from lowlife dupes, which she outlines in detail, in her “expert report.”

To my mind, as a credentialed and hugely international award-winning visual arts professional, for over forty years, Professor Robertson has an unacceptable methodology, of using clones, or copies, or low res stand-ins, to make damning judgments about colour, texture, and authenticity, in originals which she has NOT seen…

And then in making totally unwarrantable deductions on whether an original which she has not seen, is genuine or a fake, based on seeing some kind of dupe…

And making totally unwarrantable claims about the original colours of any original, or any brush strokes they may or may not have, or degree of impasto involved, if any… It would be farcical to do so…

And then going on to make totally unwarrantable claims about decent reputable people being guilty of deliberate fraud, without a smidgen of credible evidence. ALL OF IT BEING BASED ON PICTORIAL HEARSAY, AS WELL AS WORD OF MOUTH HEARSAY, ABOUT A PAINTING SHE HAS NEVER SEEN, AND A PERSON SHE HAS NEVER MET OR NEVER EVEN INTERVIEWED….

Professor Robertson did her analysis of 38 Morrisseau paintings almost entirely by viewing them as “dupes” in picture books (26 of them, out of 38), or from low res digital file “dupes” sent by various informants. She lists only 10 – ten – as “observed” basing her analysis of 28 paintings she has NOT seen or examined in the flesh, just evaluated through “dupes” of totally unknown origin and processing.

As a longtime practicing historian, investigative journalist, museum curator, and publisher of film, video and digital images, slanging original paintings and people from dupes is totally unforgivable to me.

However that may wash in Wascana Creek, ANY and ALL CONCLUSIONS OR CLAIMS made in this manner are ALL totally, without a single caveat, utterly false and invalid, and when used to attack genuine paintings and decent people without cause or evidence, reprehensible, especially for a person claiming academic credentials.

And certainly not befitting any professional report by a person claiming to be any kind of academic or expert on painted or printed visual materials.

This fabulous original annotated artist’s proof, of Madeleine de Verchères by JD Kelly, which I own, will become the cover for a book by US Professor Dr. Gina M. Martino, “Women at War,” to be published by the University of North Carolina Press. None of them will ever know – and neither will you – whether the high res file I created from a photo I made, then processed in Photoshop, and sent the University is – in any way at all – a faithful, accurate, or representative reproduction, of the colours, the hues, the sharpness, the exposure, the contrast, the brush strokes, the impasto, etc. of the original I have in hand. I have no way of knowing how the studio artist will further change this image in preparing his copy for publishing. It would be idiotic for any of you to claim I am wrong and that you could do so.  And yet that is exactly what Professor Robertson has done in her “expert” report, based overwhelmingly, on only viewing dupes, over and over, and then going on to attack the original Morrisseaus – which she has not seen – as fakes, and the people associated with them as a fraudsters. Just because her dupes don’t look like the other dupes… Yes the Canadian fine art bureaucracy is as surreally nonsensical as this.

I have spent most of my adult life earning a living as a highly successful and top Canadian visual artist, creating highly regarded, and multiple international award- winning, original visual arts materials: for television broadcast, and for use in magazines (Canada’s History Magazine); academic books by professors and curators (the US and Canada); popular books (National Geographic, UK, etc.); posters & brochures (US Parks Service, National Capital Region, Ottawa, etc.); giclée copies of original paintings & prints (US, Titanica Museum, Branson MO, UK, Canada etc.)

I have supplied original paintings and prints to international museums (Ford Museum, US; UK, etc.)

I have supplied, on request, multiple original Canadian art works, for display at major fine art shows at top Canadian and American museums, alongside the best works from the National Gallery of Canada, the Royal Ontario Museum, the Art Gallery of Ontario, etc.

“He who can, does; he who cannot, teaches.” GB Shaw

Professor Robertson has spent the last few years “talking” about visual arts… to a handful of students on Wascana Creek, Saskatchewan. 

And fraudulently bad-mouthing real art she has never seen, and on that basis unwarrantably and maliciously, vilifying multiple people she has never talked to.

To my mind, totally unforgivable…

Is it any wonder Professor Robertson’s report is shot through with so many fallacies.

Poundmaker and his people lived around Wascana Creek. I have visited both his original grave (Blackfoot Crossing) and his final resting place (Cut Knife), and believe that he would be utterly dismayed at the Great Irreparable Harm that Professor Carmen Robertson, living only a stone’s throw from the Saskatchewan Legislature’s “Hall of Chiefs,” is doing to the art and artists of his people.

I drove 11 hours across the Roger’s Pass during a blinding snowstorm, to get a chance to bid on this large and utterly fabulous original pastel on paper, of Crowfoot, by John S Perry, the noted early 20th century portraitist. I was the winning bidder at a Doug Levis Auction in Calgary. The unhappy under bidder, was Chief Strater Crowfoot, the chief’s great, great grandson. I interviewed Strater, on camera, at Blackfoot Crossing, just before “his” magnificent museum, celebrating Blackfoot people, opened in 2005. I also acted as his archival advisor, on Day 1 of the auction, regarding his spending priorities for Indigenous Canadian pictorials, to help him get the best materials at the auction for his museum. But as the saw goes, there are no friends at an auction. On Day 2, I outbid him on this fabulous painting. Strater comes from a highly educated and accomplished family, has an MBA, and was twice, elected Head Chief of the Siksika Nation. Which incidentally, is where Gerald McMaster says he is registered.

Forensic Warning – As a longtime art collector and curator of a museum of some 7,500 historic paintings, prints, and memorabilia, I entirely concur with the methodological practice of forensic scientists, and professional art authenticators.

And not with the sage of Wascana Creek.

That you must have the original materials in hand – in all cases – and view BOTH the FRONT and BACK before you make any determination of authenticity of a colour painting, NOT based on comparisons between pictures in books, or low res files created by who knows where, and when, in whatever circumstance.

(A professional methodology that Professor Carmen Robertson, of the University of Regina’s Visual Arts department, has clearly never learned.)

Since 1999, I have been a professional curator of an internet museum (based on a bricks and mortar collection of some 7,500 historical items) which includes thousands of images of original historical paintings and memorabilia, which I use in educational internet and television productions, to inform people and infuse them with enthusiasm about Canadian history.

Like all my fellow curatorial colleagues, I would never even dare make any claims, or reach any conclusions, of any kind, about an original work of art, or a historical artifact of any kind, without closely examining it in hand first, front and back.

Let alone, going on to use second or third-hand pictorial research or copies, as a basis to slang another human being – especially an art expert far above the level of Professor Robertson – as being a deliberate lowlife seller of forgeries.

Romanshorn (CH) Hafen on the Bodensee, which was Zeppelin central of the world from 1900 to 1939. Switzerland is in the foreground; 10 kms across the water is Germany on the left and Austria on the right. Along this harbour wall, every summer during the 1940s,  I learned to fish as a boy. How well I remember the day the zeppelin flew low over the harbour… NOT!!! It’s a totally faked dupe, lying in wait for the Professor Robertsons of the world, who never look beyond a dupe before making definitive and totally nonsensical statements about, for example, zeppelins in Romanshorn, etc. or Morrisseaus this or that, by relying on lowlife copies. International archival research by me, of original materials, uncovered the earlier lower dupe, so exposing the zeppelin version as a total fake. I have no way of knowing if even that one is also not a FAKEOGRAPH. From which one was the train added, or removed???  Note the difference in clouds, and smoke from the factory and steamer. I believe, from experienced research, that even the steamer St. Gotthard, is faked in BOTH. Its perfect artistic positioning, its side wheels grinding out full power, but showing no wake, and ready to collide with the dock in seconds, instead of being aimed out the harbour entrance (top r), is 100% suspicious. It’s NOT the captain who placed the ship there, but a conniving devious studio artist in creating a Dupe to fool Dunces. So BOTH are multilevel FAKEOGRAPHS betrayed by other existing copies. Neither I – nor Professor Robertson – can dare say anything whatsoever, about the ORIGINAL these fakes are based on. (Both ultra-rare postcards from my collection, date from 1910.) I have literally hundreds of BEFORE and AFTER fakes, like the two at the top. I can safely say, that 99% of ALL so-called photos of zeppelins, taken from 1900 to 1940, are FAKEOGRAPHS, the product of studio fakers, and NOT photographers. ALL these production hazards apply and lie in wait for anyone using dupes of Morrisseau paintings, so preventing anyone from saying anything remotely accurate, let alone fair, about originals they have not seen. Any dupe is a bad dupe. A dupe always compromises the look of the original. As those of you who are literate know, the reproductions of the art of the European Masters, as illustrated in books, commonly features huge colour shifts so wildly out of wack with each other, they often appear to be different paintings. But it does no harm. No one is using them to maliciously slang the original paintings, or to falsely slang or discredit innocent people.

And I know, as a CSC, and from long years of experience – over 40 years – as a professional film, and video cinematographer, editor, and photo publisher, that ABSOLUTELY NO ONE can say anything even remotely valid about colour cast, colour palette, colour hue, color usage, colour selection, period changes in colour or palette, representative colour, abnormal colour, normal colour, you name it… from dupes or reproductions of any kind whether in books or digital files.

Or anything else, for that matter…

In fact, I have spent most of my adult life as a top Canadian cinematographer and film and television editor, changing the original colour, and colour cast. of thousands of miles of film and television images precisely to make sure that the audience NEVER sees the original colour or colour cast, etc. of the original footage. Or in photography, of the original photo.

It would be nothing short of asinine for anyone to ignore this publishing standard, and go on to pomposit definitively about comparisons of this or that colour or hue in his art, or changes in an artist’s palette, from one era to the next, etc., from picture books.

If I had to make a definitive statement about my experiences as a private and professional life as a photographer and cinematographer, I would say this: I have never, ever published a single photo – of untold thousands I have taken – or published a single film or television image – of hundreds of thousands of miles of footage I have shot and edited – in which I did not change the colour of the original.

(And like other filmmakers it has cost me scores of thousands of dollars to have it done. In the industry it is called “colour correction” and no professional would even think of finishing a film, video, or colour photo, without doing lots of it. Which of course, the viewing audience will never know anything about.)

Go Ahead Professor – tell me which one is the fake!!! All are original photo postcards I own, of Luzern, Switzerland, my grandfather’s home town. They date from c 1910, and were taken from the same window of the Schwanen Hotel. I have some twenty other originals, shot from exactly the same window, showing the “Rigi,” Luzern’s famous mountain, moving all over the place behind the town, courtesy of different early 20th century photo fakery fiends. Professor Robertson’s methodology would not allow her to be aware of any of this, of course. She would grandly pomposit on and on from dupes like these – her comparative standard of analysis – about which mountain is the real one, etc. and so which photo is the real one and which is the fake. In fact the top two are fakes. Each one, taken in isolation, DOES NOT ALLOW ANYONE TO SAY ANYTHING ABOUT THE ORIGINAL IT IS A COPY OF OR THE ORIGINAL SCENE IT SEEMS TO REPRESENT. And, neither you or Professor Robertson would ever know that from these dupes without going to look at the original scene itself. And in fact, the actual view with the same lens – would not show the Rigi at all, as it’s off-camera to the right… And yes, the flag is faked too. This is one of Switzerland’s most published postcard views, thanks largely to the Rigi being fraudulently added in to create the perfect photo with perfect lines, and something of interest in every plane, the dream – seldom realized – of every photographer. But an everyday achievement for studio fraudsters creating FAKEOGRAPHS. Because faked dupes like these have fooled the Professor Robertsons of the world for centuries. In fact after researching over 1 million postcards of this area of central Europe, and purchasing some 900, so I could personally examine key, original materials in-hand FRONT and BACK, I have come to the conclusion that 99% of these postcards, advertised as “echte photo,” or “Authentic Photo Postcards,” are in fact, lowlife fakes. So I have coined a new term – FAKEOGRAPH – to identify original photos that have been faked over in some way or other before being published. I can say without fear of contradiction, that FAKEOGRAPHS – deliberately created to target Dunces with Dupes – far outnumber the published, unaltered Photographs, in the history of world postcard production from 1895-1945. Astonishingly enough there was NO previous word to describe manipulated published photo materials of this kind, even though they far outnumber published original photos.  In Morrisseau terms it means that the dupes Professor Robertson uses to assess original Morrisseau works of art, are, from the start, far more misrepresentative of the originals, and of the Truth than of anything else.

But then Professor Robertson, who demonstrates no background in the field at all, wouldn’t know those realities involved in publishing original colour materials, and explains why she became so famously hoisted on her own petard.

As a webmaster of the biggest internet museum in the world I have changed the colour cast, colour hues, etc. of every single image, of the many thousands that I have posted since I became one of the very first to start posting large images to the internet in 1996.

Everyone with a background – which Professor Robertson seems to have successfully escaped – in film and television production, photography, and publishing colour images, very well knows all that as a total given.

And in parallel, they also know, that unless you have the original painting in hand, that no expert would ever dare say anything even remotely credible about brush strokes on a painting, or whether there is impasto, or not, being used by the artist, without being laughed out of the room full of visual or publishing professionals.

Because they all know what shows up in copies or prints of originals in books or digital files, regarding COLOUR, regarding BRUSH STROKES, regarding IMPASTO, etc., TOTALLY DEPENDS ON HOW THE PAINTING WAS LIT AND PHOTOGRAPHED.


Though it may wash in Wascana Creek, no visual arts professional anywhere else would ever do what Professor Robertson does. Because they know there would be NO validity to any of it… NIAOBs…

So why does Professor Robinson persist with her invalid methodology, ludicrous analysis and false claims…

If academic Truth, and research transparency, and scientific analysis, are apparently NOT important to her, then what is?

Could it be that she has a hidden agenda, that she is fulfilling for someone?

Like the secret, unidentified person or entity, who commissioned her to write this undated, unsigned, and embarrassingly sloppily executed, draft “expert report.”

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64 Academic Malfeasances of Professor Carmen Robertson

A truly stunning and astonishing picture that tells a damning story of how Visual Art research is carried out at the University of Regina. A fake photo of an event that never happened. The University of Regina’s Professor Carmen Robertson beside a painting, in Toronto, which she has NEVER listed among the ONLY TEN paintings in her database she lists as having actually “observed” in hand, (as opposed to seeing them in books or in low res files) Kevin Hearn’s “Spirit Energy of Mother Earth.” That didn’t stop her, in far-off Wascana Creek, Saskatchewan, from writing a 67 page “expert report” calling the painting a total “fake,” in a “play for pay” contract for someone whose identity she hides. She has now (since Sep. 25, 2017 (thanks to a forensic report first publicly released on this Blog) been totally exposed as, either, a complete fool, or a willing and malicious participant, in an art fraud, because a forensic expert has totally authenticated the painting, which she denounced as done by a forger, as signed by Norval Morrisseau, with DNA certainty.

More than any other Canadian forensic scientist, Kenneth J Davies, has the Morrisseau fraudsters on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation – some 80 to date – has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding.

On Sep. 25, 2017, professional handwriting expert Kenneth J Davies, of Hawkeye Studios, in Calgary, AB, has totally authenticated Kevin Hearn’s “Spirit Energy of Mother Earth” as authentically signed by Norval Morrisseau, and by no one else, with DNA certainty.

It is a stunning development in the case and shows conclusively that Kevin Hearn’s lawsuit, put forward by Quebec lawyer, Jonathan J Sommer, who have claimed “Spirit Energy” is a fake, for six years, is fraudulent, without merit on any level, and must now be dismissed because it has NO CAUSE OF ACTION.

The forensic finding, with DNA certainty, completely and totally, without a smidgen of error or doubt, exposes, discredits, and disgraces, BOTH people put forward by Jonathan Sommer as his “expert witnesses” and BOTH their clearly fraudulent “expert reports.”  

This should bring to an end, the ONLY LAWSUIT IN ALL OF CANADA ALLEGING A MORRISSEAU “FAKE”… And a dead end for Jonathan Sommer and his Morrisseau “fakes” business, he being the only lawyer in Canada – out of 90,000 – to be involved in such a fraudulent and meretricious case.

What the University of Regina should do with its clearly academically malfeasant, negligent, and vicious and malicious professor, is up to its Board of Governors. Her slanging and fraudulent report has done GREAT IRREPARABLE HARM to the art and artists of Canada’s Indigenous people.

Professor Carmen Robertson of the University of Regina’s Visual Arts department, located on Wascana Creek, SK, has tried to pass herself off as an expert on Norval Morrisseau and his art.

In a vicious and malicious document, which she calls an “expert report” she has listed her basis for discrediting, and devaluing Kevin Hearn’s painting, “Spirit Energy of Mother Earth,” as a fake, and the man who sold it to him, Joe McLeod, for decades regarded as Canada’s senior Morrisseau expert, going back to 1959, as some kind of crook, creep, or conman, alleging he knowingly was selling fakes.

I am one of only three or four people, in the world, who have even seen this report, and am certainly the only one who has investigated it with a fine tooth comb on which this analysis is based.

My language is strong. Racism is an evil; Fraud is evil. Promoting an art fraud, that has done GREAT IRREPARABLE HARM to the art and artists Canada’s Indigenous people, needs to be denounced in the strongest terms possible, and to mercilessly target the guilty agents of Cultural Genocide, no matter who they are, who they claim to be, or from where they come.

Was He Pushed? – Or Did He Jump? – Can you guess why Jonathan Sommer has finally dumped Robinson, whom he has trumpeted for years, as the best Morrisseau “expert,” only to have him, his testimony, and his expert reports, utterly discredited, and “rejected” by judge, after judge, after judge, as self-centred, uncredentialed, and just not trustworthy or believable, even under oath on the stand? This makes it an astonishing FIVE OUT OF FIVE of Robinson’s Expert Reports, alleging Morrisseau “fakes” that have been trashed, by judges and lawyers, in every lawsuit they have ever appeared. A unprecedented and stunning record of fraudulent publication by any “expert” I know of. But he has trained Professor Carmen Robertson to follow his discredited career path as a “Morrisseau expert” and “expert witness.”  You would have thought she learned her lessons well at the foot of her mentor. You would be wrong; her “expert” report is nothing, if not a total embarrassment to any professional, and to her university. Here is my Blog page that finally convinced Jonathan Sommer to “kill” Robinson as his “expert witness” and toDump Robinson

A typical 1970s BDP which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in this way. In September 2017, his judgment was proven correct again, as Kevin Hearn’s notorious BDP, is ruled authentic by an independent handwriting expert, with DNA certainty.

Deliberately Negligent, Deceptive, and With Malice Aforethought…

The Professor Robertson “expert report,” which I discovered in an evidence box in a Toronto courthouse, is to my mind, the most incompetent, fraudulent, and malicious document written by a so-called academic I have ever seen in the 51 years I have been a credentialed historian. It ranks up there in credibility, right alongside the notorious “Hitler Diaries.”

I have found at least 64 deliberate transgressions of Gross Academic Malfeasance by a Professor, who, by publishing the farcical analysis she has put into the court records, has done Great Irreparable Harm, not only to ALL the art of Norval Morrisseau, but to ALL the art and artists of Canada’s Indigenous people.

With her slipshod and negligent research, and indefensible deductions based on NO credible evidence, but always showing a deliberate willingness to hide evidence, ignore evidence, refuse to read or consult key documents, key publications, and key experts, she betrays a willingness to “play for pay” for fraudsters, never giving a moment’s thought to where such malfeasant  behaviour would take her. Clearly, for her, in Wascana Creek, all roads lead to the Bank.

Malfeasance #1 – Professor Robertson sets the academic research model on its head, starting with a conclusion, that a Morrisseau painting – and five others – are fakes, and then turning heaven and earth to martial her “research” to try to make it fit, to show that her thesis is the one you should believe.

All done for pay, of course, in a model of academic research she has clearly copied from Big Pharma, Big Tobacco, Big Oil, doctors promoting Thalidomide as the “wonder drug,” George Bush’s (the CIA’s) Weapons of Mass Destruction in Iraq, and Dr. Mengele’s research proving Jews are inferior, and Germans are the Master Race.

Malfeasance #2 – Viciously attacking – without credible evidence – a painting she has never personally seen, “observed” or “viewed” or examined in hand.

Malfeasance #53 – Viciously attacking a man, Joe McLeod, whom she never interviewed. Her discrediting – without credible evidence – of a decent man, and art and Morrisseau expert, is heinous, and unforgivable on every level.

Malfeasance #4Claiming to be a “research expert,” as a professor since 2001, on a man and his art – Norval Morrisseau – whom she never met or interviewed, at any time from then till he died seven years later.

Malfeasance #59 Willfully blind, in refusing to interview some dozen key people who are utterly key to what she claims to be “researching.”

Malfeasance #5Deliberately and deceptively publishing an academic document without signing it with her name.

Malfeasance #19Deliberately and deceptively hiding the existence of this – her second biggest publication of her career – from ALL her professional bios in her “Mythologizing Norval Morrisseau” book, her University of Regina online bio, or her Art Canada Institute bio. Or in her current monstrous listing of all her bio material in small print over seven pages. It’s by far her biggest Appendix.

This is clearly a most damning act of deliberate subterfuge by a professor who’s astonishing bio in this “expert report” is her biggest appendix addition by far, and mentions every single one or two page article (scores and scores of them) she’s ever written, anywhere, since she became literate. BUT SHE DOES NOT REFER TO THIS REPORT – THE SECOND BIGGEST THING SHE’S EVER WRITTEN – ANYWHERE ON ANY OF HER BIOS. Clearly it is her fear, she’ll only contaminate her academic career with acknowledging it. And she damn well should, because it will.

Malfeasance #13Gushingly and subserviently publishing works by Ruth Phillips and Greg Hill, who each, have the most execrable reputation possibly for having repeatedly discredited genuine Morrisseau paintings as fakes, with a twofold purpose, front for the KRG fraud, and obey their directions to target people on KRG’s hit list.

Malfeasance #20  – Deliberately and deceptively, refusing to note in sources, anyone who disagrees with her thesis, and aggressively ignoring major publications who expose what she says as fraudulent and not supported by judges, by forensics, or the documentation.

Malfeasance #6Deliberately and negligently refusing to mention having attended or researched public auctions, where thousands of genuine Morrisseaus were sold during her so-called period of research.

Malfeasance #32Deliberately and negligently refusing to research, quote, or mention commercial art galleries, who have handled far more Morrisseaus than any of the very few national art galleries, which Robertson chooses to restrict her research to.

Malfeasance #29Deliberately refused to interview Donna Child, who resoundingly won her court case affirming “Wheel of Life” as an authentic BDP, from two judges, and ruling in every way possible, against the lawyer, Jonathon J Sommer, and his witnesses (Donald Robinson and Ritchie Sinclair) claiming her painting was a fake.

Malfeasance #15 Ignoring and being in flagrant violation of multiple protocols of the Ontario Rules of Civil Procedure, Rule 4.1, that outline the “Duty of an Expert” and outlining protocols defining how an expert must be neutral. Her violations may be fine in Wascana Creek, but they are NOT acceptable in Ontario.


4.1.01  (1)  It is the duty of every expert engaged by or on behalf of a party to provide evidence in relation to a proceeding under these rules,

   (a)       to provide opinion evidence that is fair, objective and non-partisan;

   (b)       to provide opinion evidence that is related only to matters that are within the expert’s area of expertise; and

Duty Prevails

   (2)  The duty in subrule (1) prevails over any obligation owed by the expert to the party by whom or on whose behalf he or she is engaged.  O. Reg. 438/08, s. 8.

Malfeasance #7Robertson refuses to disclose her numerous conflicts of interest in writing her report and claiming to be an expert, deliberately hiding her close relationship to Donald Robinson and other longtime judicially discredited and forensically disgraced promoters of the Morrisseau HOAX fraud.

Malfeasance #46Deliberately and deceptively publishing an academic document without dating it.

Malfeasance #30Deliberately and deceptively publishing an academic document without revealing when her research for the report began.

Malfeasance #60Deliberately and deceptively publishing an academic document without revealing who contracted or commissioned her, who paid her, and under what circumstances.

Malfeasance #36Deliberately and deceptively publishing an academic document without revealing what the purpose of her expert report was.

Malfeasance #54Deliberately hiding the fact that, for years, she has been a close collaborator with Donald Robinson and the Kinsman Robinson Galleries in willfully promoting a fraud.

Malfeasance #61Publishing as sources, only the publications of her friends and colleagues who have been collaborators with KRG for years of cultural genocide against the art of Norval Morrisseau.

Malfeasance #55Deliberately, negligently, and with malice aforethought, ignoring the main website and document source exposing the Morrisseau HOAX that she is aiding and abetting –

Malfeasance #58Deliberately, negligently, and with malice aforethought, ignoring the main Norval Morrisseau heritage promoting blog – the Ugo Matulic blog.

Malfeasance #28Deliberately, negligently, and with malice aforethought, DOES NOTE and reference, the Ritchie Sinclair website, most vicious, racist website ever published in Canada, attacking leading First Nations people as forgers, and crooks.

Malfeasance #8Deliberately, negligently, and with malice aforethought, DOES QUOTE Ritchie Sinclair, the worst art and cyber terrorist, convicted Libeler and Slanderer, and Faux-nishinaabe Indian imposter/impersonator in Canadian history.

Malfeasance #63Deliberately and with malice aforethought, and without any proof, she changes four Morrisseau paintings, donated by the Otavnik family, in 2004, from authentic to attributed (FAKE), even though these had passed a rigorous vetting regimen by Thunder Bay Art Gallery curators and tiers of experts acting for Revenue Canada and the Cultural Properties Review Board.

Sharon Godwin is playing a very dangerous game as a curator, I believe, putting personal friendships ahead of her fiduciary duties as head of a public art gallery.

Sharon Godwin, the Director of the Thunder Bay Art Gallery, strongly, and repeatedly, refused to tell me whether she had changed the status of any paintings in her gallery, leaving you to figure out what she is hiding and why?

On the other hand she totally denied, when challenged, by third parties, who reported to me, that she had changed the designation of the four Otavnik family paintings, which Robertson had totally impugned as utter fakes in three different places in her report: in her List of Illustrations, her tabular display of referenced paintings, and her textual analysis and conclusions.

Godwin, mysteriously, refused to answer my question regarding their change in status, writing that “we consider (Robertson) one of the best academic experts on Norval Morrisseau and an honest person and accomplished researcher.”

It also took Godwin several weeks to reply to my questions, saying that “various people I wished to consult with were on vacation.”

This critique should tell you lots about Sharon Godwin’s level of academic, art, or Morrisseau expertise.

What is incontrovertible is that either Professor Robertson is lying, or Sharon Godwin is lying. Or Both… You decide.

I can say without the slightest fear of contradiction from anyone, that Professor Robertson would NEVER unilaterally change the status – and so discredit, defame, and devalue – from genuine to fake, of four paintings belonging to a close friend and colleague’s prominent public gallery, without her complete approval and complicity, before doing so.

What is also incontrovertible, is that by Robertson – again whether unilaterally or in collusion with Godwin – now claiming that the four Otavnik paintings are fakes, thereby she/they are also calling the Otavniks deliberate art fraudsters, in trying to pawn off fake Morrisseaus on the Thunder Bay Art Gallery, and are involved, therefore in a fraud against Revenue Canada.

It is, in fact, that exact claim that art terrorist Ritchie Sinclair – after he says he talked to Sharon Godwin in 2008 – made against Joe Otavnik and his family, in a sworn affidavit, quoting Godwin’s denigrating comments to him regarding the self-same Otavnik paintings.

Ask yourself: if Sharon Godwin is documented, in a sworn Affidavit as discrediting the Otavnik paintings to a total nobody and art terrorist Ritchie Sinclair in 2008, would she not, in 2016-2017, not tell a close friend, and a person she highly praised to me as the top Morrisseau expert, the same thing? Do you believe her claims that she had nothing to do with it? Do you believe she is honest?

I have not the slightest doubt but that Robertson and Godwin, who have had a long association, collaborated to change the status of the Otavnik paintings in the Robertson report. Guessing that few eyes beyond one judge, would ever see it as clear evidence of their collusion. And probably never guessing that I would discover their secret.

Thanks to my exposé, all Canadians and internet surfers around the world will know the depths of the diabolical plot to discredit, and devalue genuine Morrisseau paintings by two clearly colluding malfeasant self-declared art and Morrisseau experts.

Malfeasance #35 Robertson has a very poor knowledge base of Norval’s work as an artist claiming that he painted “well over 1,000 works.” Which is an asinine statement, and a damning indictment of her lack of research intelligence, before, during, and after publishing this idiocy, which one would not even expect from a fly-by-night journalist, let alone by the self-proclaimed world expert on the artist.

Malfeasance #21Doing her “research deductions” on a ridiculously tiny database of paintings – her database references only 38 paintings – of a man, with a reputation as a prolific artist, who painted – new evidence now alleges – some 23,000 paintings in his 45 year painting career.

(Still Norval is no match for Doris McCarthy who had a lifetime oeuvre of probably 30,000 paintings – she said she tried to paint one work a day. Norval often painted 40-60 works at a time.)

Malfeasance #31Doing her “research deductions” on only 10 paintings she has actually “observed” out of the tiny sample group of 38, or 23,000 if you will. This is an incompetent sample group for any academic to make damning conclusions from, and then slanging and discrediting a major Morrisseau work of art, and slandering the name of the person who vetted it and sold it, Joe McLeod. And of course she HAS NOT PERSONALLY “OBSERVED” the subject painting that she discredits, demonizes as a fake, and devalues in the public mind.

Malfeasance #47Her execrable research terminology is so incompetent, unclear, and deceptive, we do not know what she means by “observed,” “personally observed,” or “observed in hand,” or “observed while cataloguing,” regarding the 10 paintings in her database of 38 she acknowledges as “observed.” Or what she means by “viewed” when she notes collections in museums or galleries.

I personally “observed” the Northern Lights, many times in the Far North; does that make me an expert in astro-physics?

I spent a day touring the 45 display rooms, “viewing the collection” in the Uffizi Gallery, in Florence; does that make me an expert on Botticelli, Titian, Raphael, or Michelangelo. Let me know if I qualify.

And in her “observed while cataloguing” category: I can only reference a surgeon, who “did a hysterectomy while viewing his ipad” for comments from his Facebook friends. Do you want his number so he can do your vasectomy?

She DOES NOT disclose which of those 10 paintings she actually observed the backs of. In fact Norval’s Androgyny is so huge and hanging, I completely doubt, that even if anyone asked to see the back, the curatorial staff would allow it to be taken down. And the same is my experience in asking galleries for allowing me to see the backs of paintings. Many art auctions are even loathe to take down large paintings to show the backs.

And in fact, countless of her “research deductions” were based on low res photos sent to her by art museums and galleries. It is a fact that photos are virtually NEVER taken of the backs of paintings and only photos of the fronts of paintings are available, and so constitute the overwhelming number of photos she received and observed.

And in fact the single biggest source of pictorials for her “research deductions” were based – I kid you not – on pictures from a book, for which, of course, NO PHOTOS were provided showing the backs of any of these. So she just blithely and ignorantly says there are NO BDP signatures on the backs of any of them.

I can only refer to the Hon. Justice Thomas R Lederer’s scorching comments, in 2008, about Ritchie Sinclair doing exactly that, making discrediting statements about, and calling “fake,” countless paintings he had never seen, in hand, and making unwarrantable comments, based on what was on the backs of paintings, without ever having seen photos of any of the backs.

Malfeasance #9Her execrable research methodology is based overwhelmingly on paintings she has NEVER examined in hand, on partial results, on scandalously basing her research on photo-mechanical reproductions in a picture book, or from inferior low resolution images of all kinds of sizes, sharpness, tonality, colour and hue variation that were NEVER matched to the originals.

Malfeasance #22Her execrable research methodology is damning, create a thesis, and then keep only evidence that proves it and ruthlessly exclude, reject, hide, or denigrate evidence which disagrees with your targeted and desired result.

Malfeasance #37Her sample database is based on a tiny group of inferior samples, from partial submissions, because many she had included in her wish list of institutional respondents – about 50% – refused to supply her the pictorial information she requested. So her own tiny source list of necessities, for making a proper determination, has its validity cut in half before she even begins examining what does come in.

Malfeasance #48Her sample database is based on a execrably tiny database of sources, and entirely based only on institutional collections, and only from a few.

Malfeasance #24Her database excludes and ignores the single biggest source of Morrisseau paintings in the world – what is held in private hands, by an artist who sold on the streets, door to door, in malls, parking lots, hotels, bars, etc for over 40 years.

Malfeasance #42 Creating a false positive, based on tiny restricted group of paintings in a few institutions, from which (the National Gallery of Art), Morrisseau and his art had been deliberately racially excluded during his entire 50 year painting career and to which neither he nor his work did not gain entrance until after 2000. Just before he died.

Malfeasance #10She never appeared at a single one of any of the many Morrisseau-related trials, not even once, to research what was going on in Canadian courts based on sworn testimony, by the experts, and listening to witnesses or learning what the evidence was. TOTALLY UNDERSTANDABLE, of course.

The Professor had, as I made clear, made up her mind long ago, about what her thesis would be, and felt she did NOT need to see other people’s evidence, even though they were judges, justices, forensic experts, bloggers, and other people – unlike herself – who had known Morrisseau.

Malfeasance #34 She has never read, quoted or sourced a single judicial judgment or settlement on a Morrisseau-related court case. (Mogan, Abbott, Isaac, Otavnik v Vadas, Moniz v CTVglobemedia, Godfrey, Martial, Lacavera, Sanderson, Hearn v McDermott, KRG v Matulic, SAW Gallery dismount & apology, Kilian, Goldi v Bell Media (CTV), etc. TOTALLY UNDERSTANDABLE, of course, because they ALL went against what she was claiming and were damning of her friends and colleagues who were promoting the fraud.

Malfeasance #16She has never read, quoted or sourced a single Morrisseau-related lawsuit, whether Plaintiff’s Claim, or Defence.

Malfeasance #56She has never read, quoted or sourced a single Morrisseau-related trial or appeal court transcript.

Malfeasance #64Having deliberately, malfeasantly, avoided researching or referencing a huge reservoir of Morrisseau-related documentary evidence from sources or people she does not like, she balances that by quoting as a source, in what is supposed to be a serious “expert report” on art fraud, a poet’s book. (Armand Garnet Ruffo)

Ruffo’s fantastic ruminations of totally dreamed up bumph***, supposedly about Morrisseau, are a total work of fiction, and amount to some 320 pages of dream along with me stuff, for which Ruffo publishes not a single footnote, not a single reference, and not a single attribution of any kind, for a single thing he says, states, or claims. Or an index reference of any kind…

***For example Ruffo dreams up his claim that Norval – only months before he died if you can imagine, rising – like Lazarus – from his own deathbed – flew to Toronto to testify in a court case. It never happened. Joe Otavnik was in the thick of it and says Norval NEVER came to Toronto, only Vadas did. And Vadas quickly folded and paid Otavnik off with $11,000 for fraudulently saying that Norval claimed his genuine Morrisseau painting was a fake. So much for Ruffo as a credible reporter on “things Morrisseau.”

But then, come to think of it, including Ruffo’s book is entirely proper, because Robertson’s “expert report” is exactly the same kind of dreamed up fiction, made up of wild fantasies not referenced to any independent reality outside her own mind.

Malfeasance #23She deliberately did NOT read – or pretends she did not – review, quote, the Defence written by Brian Shiller in Hearn v McLeod regarding her claims about the painting and the man she slanged, Joe McLeod.

Malfeasance #38Deliberately ignoring that both, a judge and an appeal justice affirmed that there was “overwhelming evidence” that Norval Morrisseau signed thousands of BDPs signatures on the back of his paintings, because they discredited her own fraudulent claims that she has never seen a BDP signature on any genuine Morrisseau painting, except on four Otavnik family fakes it donated to the Thunder Bay Art Gallery. In this she was loyally aping Donald Robinson’s multiple judicially-discredited claim, “not once have I ever seen one.” It is damning evidence that she either, never bothered to read these trial transcripts or judgments, or deliberately PRETENDS she has NOT. It show she is disastrously misinformed, ignorant, gullible, naïve, and easily manipulated by those who paid her to fabricate her fraudulent report.

Malfeasance #43Setting a fraudulent “Wascana decorative floater,” double-Whammy standard as a definitive telltale sign to tell a genuine Morrisseau from a so-called “fake.” (Wascana Floater #1)

Malfeasance #14Willfully, ignoring, or pretending not to know, that many Wascana floaters, including decorative ones, are, in fact, found on many Morrisseau paintings, claimed to be authentic Morrisseaus by Robinson’s own colleagues and friends with whom she is promoting the fraud, including in shows and catalogues published by Elizabeth McLuhan & Tom Hill, Greg Hill & Ruth Phillips, the Robinsons, and Jean-Hubert Martin in the French Bicentennial Exposition.
(Wascana Floater #2)

Malfeasance #49She also deliberately ignored the many hundreds of Wascana floaters found on other art collectors’ Morrisseaus, scores of which have been forensically authenticated, AGAIN, WITH SERIAL MONOTONY, without a single examination EVER finding a single fake signature, OR sign that any forgery of any kind, was involved, on any level… by three different independent professional handwriting experts, routinely used by the RCMP and other police forces.

Kevin Hearn will eat crow for the rest of his life for calling a genuine Morrisseau a fake for years, with no evidence. But don’t feel sorry for him; feel sorry for the countless Indigenous artists across Canada to whom his fraudulent, vicious, and malicious lawsuit did Great Irreparable Harm. Because collectors preferred to buy art by third class white artists than Indigenous art that Kevin Hearn claimed was utterly contaminated by lowlife fakes. And feel sorry for the thousands of Morrisseau collectors across the world, whose art was hugely devalued because of Hearn’s celebrity slanging of their art. .

Malfeasance #27 – Falsely reports that: “After Hearn was informed of the questionable authenticity of his painting by the Art Gallery of Ontario.”

It shows how blatantly ignorant Robertson is, of the documentation of the event, or how deliberately malicious she is in distorting the record, and the truth of what actually happened and who was involved, and how.

She just invented this bumph. In fact there is NO letter or email from either AGO Director Matthew Teitelbaum or his Curator of Canadian Art Gerald McMaster, informing Hearn his painting is fake. Nor is there such a letter from either of them to Joe McLeod who wrote formal and registered letters to each of them demanding a response on what AGO had done with his paintings.


But there is damning documentary evidence that Robertson maliciously and deceptively ignores and hides an email from Ritchie Sinclair to Kevin Hearn saying he instructed AGO art rental shop boss Jennifer Bhogal to take down the Hearn painting as a fake.

Everything about Teitelbaum and McMaster’s part in any of this is just inane hearsay shop gossip.

How a diabolical art fraud starts: when a documented school dropout, and documented racist, and documented art and cyber terrorist, Ritchie Sinclair, aggressively cons gullible AGO art retail boss Bhogal, to dismount, and so discredit, and devalue a genuine Morrisseau. And then goes on to con Kevin Hearn into suing, Joe McLeod, the art dealer who sold him the painting, and whom Sinclair has physically terrorized for years, for turning him down as a gallery artist. And Sinclair then continues to “groom” Hearn, and delivers the wealthy celebrity musician, into the lap of  his longtime Morrisseau “fakes” business partner, Jonathan J Sommer to launch a specious – but expensive, of course – lawsuit.  Exactly like Sinclair had previously done with the hapless elderly Margaret Hatfield, whose pension was depleted by some $60,000. It took two judges to tell her that she, Sinclair, and her lawyer, Sommer, were all, totally, dead wrong, on every level about a painting they purported to claim was “fake.” But it was only “news” to the hapless old lady…

Teitelbaum and McMaster collaborated to make sure that there were none of their fingerprints, blood, or DNA ANYWHERE in this story – no paper trail to them. They were deliberately careful to make sure NO ONE could ever say what Carmen Robertson malfeasantly says they were involved in. (They misjudged Robertson.) Their culture crime is one of multiple levels of malfeasant negligence.)

Malfeasance #39Says utter rot about provenance being a way to certify a painting as genuine. Tom Hoving, longtime New York’s MOMA director, and one of the 20th century’s top art experts and fakes sleuth, had a simple retort for faux-academic art experts like Robertson pompositing about provenance. “Provenance is a laugh… Fuck off with your provenance; that can all be faked.” (Hoving, The Forger’s Spell, Dolnick, p 242) 

As Toronto lawyer, and international fake art sleuth Bonnie Czegledi said:

“Over a period of a few years, I discovered that the business of art is one of the most corrupt, dirtiest industries on the planet. There are no regulations… It’s not pretty. The patina of loveliness that most people associate with art didn’t exist in the reality that I found. It was filled with criminals – and a lot of different kinds.” (Bonnie Czegledi, quoted, Hot Art, Knelman, p25)

Malfeasance #25Deliberately hides, or doesn’t even know, the common knowledge, that 99% of ALL the secondary market paintings selling at auctions or art galleries – which, annually involves thousands of works of art by all the top artists in the world –  HAVE NO PROVENANCE attached to them whatsoever. And both auctions and galleries either totally refuse to disclose where they obtained the painting, or make up fake provenance to please the customer.

Malfeasance #44 Deliberately hides the common knowledge, that virtually none, or only very few of Morrisseau’s (23,000) paintings, can be traced with a chain of title to anyone, let alone back, over forty years, to the artist. Especially the case with Norval, who notoriously sold thousands of them cheap on the streets of small towns across northern Ontario for decades. And most of his paintings, being cheap to begin with, were endlessly kicked about over the passing decades and passed through many hands.

Malfeasance #33Deliberately hides that her mentor, regarding Morrisseau provenance, Donald Robinson, a man to whom she is hugely beholden, and who claims Provenance is vital, especially for Norval, is one of the biggest documented fraudsters on the planet, in creating fake provenance for his Kinsman Robinson Galleries Morrisseau paintings. The Robinsons are notorious Provenance Manufacturers done to deceive clients and make chain of titles for paintings more attractive to witless buyers.

“… what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.” (Jack Pollock, Norval Morrisseau’s longest (1962-1981) & most successful (12 shows) dealer, Dear M, 1989, p182)

Malfeasance #11Her provenance attack on Joe McLeod regarding “Robert Voss” is a demonstrable, disgusting, disingenuous, and transparently fabricated and maliciously concocted assault on an old man, a top Morrisseau expert, by a professor who damn well knew better. The documentary record is incontrovertible to anyone claiming to have literacy or research skills. She was just dutifully carrying out a “hit” on Joe, because anything at all that would fit her thesis was welcome. Especially if it came from people who were paying her.

Malfeasance #40She targets with her venom, Joe McLeod, a man who has been viciously targeted – without cause of evidence – by fraudsters since 1993, long before Robertson supposedly started her Morrisseau research. She was clearly acting, NOT from any research she had ever done, but merely climbed aboard the “Get Joe McLeod” bandwagon that had been orchestrated by Kinsman Robinson Galleries many years before Robertson even came on the Morrisseau scene.

She was eager to fall into line and take direction to “play for pay” to target Canada’s senior Morrisseau expert and his gallery. Perhaps it was her bad conscience that she NEVER, EVER called or talked to Joe McLeod regarding her allegations about his Hearn painting and others she slanged.

Malfeasance #17She never says she talked to AGO Director Matthew Teitelbaum, asking for his evidence or an explanation about the horrendous act of Cultural Genocide he committed, regarding dismounting the Hearn painting in 2010, without evidence and so utterly destroying its value in the marketplace and slanging McLeod’s reputation, without cause.

Malfeasance #50She never says she talked to AGO Curator of Canadian Art, Gerald McMaster for an explanation about the horrendous act of Cultural Genocide he committed regarding dismounting the Hearn painting without evidence and so utterly destroying its value in the marketplace and slanging McLeod’s reputation, without cause.

Malfeasance #26She never talked to Randy Potter in all the years he sold some 2,000 Morrisseaus and some 200 of Canada’s top Indigenous art dealers and collectors – including Donald Robinson – came to buy them up at bargain basement prices. And almost all of them were BDPs.

Malfeasance #52She never talked to David Voss when the documents are clear that he was one of the main dealers sending Morrisseaus from Thunder Bay to Randy Potter. That any public student who Googles the name David Voss and Thunder Bay, would instantly be given a huge internet dossier on Ugo Matulic’s website about his background and involvement in sending hundreds of genuine Morrisseau BDPs to Toronto auctions in the late 1990s.

Malfeasance #12She negligently lists three Appendices on the table of contents, with no pagination where they might be found, and at the back, a list of Four Appendices, mentioning documents with no pagination where they might be found. Even the titles between the Appendices do not match each other, or to the documents they refer to when you can find them.

Malfeasance #41She negligently lists an Appendix for which she forgot to enter the document.

Malfeasance #57She lists a detailed Table of Contents without any pagination for any titles in the table, in a document of 67 pages.

Malfeasance #64She has no index to permit finding anything in a document of 67 pages.

Malfeasance #51She was deliberately deceptive to hide the fact that her mentor, the man who was calling himself the World’s Top Morrisseau Expert, Donald Robinson, bought 31 Morrisseau paintings – ALL BDPs – from Randy Potter in 1999-2000, for $54,000 and NEVER, EVER, brought a single one back claiming it was a fake and demanding his money back. All with BDP signatures Robertson now says are a sign of a forgery.

(In fact no one else ever brought back a Morrisseau either, claiming it was a fake. NOT ONE, out of some 2,000. As truly stunning an encomium of honest dealership as it’s possible to get, for Randy Potter, and one rarely matched by any other retailer of any kind. And a truly stunning proof that ALL the BDP paintings were regarded by their buyers as totally authentic Morrisseaus.

Malfeasance #18She deliberately ignores some 200 forensic expert report findings, by three of Canada’s top handwriting analysis and document examination experts, authenticating BDP signatures as genuinely painted by Morrisseau, which she claims are forgeries.

Malfeasance #45She makes totally unwarranted – in fact totally ludicrous – statements and conclusions, from lowlife pictures in books, as the heart of her arguments about variations in Morrisseau’s palette of paints used in different painting periods. It is one of the most egregious malfeasances of her report.

Malfeasance #62She makes totally unwarranted – in fact totally ludicrous – statements and conclusions, from lowlife pictures in books, about so called Morrisseau’s brush strokes which are pure fantasy, and shows she has NOT the faintest clue about photography, lighting, or the making, and publishing process involved in printing images in books.

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