Amber Alert

Calling All Canadians…

Call us immediately!!!

UPDATES MADE Dec. 2,2014

Or report to the authorities, if you have you seen the two men below, in your neighbourhood.

Ritchie Sinclair - totally discredited by judge after judge, after judge...

Ritchie Sinclair – totally discredited by judge after judge, after judge… now allegedly has a new career as a pyromaniac torching Canada’s art heritage

They are allegedly on a mission of destruction of genuine Morrisseau paintings…

According to the claims of a leading Ottawa, Ontario, art gallery curator***, Ritchie Sinclair and Bryant Ross, are on a cross-Canada tour of destruction. Based on what Sinclair allegedly personally told him, they are on a mission travelling across Canada to gather up and destroy genuine Norval Morrisseau art.

*** Yes I do know the name of the curator, but for the present will keep his identity secret. I have personally spoken to him at length about Morrisseau fakes. I believe that he is sincere in the allegations he makes about the Sinclair and Ross mission of destruction.

Bryant Ross

Bryant Ross makes his home In Aldergrove BC, in an old hydro building where, in 2005,  I visited his gallery of supposed “direct from the artist” Morrisseaus, in my pre-blog days in 2005,  He did not know me, or of me, had never seen my own Morrisseaus, but out the gate, assured me that they were fakes, while his were real. I didn’t like the look of the new Morrisseaus he had for sale…

Which is why I am issuing this Amber Alert!

Have you seen either of these men, skulking around in your neighbourhood?

Have there been suspicious knocks on your door, late at night?

Are there Peeping Toms, creeping around your house in the dark?

Are there suspicious-looking men, in Davy Crockett costumes, accosting your children in the yard?

Are Morrisseau BDPs*** that were hanging in your living room, suddenly missing?

Have you seen smoke rising, from a suspicious fire in your back yard?

Protect yourself, your property, and do your bit to protect Canada’s Art Heritage, and the artistic legacy of Norval Morrisseau from the willful destruction of these two malicious vandals. Report to us any such destructive activity related to Morriseau BDPs that you become aware of.

ULTRA RARE - A typical BDP from Norval's 1970s high point, signed, titled, and dated by his hand. And all called fakes by Donald Robinson and Ritchie Sinclair. Except some 70 have been authenticated by top forensic experts. And this one, is the first Norval Morrisseau painting ever to be given a "beyond DNA certainty" authenticity rating of 100%, as being painted by Norval.

ULTRA RARE – A typical BDP from Norval’s 1970s high point, signed, titled, and dated by his hand. And all called fakes by Donald Robinson, Ritchie Sinclair and Bryant Ross. Except some 70 have been authenticated by top forensic experts. And this one, is the first Norval Morrisseau painting ever to be given, by a top Canadian forensic scientist, in 2013, a “beyond DNA certainty” authenticity rating of 100%, as being painted by Norval himself. AND YOU WON’T BELIEVE THIS BUT, DONALD ROBINSON, WAS THE UNDER BIDDER ON THIS BDP AT AUCTION, EVEN THOUGH HE WENT ON TO SWEAR IN COURT THAT NORVAL MORRISSEAU NEVER EVER SIGNED, TITLED, AND DATED ANY OF HIS PAINTINGS THIS WAY… NOT EVEN ONCE…

*** Black Drybrush Paintings: Sinclair and Ross have both, for years associated themselves with targeting as so-called “fakes,” 1970s style Norval Morrisseau paintings from the famous Aboriginal artist’s “high period,” when he routinely signed, titled, and dated the backs of thousands of his paintings in Black Drybrush Paint (BDP), so producing a distinctive and large BDP signature, and the attendant HOAX, which is what my blog is all about.

Specifically, according to the Ottawa gallery curator, Sinclair told him that he and Bryant Ross are reported to be:

– travelling across Canada on a hunt for BDPs in private hands,

– ferreting out and contacting any people who have Morrisseau BDPs in their homes, offices, collections, etc.

– convincing them that they are some kind of art experts, and longtime associates of Norval Morrisseau,

– telling them they have been authorized to target BDPs as worthless forgeries, that have zero worth or value,

– that they have been delegated to find all such BDPs, confiscate them, and destroy them, and

– convincing people they have a duty to turn over any Morrisseau BDP art they own, to them, for safe-keeping, and authorized destruction.

Bryant Ross  on the left, and  his infamous Conspiracy Theorist, Mark Anthony Jacobson. These photos may help you identify these men should there be a commotion among your farm animals at night. They were taken just moments before this dastardly duo collaborated as Ross defaced a genuine Morrisseau BDP "Water Spirits 1979,"  with red paint, in Vancouver, in 2010.

Beware: Vandals at Work – Bryant Ross on the left, and his infamous Conspiracy Theorist collaborator, Mark Anthony Jacobson. These photos were taken just moments before this dastardly duo collaborated, as Ross defaced a genuine Morrisseau BDP “Water Spirits 1979,” with red paint, in Vancouver, in 2010. These photos may help you identify them, should there be an unseemly commotion among your farm animals at night. Jacobson is more famous as operating the second most vile website in Canadian history… (a close second only to the atrocious Magnotta dismemberment site.) Do keep your children away…

Water Spirits, one of many paintings Ritchie Sinclair praised to the skies as a wonderful Morrisseau and then, overnight, started denouncing as a forgery. Water Spirits was defaced by arch-Conspiracy Theorist Bryant Ross of Aldergrove, BC, after having tried to sell it for over $12,000 for years.

Water Spirits, one of many paintings Ritchie Sinclair praised to the skies as a wonderful Morrisseau and then, overnight, started denouncing as a forgery. Water Spirits was defaced by arch-Conspiracy Theorist Bryant Ross of Aldergrove, BC, after having tried to sell it for over $12,000 for years.

Compromising Point of Interest: If there are two more discredited people, than Sinclair and Ross, in the Canadian Morrisseau fine art market, they do not exist, except as business associates and promoters of these two longtime cultural vandals.

In 2010, Ross became famous as a slash and burn artist when, in public, before the television cameras, he painted a destructive X across “Water Spirits 1979” a genuine Morrisseau BDP. In fact he had previously been vainly trying to sell if for years, for $12,500, on his corporate website, on ebay, and at Seahawk Auctions, as one of his “directly from the artist” acquisitions.

And then it gets worse… In fact in December 2007, when Ross had the painting up for sale, Sinclair wrote an effusively praising comment about “Water Spirits 1979,” by email to a Morrisseau website.

“And a beautiful Morrisseau it (“Water Spirits 1979”) is – so embued (sic) with Vision!” (on Dec. 24, 2007).

A year later Sinclair requested that his praising email be expunged from the public record in the archives of the website. The webmaster refused.

OK, you say, we’ve all got ex-wives we were once smitten with, and now wish would just go far, far away. Fine. But public decency – oh and the law – dictates that you are not allowed to publicly defame them, or abuse and desecrate them with paint, or burn or otherwise destroy them, just because you’ve had a change of heart. They may have value to someone else.

Where did these two malicious art vandals get their idea for their incendiary, slash and burn mission of destruction?

No doubt from the notoriously spurious and destructive Norval Morrisseau Heritage Society (NMHS), set up by Donald Robinson in 2005, as a branch plant operation of Toronto’s Kinsman Robinson Galleries.

The Apostles of the worst act of cultural genocide in Canadian history.

Handmaids from Hell – The Apostles of the worst act of cultural genocide in Canadian history, surrounded by flames as they oversee the burning of the Wanker 16 – which I am certain are genuine Morrisseaus – to make absolutely sure that no Canadian will ever see any of them again…

I reported, almost two years ago, that the NMHS, I believe, under instructions from Donald Robinson, has probably – almost certainly – burned – or deliberately caused to disappear, permanently from the prying eyes of experts – the highly important Wanker 16*** – all of which I absolutely believe to be genuine 1970s style Morrisseau BDPs, authentically signed, titled, and dated on the back, with Norval’s signature Black Drybrush technique.

The secrets of the notorious Wanker 16 remain hidden from public view and the scruitiny of Canadian forensic scientists.

The secrets of the notorious Wanker 16 remain permanently hidden from public view and the scrutiny of Canadian forensic scientists.

*** The Wanker 16 (an acronym for WANGKR from Wang and Kinsman Robinson Galleries) refers to 16 of 31 genuine Morrisseau BDPs that Donald Robinson bought from Randy Potter auctions in early 2000, for $54,000.

Then, mysteriously and inexplicably, a year later, he suddenly started to call them all fakes, but did NOT return them for a refund. Why not?

(At the time he bought the Wanker 31 Robinson claimed to me personally – and to many others at the auction – to have been the world expert in Morrisseau paintings, that he vetted them as authentic, that we could trust his verifications, that “he wrote the book on Morrisseau,” had been dealing in his paintings for at least 15 years, and passed himself off as the Principal Morrisseau Dealer.)

Robinson sold half of the Wanker 31 – he told Judge Martial, for “a small profit,” which at KRG usually involves a mark-up of 555% to 595% – to unsuspecting buyers and gave the ones he couldn’t sell to the NMHS to use as “fake detectors.”

Dr. Wang is mostly famous for having the famous Robinson Wankers named after him for taking part in producing the most bogus scientific report ever to bedevil the Canadian fien art market. investigation

Wankers – The gullible Dr. Wang is mostly famous for having the infamous Robinson Wankers named after him, after taking part in producing the most bogus scientific report ever to bedevil and contaminate a Canadian fine art market investigation.

Robinson even had a nerdy statistician, Professor Wang, ensconced deep in the bowels of the far off Pennsylvania State University’s statistics lab, where they don’t have a clue what goes on in the outside world, let alone in Canada, devise a computer model of the so-called “fakes” Robinson put in front of him, to use as a supposed measuring stick for detecting supposed future fakes. They were, you guessed it, 16 Morrisseau BDPs – now you’re beginning to catch on – the Wanker 16.

So, what the well-meaning, but gullible professor, and his nerdy mathematician cohorts inadvertently ended up devising, of course, was a computer model of a genuine Morrisseau BDP, NOT of a Morrisseau fake at all, which Donald and Paul Robinson had told the Wang crowd they were supposedly working with.

Wang published a report full of enough signs, co-signs, tangents, graphs, to make anyone’s head swim, but not the photos of his source paintings. And these, despite repeated calls for academic transparency, and disclosure, he kept totally secret. He clearly had his orders from the contracting client, Donald and Paul Robinson, of Toronto’s Kinsman Robinson Galleries to shut up.

Looks impressive, until you examine what really went on with the handling of the data given to him.

Fine Art Gone Wankers – A page from Dr. Wang’s report looks impressive, until you examine what really went on, behind the scenes, with the handling of the source data, the Wanker 16, given to the completely bamboozled Dr. Wang.

Clearly the good Dr. Wang had no intention of losing the tens of thousands of dollars KRG had paid him to produce the spurious “fakes” computer model. Just because of a little thing like academic transparency and research data disclosure.

But let’s not be too hard on the professor. I am certain he had no clue what was going on or what his lab was really being asked to produce, when KRG and Donald Robinson came knocking on his door with a pile of Morrisseau paintings asking him to “digitize these – this half is real; this half is fake – measure them up separately, and give me a print out.” 

I am certain Wang had never even heard of Morrisseau before. But I can hear Donald Robinson assuring him. “Oh, don’t worry, my associates and I will give you all the “input” you will ever need.”

John Zemanovich, realized his assets would be vulnerable if he persisted with fraudulent allegations, and dismounted his website. Robinsons realized the same thing, and chose to woo Sinclair - who had no assets - and let him become the point man for the HOAX.

Queen for a Day – John Zemanovich a longtime business associate of Donald Robinson and KRG, finally got his reward, a membership in the NMHS, a KRG branch plant operation, composed of prancing and pompositing pretenders to knowledge about Norval Morrisseau’s art. He quickly lost his crown when he was publicly outed by bloggers as just another plant by KRG to help promote its business activities.

Wang credited his input sources: Donald Robinson, his son Paul Robinson, one of their business associates, the stockbroker John Zemanovich, the Kinsman Robinson Galleries – that’s the Robinson shop -, and the members of the Norval Morrisseau Heritage Society, an organization Robinson had set up and picked the members for.

Queen of a Day – In fact years later Zemanovich was picked as an NMHS member until this blog and Ugo Matulic’s pointed out the unethical and clearly conniving business connection. Zemanovich was delisted within hours of our posts.

Remember the golden rule of all good computer modelers that terrorizes hones researchers: “Garbage in; garbage out.”

Now do you see why Donald and Paul Robinson, and the NMHS have resolutely refused to make the raw data available to us, or to other outside experts, of the so-called “fakes” they gave to the gullible professor. And why they have refused, repeatedly and utterly, to provide high res photos of the front and back of the paintings which the Robinsons (father and son) had provided to the blinkered Professor Wang.

I challenged, long ago, both Robinson and/or the NMHS to prove me wrong in public, by producing the Wanker 16 for me to examine, or by making high definition photos of the fronts and backs of the paintings available to me and other experts.

This is the only photograph ever found that shows a few of the paintings Donald Robinson called fakes which he gave to the NMHS to use as benchmarks for which paintings they were to "burn." Donald Robinson claims Norval was the director of events on this occasion. But in fact he was totally passive and comatose in his wheelchair. The real director, and he has been for some 15 years is Gabe Vadas, caught by the camera dominating the scene and pointing out the fakes etc. 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 - OR ALREADY BURNED - TO PREVENT THE WORLD FROM DISCOVERING THE TRUTH: THAT THE ROBINSON & NMHS SO-CALLED FAKES, ARE IN FACT, GENUINE MORRISSEAUS.

This is the only photograph ever found that shows a few of the paintings Donald Robinson called fakes – the Wanker 16 – which he gave to the NMHS to use as benchmarks deciding which paintings they were to “burn.” I believe a dumbfounded and Dementia-debilitated Morrisseau, watches in astonishment as the NMHS members divvy up the pile to see who get to burn which ones. Donald Robinson claims Norval was the director of events on this occasion. But in fact he was totally passive and comatose in his wheelchair. The real director, and he has been for some 15 years is Gabe Vadas, caught by the camera dominating the scene and pointing out the fakes etc. THESE ARE THE FAMOUS WANKER 16 PAINTINGS THAT FORENSIC SCIENTISTS WOULD LOVE TO GET A HOLD OF, BUT CAN’T. I BELIEVE THEY HAVE BEEN BURNED TO PREVENT THE WORLD FROM DISCOVERING THE TRUTH: THAT THE ROBINSON & NMHS SO-CALLED FAKES, ARE IN FACT, GENUINE MORRISSEAUS. NOTE: See how carefully the faces of the pyromaniacs have been hidden, as they take part in the worst act of cultural genocide in Canadian history. But by correlating the clothing from another photo which survives, one can clearly identify the cultural vandals.

They have resolutely refused to do so, tellingly preferring to hide from, instead of cooperating, with art, forensic, and Morrisseau experts, to provide academic and ethical clarity on what I consider the worst art scandal, and biggest art HOAX, in Canadian history.

Why do they persist in their refusal and obfuscation? If there is better proof for the fact they have burned the compromising Wanker 16, to remove possibly devastating and compromising evidence of an art scam, I have not seen it.

The offer is still active in 2015. I’m not holding my breath… because I smell smoke… and a rat.

Consumer Cautionary:

What you should know, before you open the door to Sinclair and Ross:

– not a single Morrisseau forgery has ever been found, or proven, by any Canadian court, judge, forensic scientist, or recognized genuine Morrisseau expert,

– in the two biggest court cases alleging a Morrisseau forgery (before Judge Martial in Small Claims Court, and the Appeal before the Hon Madam Justice Mary Anne Sanderson, in Ontario Superior Court) both judges not only resoundingly dismissed the claim of forgery and rejected the  competence, expertise, and claims of the two witnesses (Sinclair & Robinson), but went on to pronounce – which Madam Justice Sanderson acidly noted was NOT a requirement of Judge Martial – that the paintings were genuine, and authentically signed by the artist,

– every allegation by anyone, of a supposed Morrisseau forgery, resulting in a lawsuit (in: Otavnik v Vadas, Otavnik v Sinclair, Moniz v Globe, Hatfield v Artworld, Hatfield Appeal v Artworld, McDermott v McLeod, etc) has been completely discredited as false, a malicious fabrication, or settled with the painting found to be completely genuine, and authentically signed by the artist,

– every single court action launched by anyone claiming a Morrisseau forgery, has been dismissed by judges as bogus, been abandoned as ludicrous in view of the mountain of countervailing evidence, or resulted in huge cash payouts for defamation,

– the credibility, expertise, and trustworthiness of every single witness involved in making allegations of forged Morrisseaus in court (including Ritchie Sinclair, and Donald Robinson) have been totally and hugely dismissed by judge, after judge – Mogan, Lederer, Godfrey, Martial, Lacavera, Sanderson, etc.) who found that they do not have the credentials or expertise to make their allegations, and that their testimony is not credible, and is self-serving, and not believable.

– the Thunder Bay police, and the RCMP (across Canada) both investigated the allegations of so-called forgeries (as claimed by Ritchie Sinclair and Donald Robinson) and ended up NOT identifying or charging a single forger, a single forgery, or a single person as a seller of supposed Morrisseau forgeries,

– IN THE 15 YEARS SINCE DONALD ROBINSON INITIATED THE HOAX – neither he nor his Kinsman Robinson Galleries, nor Ritchie Sinclair, nor Bryant Ross or any of their Conspiracy Theorist associates, like Aaron Milrad, have ever launched a single lawsuit alleging forgery against any of the people they claim to be making forgeries, or selling forgeries. Not even once… THEY ALL HAVE RESOLUTELY REFUSED TO PUT THE ALLEGATIONS AND ACCUSATIONS THEY BANDY ABOUT, WITH RECKLESS ABANDON IN FRONT OF THE GULLIBLE MEDIA, BEFORE THE DISCERNING AND WITHERING GLARE OF A SINGLE JUDGE.

From the beginning, this has all been about art terrorism, scaring the bejeesus out of their main business competitors, and threatening them with lawyers and lawsuits, behind the scenes, to get them to buy Morrisseau product only from Donald and Paul Robinson and Kinsman Robinson Galleries.

DNA To Die For - Just one of many black, drybrush signed, titled, and dated paintings authenticated by Morrisseau, Robinson, and in this case, also by a top forensic scientist.

DNA To Die For – A very typical, genuine black, drybrush signed, titled, and dated BDP paintings, of the kind lawyer Aaron Milrad told a journalist he wanted to destroy; the type the Norval Morrisseau Heritage Society and Donald Robinson collaborated to hide from the public and then probably burned; the kind Ritchie Sinclair and Bryant Ross are out to collect in their Search and Destroy mission.

FINALLY – Count on the DNA to Clinch the Deal: In fact the BDP – that black drybrush signature on the back of your painting – is your very best insurance that you have a genuine Morrisseau from Norval’s 1970s high period.

Regard it as Norval’s DNA on the back. You can compare yours with the many forensic reports published on the internet that give huge and definitive pictorial details, from Canada’s top forensic handwriting signature analyst, on exactly what to look for.

If you do have BDP DNA on the back, and don’t trust your powers of observation, take it to a forensic handwriting expert to do it for you.

Save Your Bucks: 99% of the time it’s probably not worth spending the money on an expensive scientific analysis. And you can thank Donald Robinson of Toronto’s Kinsman Robinson Galleries, and his business associate Ritchie Sinclair, for saving you all the moolah…

Here’s why: they are both adamant – and Robinson said so in court – that Norval NEVER EVER signed, titled, or dated, the back of any painting in Black Drybrush Paint.

In short a genuine Morrisseau, he claims, is ALWAYS blank on the back. Without any of the DNA commonly found on thousands of genuine BDPs.

I ask you: who ever paid $54,000  for 31 Wankers, then claimed he got a raw deal, and didn't ask for a refund?

I ask you: who ever paid $54,000 for 31 Wankers, then claimed he got a raw deal, and didn’t ask for a refund?

The Hon Madame Justice Mary Anne Sanderson

The Hon Madame Justice Mary Anne Sanderson, of Ontario’s Superior Court – I heard her – was scoffing in court, and scorchingly dismissive in her Hatfield Appeal finding.

As Robinson testified in court: “Never once have I ever seen it.” His quote was acidly noted by the Hon Madam Justice Mary Anne Sanderson, in her biting finding on the Hatfield case Appeal, and on Robinson’s testimony about Norval’s BDP signatures, where this single Robinson statement was the only quote of anyone’s that she copied into her finding from the 750 pages of the Hatfield transcript that she reviewed.

Madam Justice Sanderson, commented acidly – I heard her in court; Robinson chose not to attend – when she noted that Robinson had bought 31 of these very paintings (BDPs signed, titled, and dated in black drybrush technique by Norval)  for some $54,000.

Robinson and Sinclair are so absolute, that a Morrisseau painting MUST be blank on the back to be genuine, that you can be certain that if you have a BDP, you have a painting they will hate, and call a fake.

And want to burn… to, you guessed it, hide the evidence…

So, the same DNA – as this blog has proven over two years is Norval’s and only Norval’s – and which you can take to the bank, serves according, to their discredited claim, as the DNA of the forger, and a certain sign of an alleged fake.

If you have such DNA – a Norval Morrisseau 1970s style BDP – right out the gate, you have a valuable painting by Norval from his “high period” of painting.

Because in every single case where such a signature has been tested by a forensic scientist, it has been found to be genuine. In over 70 cases, and counting.

So, keep it away from Sinclair and Ross’s match; keep it away from Donald Robinson’s match; keep it away from the Norval Morrisseau Heritage Society’s match.

We can overlook the many bad calls on so many paintings he alleges are fakes, which then turn out to be authentic. But we can't forgive - considering the thousands he charges for letter writing for Norval the egregious spelling mistakes and typos...

We can overlook the many bad calls on so many paintings he alleges are fakes, which then turn out to be authentic. But we can’t forgive – considering the thousands he charges for letter writing for Norval the egregious spelling mistakes and typos… And it is he, who can take credit for starting this whole “Eve of Destruction” thing when he told a journalist he was up to destroying Morrisseaus that he didn’t like…. His leadership on this act of cultural genocide was quickly followed up on by Donald Robinson, the NMHS, and now suddenly by Ritchie Sinclair and Bryant Ross.

Aaron Milrad: In fact it was lawyer Aaron Milrad who originally started out as the culprit in the search and destroy mission of genuine Morrisseau paintings, when he was quoted in the media in 2005, as ready, willing, and able, to destroy Morrisseau paintings he and the NMHS hated. Milrad was one of the group of white businessmen, who clumped around Norval’s wheelchair, and helped kick-start the Conspiracy Theory of “thousands of fakes by umpteen forgers” which I call the biggest Hoax in Canadian history.

Is it any wonder that none of them has ever taken a single painting to a forensic scientist to verify and prove their claim. And that when others who disagree with them do, the forensic report always come back as positive, with the painting and the signature as authentic.

The Conspiracy Theorists prefer to make up the science themselves in the basement of the Kinsman Robinson Galleries.

And that is exactly why the Norval Morrisseau Heritage Society has probably burned the Wanker 16, and why Sinclair claims that he and Ross are on the search and destroy mission to get rid of Norval’s DNA, wherever it can be found.

They are all trying to legitimize the many paintings their business associates have, claiming they are Morrisseaus, when they have NO NORVAL DNA OF ANY KIND ON THE BACK.

Your Proper Course of Action

Be on the lookout for Morrisseau pyromaniacs…

NOTE: Sinclair may very well be in one of his disguises. In court he always shows up in a suit and tie.

Everywhere else he prefers parading about in “faux buckskins,” I believe made by underage children in some sweat shop in downtown Bangkok…

Ritchie Sinclair, in one of his Davy Crockett outfits, instructing the staff of Kinsman Robinson Galleries on why they should never have published this picture and four others in “Travels” in 1997. Raising the question, of course, how could Norval Morrisseau have made such a huge mistake when he picked the pictures for his own book? Unless he had advanced Dementia. All the pictures were removed, holus bolus, from the slightly ammended  book when re-issued as “Return to the House of Invention” in 2005. Sinclair still posts them all as “fakes” in 2013, but has removed any and all links or associations with “Travels” and “Return,” Norval Morrisseau, Donald Robinson, and the Kinsman Robinson Galleries. Hiding stuff is usual, and transparency is not a strong suit for Conspiracy Theorists.

Ritchie Sinclair, in one of his Davy Crockett outfits, in the middle of giving a workshop on fakes, instructing the staff of Kinsman Robinson Galleries on why they should never have published this picture and four others in “Travels to the House of Invention” in 1997. Raising the question, of course, how could Norval Morrisseau have made such a huge mistake when it supposedly was he who picked the pictures for his own book? Unless, of course, as the evidence shows, he had advanced Dementia. All the pictures were removed, holus bolus, from the slightly amended book when re-issued by KRG as “Return to the House of Invention” in 2005. Sinclair still posts them all as “fakes” in 2015, but as a courtesy to Donald Robinson, whom he refers to as “My Mentor,” he has removed any and all links or associations with “Travels” and “Return,” Norval Morrisseau, Donald Robinson, and the Kinsman Robinson Galleries. Hiding stuff is usual, and transparency is not a strong suit for Conspiracy Theorists. That’s Paul Robinson on the left, and his “right hand man” John MacGregor Newman, both with university degrees, getting “educated” by a high school and community college dropout in buckskins.

Though Sinclair is lily white in his DNA, he is much more famous as Canada’s leading Indian imposter/impersonator, and prefers to wear a Davey Crockett or Daniel Boone buckskin costume (the experts are still out on which one it is), and is much given to flicking about a large white turkey feather as he talks.

So Sinclair may very well be wearing this disguise when he comes calling.

(See Sinclair’s disastrous performance on the CBC “Four Rooms” program where he was in full flight as an Indian imposter/impersonator resplendent in a Crockett/Boone jacket and endlessly flicking the turkey feather about. The experts there also told him he was unlikable and that his painting looked like “a bad Morrisseau.”)

Sinclair in anyther Davy Crokett costume he wears, at CBC.  Note the prominent turkey feather he flicks about.

Sinclair in another Davy Crockett costume he parades about in, this time  at the CBC. Note the prominent turkey feather he flicks about. He’s not at all happy; after listening to him, she just told him straight out, that she does not like him…

So if you have been approached by Sinclair and/or Ross, or one of their collaborating associates, like the notorious and foul-mouthed Mark Anthony Jacobson, I advise you to:

PULEEZE GIVE ME YOUR MORRISSEAU PAINTING - This is how Sinclair may appear to you should you open the door to his late night knock

PULEEZE GIVE ME YOUR MORRISSEAU PAINTING – This is how Sinclair may appear to you, should you open the door to his late night knock, in a faux buckskin – probably really endangered Bangkok lizard – and flicking a turkey feather, probably plucked by his friend Mark Anthony Jacobson, late at night from the butt of a sleeping gobbler.

– protect your art and your family,

– bar the door,

– don’t let them get their hands on any of your art,

– hide your daughters, pets, or farm animals,

– take photos of them posing with you, or your art.

Send us any information you may have about this Amber Alert.

– where and when you were approached by the dastardly duo,

– send photos of the paintings they saw and said were fakes, and should be destroyed

– notify the police

– alert John Walsh of “America’s Most Wanted”

This gross act of Cultural Genocide must be stopped, immediately, to protect, not only Norval’s art heritage, not only Canada’s Aboriginal art heritage, but the overall cultural heritage of Canada. 

Posted in Art Galleries, BDPs - Black Drybrush Signed Painting, Canadian Cultural Vandals, Ritchie Sinclair, Uncategorized, Wanker | Leave a comment

Key to the National Post’s Diabolical Plot to Devalue the Morrisseau Art in Your Living Room

22 Telltale Signs of Reckless, Malicious & Deliberate Editorial Fabrication

Updates ongoing…

Since January 2013, a period of 16 months, I have published a mountain of carefully researched and thoroughly documented, independently assembled documentation exposing the greatest Hoax in Canadian art history, which I have dubbed the Morrisseau Hoax, namely the false and unsubstantiated allegations that there are “thousands of fakes by umpteen forgers” of works by Norval Morrisseau “out there” being sold by reputable auctions, art dealers, and galleries.

You’d hardly think so, by reading the National Post, which has, once again, given the fabricated, false, and totally unsubstantiated “allegations” of fakes – instead of identifying it as the HOAX that it is – front page and feature section prominence around the world, in both its newspaper and on its internet portal.

Murray Whyte, the journalist whose due diligence started the media support for the biggest HOAX in Canadian history.

Murray Whyte, the National Post journalist whose lack of due diligence started the media support for the biggest HOAX in Canadian history on May 18, 2001.

Flashback Alert: In fact the National Post was the original creator and publisher of the ludicrous fabrications and unsubstantiated allegations in May 2001, when a self-interested businessman fed a naïve and gullible National Post journalist, Murray Whyte, self-serving information meant to destroy the reputation of his business competitors by saying they were all selling fake Morrisseaus. He sucker-punched Whyte who, without due diligence or following basic journalistic responsibility just ran off and published the allegations, as if they were real, instead of doing proper research and checking, and recognizing it as the lowlife Hoax it all was.

Now in Feb. 2014, the National Post was at it again, with another negligent journalist so driven by a mad rush for a publishing deadline that he just blatantly ignores doing basic due diligence before rushing off to publish.

Barely old enough to shave but

Barely old enough to shave but turned loose to dominate page 2 of the National Post with a false, and totally unsubstantiated story about alleged Morrisseau fakes, a subject of which Tristin Hopper is so out of his depth on it is pathetic. This fanatic tweeter should keep doing that and not try to tackle intellectual topics which require knowledge, forethought, heavy duty research, and reading skills, all of which he clearly finds a nuisance waste of a mainstream media  journalist’s life in the 21st century.

So thirteen years later, a different National Post reporter, Tristin Hopper, again fell for the Hoax hook, line, and stinker, and failed to do any research or due diligence to verify the story before rushing off to publish and promote a totally fabricated and unsubstantiated story for which he had no independently verifiable proof of any kind.

And this despite a mountain of documentary evidence that had been unearthed in those years, by judges, police, and forensic scientists all, entirely discrediting the totally fabricated and unsubstantiated allegations at the heart of the National Post story.

The entire page 2 of the National Post’s main news section, devoted to “Art Fraud…” was totally fabricated, designed, and laid out, with singular malicious intent to:

– deliberately misinform Canadians that art forgery is a huge problem in Canada,

– deliberately misinform Canadians that art forgery, specifically of Morrisseaus, is a huge problem,

– create in people’s mind a false connection or parallel between real forgeries, of a high value painter in Europe, with cheaply priced and easily available genuine Morrisseau art in Canada,

– create the impression in people’s mind that there are a lot of art forgeries – especially in Morrisseaus – when the truth is, that not a single one has ever been proven to be fake, not by any judge, any court, any local or national police force, or any forensic scientist,

– create an impression in people’s minds, with the National Post’s totally unsubstantiated claims, that can only have one malicious end in view, which is to devalue people’s genuine Morrisseau’s paintings, both directly and indirectly,

– to push as “News” and factual, the totally fabricated and unsubstantiated claims of the two people referenced in the article, Ritchie Sinclair and Jonathan Sommer, both of whom are trying to get the art forgery Hoax established in the public consciousness for personal and business reasons and are the driving force behind this article, and this publication of the Hoax.

By recklessly – without following Due Diligence – and just publishing an article that demonstrated a clear and multi-layered disregard for the truth, making allegations for which there is no evidence, proof, or substantiation, the National Post editors very well knew, or ought to have known, that their actions would have devastating consequences for genuine Morrisseau art and destroy the valuation of genuine Morrisseaus in the hands of countless thousands of collectors across Canada and around the world.

22 ways that the editor of the National Post carefully and deliberately laid out his page saying that art fraud should be a major concern for Canadians.

22 ways that the editor of the National Post carefully and deliberately laid out his page warning Canadians that art fraud should be a major concern for them, especially if you have Morrisseaus hanging in your living room. The die is deliberately cast, LONG BEFORE YOU EVEN START TO READ THE ARTICLE ON HOW “A LUCRATIVE RING OF ART FORGERS” IS PROFITING FROM ITS ILLEGAL ACTIVITIES IN FORGING MORRISSEAUS. AND THAT LUCKILY, AN UPRIGHT CELEBRITY IS “SUING TORONTO GALLERY” AND MAKING A STAND AGAINST THE CREEPS, SO THAT “THE WHOLE TRUTH” WILL COME OUT, AND SO THAT THE OFFENDING ART CAN , LIKE THEY DO WITH FAKE CHAGALLS IN FRANCE, ALSO BE “ORDERED DESTROYED.”

MALICIOUS ALERT: Before a reader even starts to read and examine the article, alleging Morrisseau fakes, written by Hopper, it is clear that going out the gate the National Post editors deliberately set out, in an incendiary manner, to recklessly, maliciously, and irresponsibly slant the feature article alleging Morrisseau fakes, to give it all the powers of presentation a newspaper editor can muster, to give its readers the idea that the National Post is going to expose fakes and forgeries so that Canadian consumers of art can be on their guard against the frauds.

Sensationalism has always been the “cute” school of supposed journalism.

Forgetting that, if it often crosses the boundaries from fact to fiction, like in this article, when it maliciously destroys the art valuations of people’s genuine Morrisseaus, then legal liabilities are consequent.

Only a month after overseeing the creation and publishing of this reckless, malicious, unsubstantiated, and defamatory story-line, the Post's chief editor, abruptly resigned after 17 years at the paper.

Only a month (March 2014) after overseeing the creation and publishing of this reckless, malicious, unsubstantiated, and defamatory story-line, which dominated the entire page 2 of the National Post, on Feb. 3, 2014, the paper’s chief editor, Steve Meurice, abruptly left  his job after 17 years at the paper. Personally, I consider what the Post published in this article and its presentation layout, a firing offence. Under his watch the Post has steadily been losing revenues and advertisers, and forced to give the paper away for free to thousands of selected households in better neighbourhoods to boost circulation. Is it any wonder nobody wants to pay to read  the quality of stuff that is published in the National Compost, which has come to rely more and more on feature articles by cheap baby-faced contract labour and columnist who are ex-cons, and notorious bullies, just freshly released from lengthy stays in US jails?

The many creative ways the National Post editor maliciously skewed the Morrisseau article include:

1 – National Post Headline – First, by publishing, LITERALLY OUT OF THE BLUE, a story that is NOT at all a “news” story, or “au courant” in any way, that is patently not projected into the public consciousness by a “breaking news” event, and secondly, fabricating a malicious unresearched and unsubstantiated article, OUT OF THIN AIR, and publishing it, in the National Post.

Sorry

Sorry, but how many mainstream media editors oversee and approve a huge journalistic fiasco as exposed by our critique of this malicious, unsubstantiated, and defamatory article in the National Post. Complacency, bred of being too long at a job has apparently led to huge lapses in following the basic rules of journalistic responsibility at the paper,  and can be the only excuse for publishing the preposterous article produced by Hopper and Meurice. 

There was no external reason whatsoever, like breaking news urgency, or timeliness deadline, for publishing this article at this time. Or for publishing it in a hurry without researching or confirming the credibility of any of the information fed to the National Post reporter by Sinclair and Sommer.

The Baby, the Bully, and the B..., Blatchford that is -  Wonderfully illustrating the malicious slant of the National Post's editorial rage is a management favourite, Christie Blatchford who promoted the Afghan War against Muslim women, children, babies, and men. Now the Post is apparently targeting minorities at home by singling out Canada's top Aboriginal artist with a vicious campaign against his original art that has no basis in fact whatsoever.

The Baby, the Bully, and the B…, Blatchford that is – With precipitously falling revenues and fleeing advertisers the National Post has to make do with the cheapest help it can find, with babies like Hopper, and unemployed bullies like Black. Wonderfully illustrating the malicious rage of the National Post’s editorial cant is a management favourite, Christie Blatchford who gleefully and dutifully promoted the Afghan race war against Muslim women, children, babies, and men. Now the Post is apparently targeting minorities at home by singling out Canada’s top Aboriginal artist with a vicious campaign against his original art that has no basis in fact whatsoever. But then Truth has never stopped the Post from targeting its editorial rage. But it does egregiously damage and devalue the genuine art of Norval Morrisseau that’s hanging in your living room. No wonder people are suing the Post.

So the story the National Post published was not daily news pushed or motivated by a current event; so it was not “newsworthy” by any stretch. In fact, the story of musicians suing about Morrisseaus was old hat, and very old news, with the Hearn case filed on June 8, 2012 – a year and a half before – and the McDermott case filed on Oct. 17, 2013 – five months before… And nothing new had transpired in either of those cases in the interim, to warrant publishing an update of any kind on Feb. 3, 2013.

So why was this ludicrous story with its false claim and the defamatory and totally fabricated and unsubstantiated allegations put in the story then published on Feb. 3, 2014 as a feature item on page 2 of the main section of the paper?

Clearly the only explanation can be that someone at the National Post had an axe to grind, a malicious fancy they wanted to indulge, or they were responding to a “news tip” from self-interested and self-promotional parties, like from a lawyer with a personal agenda, or a businessman interested in promoting the scam.

The National Post openly solicits “news tips” from readers. (See 5 Below)

And the National Post compounded the infamy by running with it, without doing preliminary research and without practicing even minimal due diligence, or following the basic rules of responsible journalism, not only by publishing this as a “hot news tip,” but devoting a huge National Post feature page, passing off as “News” the false, totally fabricated and unsubstantiated allegations.

2 – Inside; Art & Fakes Front Page Link – On page one the National Post prominently flagged the story of “ART AND FAKES,” with an “INSIDE” link, alerting everyone to see a special feature on art and fakes, especially Morrisseaus.

Front Page Infamy -

Front Page Infamy – Cleverly designed to attract ALL eyes – especially non-Post readers – with a tantalizing story about – you guessed it – “ART AND FAKES,” and maliciously and deliberately tied to, and smear both directly and indirectly, Norval Morrisseau’s genuine art. The editor did NOT illustrate the malicious teaser with a picture of a proven Chagall fake, but a piece of a classic looking Morrisseau. Where did the Post get this clip of a painting to illustrate a section called “Art and Fakes?” Which recognized Morrisseau expert or forensic scientist did the Post consult before publishing this picture?  Who told the Post editor, “Go ahead. Publish it as a typical Morrisseau fake to head up your piece on “ART AND FAKES?” Or did the Post, again, just on its own, on a whim, just falsely and without due diligence, just crib a piece of someone’s genuine Morrisseau and start its slanging campaign on the front page which would reach a crescendo of infamy all across page 2 of the National Post newspaper and continue on its internet portal.

Why this special page one reader alert? The National Post was determined to give their false and sensational story line every possible boost it could to attract the widest possible readership and spread its distorted and unsubstantiated story line so it would get maximum readership, and thus inflict maximum damage to the art valuations of Norval Morrisseau.

It is clear National Post editors were not after National Post readers but non-National Post readers, those who see the National Post at a newsstand, and would ordinarily never dream of paying money for it, or reading it, but might become intrigued with the loud front page flagging of “Inside – Art and Fakes.”

Since everyone loves crime, fakes and forgeries, and since the National Post seemed to offer the goods inside, non-National Post readers were suckered into buying, not only the National Post, but the false, and fraudulent article the National Post had prepared inside.

3 – Newspaper “Section A, Page 2” Prominence – The National Post put this malicious article, not on the “Arts Page,” but on the second “News” page of the main section of their “news”paper, signaling to readers that its editors considered the totally fabricated and unsubstantiated allegations and the story serious enough for such a high profile treatment. Rather than devoting a few lines to it, from a lower echelon celebrity chasing lifestyle journalist and putting it at the bottom of a back page of Section F, buried on a lifestyle, zoomer, or entertainment sidebar.

This ensures too that everyone who picks up the National Post will see it, as everyone turns to page 1 for a quick look at what’s inside, and discover there a huge, sensational, feature section and full page article pretending to expose art fraud, especially that which the National Post journalist alleges relates to genuine Norval Morrisseau paintings in the living rooms of thousands of Canadians.

4 – “nationalpost.com” virus spreading to the worldwide internet – To make sure of maximum readership penetration, so that the defamatory, unresearched, and unsubstantiated story line for its fabricated article, alleging non-existent fakes being sold by reputable art dealers and galleries, gets spread around the world and not just in its localized Canadian newspaper edition, the National Post put this article on its website, and repeatedly flagged its website address across the top of this page.

This internet article has been spreading its malicious mischief alleging Morrisseau art fraud, 24/7, day and night, for month after month, since it was originally published on Feb. 3, 2014.

The National Post spread the fabricated story about Morrisseau fakes to web surfers around the world thus ensuring that the prices for Morrisseau art are devalued around the globe and that no one can sell Morrisseaus anywhere because the bogus charges published by the National Post have deliberately caused widespread panic among art collectors.

This ensures that millions, in Canada and around the world, who never read the National Post or buy it, will be exposed to the false, malicious and defamatory article on the internet.

Deliberately Reckless and Malicious Internet Titles – The original malicious title, in the biggest and boldest type on the National Post’s hardcopy newspaper edition page, was “Lucrative ring of art forgers alleged in suits.” (See #14 below where it is dealt with)

The false and sensational allegations in the National Post's newspaper edition, which was carefully crafted to wring the most sensational headlines possible from a totally unsubstantiated and discredited allegation

The false and sensational story line published in the National Post’s newspaper edition, which was carefully crafted to wring the most diabolical headlines possible from totally unsubstantiated and discredited allegations. But the Post was not about to let Truth get in the way of a good story line… Regardless of the cost to the valuations of genuine Morrisseau paintings in the hands of thousands of collectors around the world.

This title was altered for the internet versions of this story.

a)    Malicious & Defamatory Internet Title #1 – The original title on the internet version of the National Post article “Art forging ring alleged in lawsuit leaves authenticity of works by Aboriginal artist Norval Morrisseau in question” was deliberately damaging to Morrisseau art.

The first headline the National Post used, allerting all Canadians that the false, and totally unusbstantiated allegations its reporter was making, without having used due diligence to substantiate the allegations, was certainly underming

The first internet headline the National Post used, alerting all Canadians that the totally false, and defamatory allegations its reporter was making, without having used due diligence to substantiate the fraudulent insinuations, was certainly undermining the authenticity and the valuations of ALL Morrisseau paintings. The POST editors very well knew, or ought to have known, that making wild and false claims, just to get a sensational headline to entice newspaper buyers, does untold damage to the genuine artwork in the hands of thousands of Canadian and international collectors.

The National Post warned Canadians in no uncertain terms that “the art forging ring” allegations definitely “leaves authenticity of works by Aboriginal artist Norval Morrisseau in question.”

That is false. Just because the National Post decides to fabricate and publicize false and unsubstantiated allegations, does NOT change the validity or authenticity of my genuine Morrisseaus.

But it definitely DOES taint their value in the minds of every National Post reader. Which, of course, is the intention. And does significantly devalue my paintings – or those of anyone else – when they try to sell them.

b)    Malicious & Defamatory Internet Title #2 – Within hours of internet publication, the National Post, probably aware of the defamation implicit in the first internet title, removed it and changed it to “Barenaked Ladies’ keyboardist suing in what may be the biggest art forgery case in Canadian history.”

Post headline #2, replaced the original one which said that in the Post's view ALL Morrisseaus were not damaged and devalued goods since their very authentic was put in question. This was, of course, a totally idiotic claim. But the damage was done by the Post, before someone thought the better of it and quickly changed it to something non-suable.

Post internet headline #2, replaced the original one which had claimed that in the Post’s view ALL Morrisseaus were now damaged and devalued goods since their very authenticity, by the Post’s article, was put in question. This was, of course, a totally idiotic claim. But the damage was done by the Post, before someone thought the better of it and quickly changed it to something non-sue-able.

In fact the Hatfield v Artworld trial and Appeal, over three years, is the biggest court case dealing with alleged fine art forgery in Canadian history. And concluded with two judges totally dismissing any and all allegations of Morrisseau forgery as unbelievable and totally unsubstantiated. In other words, absolutely no evidence was produced by the Plaintiff to support her claim that her painting was a fake.

The title is also NOT “NEWS” and shows how artificially trumped up and fabricated is the whole article about the “Barenaked Ladies keyboardist suing.”  The reality is that Kevin Hearn had filed his lawsuit not a few days before, so making it “hot” news and a reason for publishing, but a full year and a half before, on June 8, 2012.

And there had not been a new development in the lawsuit whatsoever, or any move to push forward, in his case since then…

The titles, just like the article, proves what false and unsubstantiated information has been fabricated into a phony “News” story by the National Post.

5 – Titling a Demonstrable Fraud with a Factual “News” Headline – National Post Editors headlined the entire page dominated by Norval’s huge photo, as “News,” deliberately priming readers that this page A2 is concerned with truth, and factual information vetted by top journalists and editors, instead of just the wild rantings of some crackpot or scammer, or what this story was actually all about, a business scam begun by a couple of businessmen, and swallowed holus bolus by witless gullible and mindless journalists at the National Post.

National Post Editors headlined the entire page it devoted to a false and unsubstantiated story line about so-called “Art Fraud,” as “NEWS” when in fact, there was no news of any kind breaking in any of the Morrisseau content it was publicizing.

The dictionary defines “news” as “a report of a recent event; intelligence; information” or “the presentation of a report on recent or new events in a newspaper, or other periodical or on radio or television.”

The National Post article hugely, fails that test. What it published was ALL old hat, with no new developments in either the Hearn or McDermott cases, in a year and a half since the first case was filed.

Furthermore the story is not reality News of any kind, nor “intelligence” or “information” as defined by the dictionary above.

The entire storyline is a total and utter fabrication by a malicious two or three people who invented the scam that sucked in the gullible National Post journalist and editors who utterly failed to do journalistic due diligence and proper research. The National Post editor is trying – to attract gullible readers with a sensational and false story line – to make a silk purse from a sow’s ear.

As written and presented by the National Post the story of Morrisseau fakes is false, unsubstantiated, libelous, defamatory, and a total invention of a malicious editor and writer.

This “News tips” line, and “tips@nationalpost.com advertised underneath the NEWS header, of course, offer a fertile field for malicious people to send in a “news tip” that is born of malice, and make false and unsubstantiated claims, hoping some gullible dupe at the National Post will bite and publish, as happened in this case.

A malicious caller, making a simple phone call or sending an email, cleverly passes the buck of legal responsibility on to the mainstream news outlet  – in this case the National Post – which, in this case, ever hungry for salacious and sensational stories, went ahead without doing even elementary due diligence, and just published the unsubstantiated drivel.

In doing so, the complicit National Post which was the successfully “sucker-punched” media outlet in this case, takes over the responsibility of legal liability for libel, defamation, etc., from the “call-in” mischief maker.

6 – Giving Exclusive Full-Page Prominence on Art Fraud – The National Post deliberately decided to devote the entire second “news” page of its main A section to “Art Fraud” to alert Canadians that the National Post considered art fraud a huge problem that Canadians should become aware of.

There was no other feature or story in the entire paper which was centered out and featured with a complete exclusive full page promotion like this.

The National Post also flagged incendiary words all over the page including: “art fraud,” “fake ordered destroyed,” “lucrative ring of forgers,” celebrities “suing,” “bringing out the truth” about fakes.

By its huge spread on art and forgery covering the entire page two of its newspaper the National Post editors deliberately tried to create the idea that forgery was a huge, important problem that Canadians should be aware of, especially if you own Morrisseaus.

In fact the truth is that art forgery as publicized by the National Post is virtually almost entirely unknown in Canada.

Whattta Iditot... Richard McClintock, the only Canadian ever proven by anyone to have forged Canadian paintings.

Whatta Idiot…! Richard McClintock, the only Canadian ever proven by anyone to have forged Canadian paintings. And he was nabbed after only forging and trying to sell two (that’s 2) paintings. An art gallery owner quickly fingered him; the cops nabbed him; the judge sentenced him. That’s what happens to real forgers in Canada. And no, he wasn’t forging Morrisseaus. Nobody can be that stupid. Richard forged high end Quebec painters. Bringing up the question, if, as Robinson, Sinclair, and Sommer claim there are “thousands of fakes by umpteen forgers” out there, why has no cop and no judge and no forensic expert ever discovered or certified or charged anyone with making Morrisseau fakes…? Cause those fakes the trio claims, and have no proof for, don’t exist. As numerous judges and courts have propounded, over and over again. Only the National Post gives vent to this diabolical business scam emanating from a Toronto art gallery and fed to gullible and profoundly stupid mainstream media journalists to ruin its business competitors.

In all Canadian history I have found only one Canadian art forger – one Richard McClintock – who has ever been caught, charged, and sentenced for art forgery. He was found guilty of making and trying to sell two (2) paintings he forged of high priced Quebec artists.

Yet the National Post article did not mention McClintock, but devoted a huge majority of its feature page to alleged Norval Morrisseau forgeries, not one of which has ever been found, and no forger charged, either by a judge, a court, a police investigator, or a forensic scientist. Exactly what you’d expect if it was, as I say, all entirely a HOAX to begin with.

In 13 years that the false claims of some 4,000 alleged Morrisseau fakes have been made, not a single forger has ever been accused, charged, or taken to court. And every judge and forensic expert who has examined the case for Morrisseau forgeries, and examined specific paintings alleged to be fakes, have found, to the contrary, that they are authentic without a single exception or qualification.

Canadians should sue the National Post for its totally fabricated and unsubstantiated allegations that deliberately set out to specifically target and devalue the Morrisseau paintings in their living rooms.

7 – Sensational “Art Fraud” Header – After the “News” header the National Post editor recklessly added a teaser headline that loudly announced, “ART FRAUD” though he never went on to prove it or disclose evidence for the sensational headline.

It was clearly and deliberately designed to be a show stopper for any reader looking for crooks in the art world.

8 – Morrisseau “art and fraud” Centerpiece – The editor deliberately and recklessly set up the entire page to feature the supposed Norval Morrisseau fakes as the centerpiece, the focus, the featuring infamy, of his storyline on a page he chose to devote to lowlife art fraud infamies that apparently plague modern civilization, devoting some 75% of the page’s column space to alleged Morrisseau fakes.

NOTE: The National Post editor deliberately and recklessly hid from his readership the huge mountain of published and available evidence that proves incontrovertibly that what the National Post alleges was not only false, but maliciously so. And while he also gave the website address of the chief scammer and perjurer behind the totally fabricated and unsubstantiated allegations, he recklessly and deliberately did not offer the website addresses of the two biggest blog sites that show, with a mountain of independently verifiable and well documented evidence and proof, what an utterly false storyline the alleged Morrisseau fakes is all about.

It’s a deliberate and malicious information cover-up that has no place in any decent publication that claims to be a modern mainstream newspaper, and is utterly unbecoming to anyone who dares to call himself a reputable journalist.

To attract the attention of the reader and deliberately influence his beliefs, the editors tarted up the article of the supposed Morrisseau fakes with the biggest illustrative picture by far on the page, the largest and blackest headline, and the most sub-headers of any article on the page.

When there is not a single fact to substantiate any of it, and he very well knew it, or ought to have known it, had he practiced even minimal due diligence in researching the totally fabricated and unsubstantiated allegations, and followed the elementary rules of responsible journalism, before maliciously creating this infamous feature page showcasing Norval’s art as a main problem area for Canadians.

9 – Huge “Stretched” Morrisseau Photo – The five column photo of Morrisseau was made huge to dominate, and dwarf anything else into insignificance on the “Art Fraud” page. It was deliberately used as the flagship pictorial to anchor the story of the National Post’s “Art Fraud” page.

This photo of Norval in front of a genuine Morrisseau painting was also deliberately stretched, placed and designed by the editor to head up, all the stories of fakes on the page, including that of Chagall which dealt with genuine fakes, but which Morrisseau had nothing to do with.

The editor, if he was not malicious, but responsible, and honest, would ethically have reduced the size of the photo of Morrisseau and restricted it to head up the three columns dealing only with him. Expanding its use, to dominate the page, and to further “embrace and serve as cover” for the columns dealing with the real Chagall fakes is deliberately defamatory in intent and an unforgivable breach of the layout protocol followed by reputable editors.

10 – Wheelchair Invalid Morrisseau Photo – The editor picked a full-body wheelchair invalid photo of Norval, instead of a bust only smiling face of the artist. The intention is clearly to show Norval as a helpless wheelchair invalid, obviously very easy prey for forgers. So giving more credibility to “Morrisseau forgeries” before anyone even starts to read the Morrisseau story itself.

Christian had waited years too late to visit his father on the far side of the continent, and now was distressed to find "nobody home."

Elder Abuse Part 1 – In 2006, Christian had waited years too late to visit his father on the far side of the continent, and now was distressed to find “nobody home.” His father, suffering for years from severe and advanced Dementia and Alcohol Dementia, couldn’t even recognize or respond to him. But Donald Robinson would claim that a year later – in 2007 – he had a totally lucid conversation with a fully mentally aware Morrisseau, where the artist explained to him in great detail  the particulars of all the so-called fakes that were about…

Funeral homes in their obit columns feature a healthy cheery photo of the subject, never, ever a photo of them in their wheelchair, or in their hospital beds. For obvious reasons.

The editor clearly also knew this but was determined, with his photo choice, to prime the reader to think, “Oh, boy! Here’s another old codger ripped off by crooks. Clearly another case of elder abuse. Damn those criminal rip-off artists…”

A shocking family photo of the dreadful toll that Dementia and Alzheimer's takes on personal relationships.

Elder Abuse Part 2 – A shocking family photo of the dreadful toll that Dementia and Alzheimer’s takes on personal relationships. In 2005 – the year before Christian’s photo above was taken – Gary Lamont – above trying in vain to make eye contact with his longtime buddy – found to his great distress that Norval couldn’t recognize him AT ALL ANYMORE OR COMMUNICATE IN ANY WAY WITH HIM. And this, claims Donald Robinson, was the very time that Norval organized, and set up, and appointed the officers, of the Norval Morrisseau Heritage Society. Oh, and Norval was  supposedly madly sleuthing out thousands of fakes, and organizing and sending out all those multiple Affidavits of Forgery, to Kinsman Robinson Galleries’ main business competitors…

NOTE: If the journalist had done due diligence and proper research, he would have known the reality was that the people preying on the aging, and Dementia-debilitated artist, were his two closest “handlers,” his primary art dealer, Donald Robinson, and his close companion, and self-designated inheritor, Gabe Vadas.

11 – Irresponsible, Suggestive, Reckless, Incendiary Photo TitleWhy would an editor who deliberately makes a connection with “Morrisseau” and “lawsuits” in the title, and labels a picture with “His work is the subject of two lawsuits that allege a Toronto gallery sold fakes,” and references nothing else, when in so doing, whether maliciously or negligently, or both, he deliberately and completely ignores the FIVE far more important lawsuits that have already been settled. And which have resoundingly pronounced on and settled the false allegations, presumably once and for all.

These previous cases clearly give a devastating indication of what the likely outcome will be for the lawsuits launched by the musicians. They will almost certainly waste scores of thousands of dollars pursuing a predictably doomed litigation.

The National Post editor deliberately and maliciously completely ignores five huge previous judicial proceedings on the same topic with the same totally fabricated and unsubstantiated allegations and proof from the same people including:

Joe Otavnik who first challenged the ethics and morality of Norval Morrisseau and the white businessmen who were manipulating him into agreeing to a Conspiracy Theory of “thousands of fakes by umpteen forgers,” challenging them to meet on a level playing field with their proof in a Canadian court in front of a judge. They ran like hell for the exits and paid Joe $11,000 to settle and shut up about what they were saying and doing. Joe was brash because he knew what they knew: that the Dementia-plagued Norval couldn’t remember a damn thing or say a word. It underlined, big time, why they had never produced Norval in court, ever, after they claimed they discovered the forgeries.

Joe Otavnik who first challenged – totally successfully – the ethics and morality of Norval Morrisseau and the white businessmen who were manipulating him into agreeing to a Conspiracy Theory of “thousands of fakes by umpteen forgers,” daring them to meet him on a level playing field with their allegations of forgeries and the so-called proof in a Canadian court in front of a judge. They ran like hell for the exits and paid Joe $11,000 to settle and shut up about what they were saying and doing. Joe was brash because he knew what they knew: that the Dementia-plagued Norval couldn’t remember a damn thing or say a word. Which is what the judge would see right away. It underlined, big time, why they had never produced Norval in court, ever, after they claimed they discovered the so-called forgeries.

A – the landmark lawsuit Joe Otavnik won in 2008 vs Vadas and Morrisseau, who had falsely alleged Otavnik was trying to sell Morrisseau fakes, to a Heffel (Vancouver, BC) auction, and then, when Otavnik sued them, were afraid of going before a judge, and begged him to settle out of court. They paid Otavnik off with $11,000 for falsely and maliciously calling his Morrisseaus “fakes.” The paintings in this case had come from the same source, were of the same age, and from the same period of the artist’s work (1970s) as the Hearn painting, featured in the National Post article.

NOTE: Forensic authentication of the signature, by handwriting expert Brian Lindblom, who had spent decades working for the RCMP, caused Vadas and Morrisseau to abandon their defamation of a genuine work by the artist and ask for an out-of-court settlement.

NOTE: But Ritchie Sinclair, in 2014, still publishes the paintings as forgeries on his malicious, false, libelous, and defamatory website.

Yes, the very same malicious website recklessly recommended by the National Post journalist, who recklessly ignored and refused to mention the two carefully researched, well documented countering blogs that reveal that Sinclair is one of the people currently at the heart of the biggest fine art Hoax in Canadian history.

B – the landmark lawsuit Michael Moniz won in 2009 vs CTVglobemedia, whose feature Arts journalist, Val Ross, alleged, in a Globe article of Feb. 2007, that Moniz had and was selling Morrisseau fakes, and that there were many more “out there.” And then, afraid of going before a judge, CTVglobemedia begged Moniz to settle out of court, and paid him off with $25,000 for recklessly libeling him and wrongly defaming and devaluing his genuine Morrisseau paintings as forgeries.

Michael Moniz, died 2013, a victim of Diabolical Conspiracy Theorists. He won the biggest settlement for a lawsuit any individual in our memory has ever won against a newspaper.

Michael Moniz, died in 2013, a clear victim of Diabolical Conspiracy Theorists. He won the biggest settlement for a lawsuit any individual in our memory has ever won against a newspaper. The Globe paid him off with some $25,000 for libeling him and slandering his Morrisseau paintings as fakes, after they were authenticated by a top forensic scientist as genuine Morrisseaus, and exposing the claims by the lawyers and business associates surrounding the Dementia-plagued artist’s wheelchair, as false, diabolical, malicious, and defamatory. None of that stopped the National Post from publishing the same unsubstantiated drivel in 2014, just to get a sensational story line to reel in suckers into buying a copy of the paper.

The Globe had recklessly and maliciously illustrated the article with a picture of one of Moniz’s genuine Morrisseaus. Moniz sued the Globe, whose lawyers advised the paper to ask for an out-of-court settlement when Moniz produced a forensic finding from a scientist that the painting was genuine, not a fake as the Globe and its lawyer-sourced article claimed.

NOTE: The salient parallel here is astonishingly and eerily similar to the 2014 National Post article, in that the false info in the Globe article of February 2007, and the false fakes caption on the genuine Norval Morrisseau painting the Globe used to illustrate the story, were also referenced to another lawyer, Aaron Milrad, acting on behalf of one of the self-interested businessmen surrounding Norval Morrisseau’s wheelchair, Gabe Vadas, one of the originators of the Morrisseau Hoax.

Vadas had been using the Dementia-debilitated artist’s Power of Attorney since 1990 – seventeen years – and called himself the sole inheritor of the artist’s estate, and Milrad openly fed the totally false, fabricated, and unsubstantiated allegations about three specific supposed Morrisseau fakes belonging to Moniz, to a gullible, and negligent journalist, Val Ross, who mindlessly went ahead and published false allegations without doing basic follow up research or due diligence. With expensive consequences to her and her paper.

When forensic analysis authenticated the defamed paintings as genuine Morrisseaus – not fakes as alleged by the lawyer Milrad, and the Globe journalist Val Ross – CTVglobemedia’s lawyer advised his clients to cave in, quickly go to the bank and get $25,000 to pay Moniz off, with an out-of-court settlement for their witless journalist being railroaded into this fiasco by taking bad advice for a storyline, failing to do due diligence, and libeling Moniz and defaming his paintings.

Vadas and Milrad, their job done, with the publishing and widespread dissemination of the defamation alleging Morrisseau forgeries, ran, Scott-free for the exit as fast as they could…

NOTE: Forensic authentication of the signature, by handwriting expert Brian Lindblom, who had spent decades, working for the RCMP, caused the Globe and Mail, to ask for an out-of-court settlement, rather than face the wrath of a judge, and pay the huge financial penalty for their defamation of a genuine work by the artist.

NOTE: But Ritchie Sinclair, in 2014, still publishes the paintings as forgeries on his malicious, false, libelous, and defamatory website.

This false, malicious, and defamatory website was specifically and deliberately recommended by the National Post editors as a consumer’s alert site of record for people to use as a truthful reference when considering buying Morrisseau paintings, to ascertain whether they are genuine or not.

In spite of the fact that the National Post’s journalist and editors very well knew, or ought to have known, that Ritchie Sinclair who operates the defamatory website, had no credentials – either academic or in art – nor the requisite experience to back up the claims he makes.

And numerous judges have said exactly that.

C – the landmark lawsuit (in Ontario Small Claims Court before Dep. Judge Paul J Martial) which Artworld won in 2013 against Hatfield (Artworld v Hatfield), in the longest fine art court case in Canadian history, where Judge Martial heard the same totally fabricated and unsubstantiated allegations of forgery, and of a forgery ring, presented and alleged by the same people (including the same lawyer), who were the source of this National Post story.

Sinclair and Sommer had been, again, slanging the same art gallery owner and Morrisseau expert (Joe McLeod) as supposedly authenticating and selling alleged fakes. After which, Judge Martial just hugely, totally, and without a qualification or caveat of any kind, utterly dismissed all their allegations of forgeries as completely unsubstantiated and untrue.

Judge Martial found, in fact, that he “preferred” the testimony and credibility of Joe McLeod as a witness, the very man targeted by Sinclair and Sommer as a source for so-called forgeries, rather than the testimony of Sommer’s only two witnesses (Sinclair and Robinson), whom Judge Martial scorchingly dismissed as having no recognized credentials or expertise in the areas they were claiming to be experts in, and of giving totally unsupported and self-serving testimony.

In fact Judge Martial, also, went deliberately out of his way to say that the very painting maligned in Jonathan Sommer’s Plaintiff’s Claim and by Sommer’s only two witnesses, was authentic in the absolute. He further dismissed totally the testimony, the allegations, the credibility, the expert report, the expertise, and the testimony of the only two witnesses (Ritchie Sinclair and Donald Robinson) that lawyer Jonathan Sommer produced for the court as supposed proof for their totally fabricated and unsubstantiated allegations of forgery.

NOTE: Jonathan Sommer’s client was penalized with having to pay, the winning Defendant, Artworld, costs of $1,500. (Small Claims Court rules allow only a small part of the actual legal costs to be assigned to the losing litigant.)

NOTE: Forensic authentication of the signature, by handwriting expert Dr. Atul K. Singla, played a key role in convincing Judge Martial that “Wheel of Life 1979,” was not a fake as claimed by Hatfield, Sinclair, and Sommer, but a genuine work by the artist, and contributed hugely towards handing Sommer a landmark defeat in his court case alleging a fake.

NOTE: But Ritchie Sinclair, in 2014, still publishes the painting as a forgery on his malicious, false, libelous, and defamatory website.

Yes the very same malicious website recklessly recommended by the National Post journalist, who recklessly ignored and refused to mention the two carefully researched, well documented countering blogs that reveal that Sinclair is at the heart of the biggest fine art Hoax in Canadian history.

The Hon Madame Justice Mary Anne Sanderson

The Hon Madame Justice Mary Anne Sanderson

D – the landmark rejection (in Ontario Superior Court by the Hon. Madam Justice Mary Anne Sanderson) of the Appeal, won in Dec. 2013, by Artworld against Margaret Hatfield (in Artworld v Hatfield), where her lawyer Jonathan Sommer alleged some 35 judicial mistakes, and demanded a new trial.

Sommer’s claims and demands were totally, and brusquely dismissed, absolutely, in Ontario Superior Court by Madam Justice Mary Anne Sanderson who agreed completely with Judge Martial’s findings in the lower court, strongly supported his conclusions, rejected holus bolus, the credibility and testimony of the only witnesses (Sinclair and Robinson) who claimed the painting was a forgery, and affirmed therefore that the painting was authentic.

Madam Justice Sanderson brusquely, utterly and totally, dismissed Jonathan Sommer’s Appeal, handing him another landmark court defeat by saying there was no substantiation or proof for any of his Plaintiff’s or witnesses’ claims of fakes.

"Wheel of Life 1979" that was the centre of the longest trial in Canadian fine art history, and was found by both Dr. Atul K Singla, a top Canadian forensic scientist, and Judge Paul J Martial to be authentic and signed by Norval Morrisseau himself and no one else. Margaret Hatfield, because she did not do "due diligence," and based on gossip she heard somewhere, ended up paying a lawyer over $40,000 to try to prove her genuine Morrisseau, for which she paid only $10,000 in 2005, was a forgery.

“Wheel of Life 1979” that was the centre of the longest trial in Canadian fine art history, and was found by both Dr. Atul K Singla, a top Canadian forensic scientist, and Judge Paul J Martial to be authentic and signed by Norval Morrisseau himself and no one else. This finding was confirmed by the Hon. Madam Justice Mary Anne Sanderson, in Ontario Superior Court, who brusquely dismissed the Appeal launched by lawyer Jonathan Sommer alleging 35 judicial mistakes and claims the painting was a fake. Margaret Hatfield, because she did not do “due diligence,” sneered at the real Morrisseau experts, and based her belief that she was saddled with a fake Morrisseau on idle gossip she heard somewhere from someone she met while “internet dating,” ended up paying legal fees of some $57, 000 in a hugely failing attempt to try to prove her genuine Morrisseau, for which she paid only $10,000 in 2005, was a forgery. Two court decisions told her loudly and clearly, without a single qualifier or caveat, that she should have used her brains, not follow bad advice from totally discredited, malicious and self-interested parties.

NOTE: Jonathan Sommer’s client was once again penalized with having to pay the amount (in this case $7,500) agreed on by both sides to be awarded to the winning side in Ontario Superior Court.

This brought the total legal costs of Sommer’s client, Margaret Hatfield, based on billing documents Sommer provided to the court, to an estimated $57,000. Leaving her case for forgery, as presented by her lawyer Jonathan Sommer, utterly discredited in two courts, her paltry pension devastated, and leaving her with a painting which she now no doubt hates.

NOTE: In  spite of the landmark trouncing of the Sommer Appeal of the Martial judgment, by Madam Justice Mary Anne Sanderson, Ritchie Sinclair, in 2014, still publishes the painting as a forgery on his malicious, false, libelous, and defamatory website.

This is the website – and the only one – that the National Post recklessly recommends to its readers as a credible source for information on Morrisseau fakes.

E – the landmark rejection of Ritchie Sinclair’s claim and testimony in the Queen against Joseph Otavnik for assault and Criminal Harassment.

Ritchie Sinclair apparently made a poor impression with his believability about his wild charges.

Now Why Would That Be? Ritchie Sinclair apparently made a very poor impression on the Hon. Justice Alphonse T Lacavera, regarding his credibility concerning his wild charges of being a victim of assault and Criminal Harassment. Lacavera, after a trial that lasted three years and involved some 23 court appearances, totally dismissed Sinclair’s charges as completely unsubstantiated. As an added zinger, Lacavera also said he didn’t believe that Sinclair’s charges of there being a so-called Morrisseau forgery ring, was substantiated by the evidence he had seen in his court room. THAT MAKES IT FIVE JUDGES WHO HAVE RULED THAT WAY, WITH NONE DISSENTING.

I also draw attention to another parallel and devastating court case – over a two year period, in which Sinclair had gone to the police and sworn out multiple false allegations in order to charge and accuse Joe Otavnik of Criminal Harassment and Assault. (Otavnik is the Morrisseau collector who won his landmark libel case against Vadas and Morrisseau in 2008.)

The Hon. Justice Alphonse T Lacavera would go on to totally dismiss all charges citing his lack of trust in the credibility and believability of Ritchie Sinclair, and the testimony of his then lawyer Zak Muscovitch.

Justice Lacavera wrote a 40 page judgment in which he clearly indicated that:

1 – he found Ritchie Sinclair’s court testimony unbelievable,

2 – he found Ritchie Sinclair’s huge and detailed deposition to the Toronto Police completely unbelievable,

Justice Lacavera roundly found Joe Otavnik “not guilty” of all charges.

3 – Justice Lacavera also found, as a result of testimony from two strong witnesses, that the allegations about Morrisseau fakes, alleged by Sinclair, were also not believable.

Summary of the Five Previous Court Cases – The results of these five court cases was publicly available information posted on my blog site, long before the National Post published its totally fabricated and unsubstantiated allegations. My carefully documented blog makes it clear without a single caveat or qualification that every painting ever alleged to be a fake, in a lawsuit, by Sinclair and Robinson, was recognized by a judge or lawsuit settlement, and/or forensically verified, as a totally genuine work by Norval Morrisseau.

NOTE: In spite of the fact that three different top forensic scientists and handwriting experts have found that some 70 (seventy) different paintings, that were falsely slanged as fakes by Sinclair, Robinson, and Sommer, are, in fact, authentic and genuine Morrisseaus, with DNA certainty, Sinclair still maliciously publishes them as forgeries on his false, libelous, and defamatory website.

Yet in spite of this the National Post maliciously and irresponsibly chose to use the utterly discredited Sinclair as its sole recommended source of reference for its proof of authenticity of the so-called allegations behind its article.

12 – Priming the Fakes Pump with a Chagall Forgery – Immediately after the huge dominating picture of Morrisseau the editor immediately moves the reader to a story of an actual fake, a forgery of a Chagall that was uncovered and ordered destroyed.

The editor put a true story of a Chagall fake in the lead column under the Morrisseau photo, and noted in the headline that this infamous fake was ordered destroyed. So the reader’s eye follows Morrisseau down to the story of crooks in Europe forging Chagall paintings.

So readers were assured that fakes are a dastardly reality and given to wonder about the “Canadian connection.” Which the editor was pleased to present in the adjoining column. Morrisseau fakes coming up; thank you.

13 – Photo of Fake Chagall Painting – The editor published a picture of a painting that was a real forgery and ordered destroyed to give the Chagall story more power. The editor made the picture of a Chagall fake the second largest on the page.

And deliberately set up a parallel presentation with the Morrisseau spread. First let’s see how crooked and greedy forgers are painting fakes to make a bundle. Then let’s look at what’s going on, in this department, in Canada, and with Morrisseau… And who gives a damn if there’s no evidence whatsoever? Hell, it makes for a good storyline… Right?

14 – Loud & Domineering Title “Lucrative ring of art forgers” – The editor devoted the largest typeset on his page to bannering his idea that lots of money is being made by art forgers. And he put that incendiary, malicious, false, and defamatory banner as the feature title on the page, right under Norval’s wheelchair picture.

The National Post makes a startling announcement, claiming - clearly a first in history - that it has discovered a lucrative ring of art forger, working "in suits."

The National Post makes a startling announcement, claiming – clearly a first in history – that it has discovered a lucrative ring of art forger, working – mind you it’s only alleged, “in suits.” IN FACT: the truth is that if indeed the Post had discovered a lucrative ring of art forgers “in suits,” that should have been a clear signal that they were NOT Morrisseau forgers. No one following a career as a Morrisseau forger would have been able to afford a suit. A more convincing Post headline for Morrisseau forgers would have been “found buck starkers naked.” Then, at least the Post allegations would have had some credibility.

This time dealing with Canadian not European fakes.

In fact that header should have been over the Chagall article, where it is a well-known reality that international art forgers make fakes of Chagalls because they are valued in the hundred millions of dollars.

No forger would be stupid enough to fake a Morrisseau when the artist, for decades, gave away his paintings for food, a cab ride, a bottle of booze, for $30 or $40 or a sexual service. Especially since Norval Morrisseau works were in fact, still selling for only a few hundred dollars as late as 2002.

The National Post editor’s wrong-headed but clearly intended message: “there’s good money to be made in forging Morrisseau art, especially if you can find an artist who’s too helpless to know what’s going on because he’s a disabled elder in a wheelchair.”

There is no proof for any of that. Not that there is a ring or that what the non-existent elves are supposedly doing, is lucrative… Furthermore the claim belies even basic common sense of what motivates every forger who ever existed.

dddddddd dddddddddd

Whatta Idiot! – Preliminary research makes it almost certain that this Chagall fake is actually a picture of a Morrisseau forger, wondering who the hell ever came up with the bright idea of forging thousands of paintings of an artist who gave away his originals for next to nothing, or sold them for only a few bucks on the street for decades. Even by 2000, Norval’s works – huge original acrylics – were selling at auction, for only a few hundred bucks. No wonder the forger can’t afford clothes and is crying “Oh woe is me! I’d better think of a different career if I want to feed my starving babies.”

There is no proof either that the non-existent art forgers are wearing suits as the editor claims. In fact the more likely scenario for someone faking Morrisseaus is that they are naked… It’s a fact that they couldn’t make enough money doing that to clothe themselves.

Did the editor, by mistake, put the wrong headline on the Morrisseau article, or was he just plain ignorant? You figure it out…

Before the reader even reads the first line in the story, the editor has put the reader right where he wants him, propagandized in 22 major editorial ways, to be primed to accept Morrisseau forgeries as a reality. Even though there has never been one proven.

Kevin Hearn practicing eating less palatiable fare for years to come after he pays off his lawyer for launching a court case

He Can Tickle the Plastics… But He Can’t Read -Kevin Hearn practicing eating less palatable fare for years to come after he depletes his bank account to pay off his own lawyer, after taking very bad advice, and launching a court case, making totally unsubstantiated allegations that his Morrisseau painting is a fake. He’ll be eating crow and touring the Wawa  Timmins circuit till he’s in his dotage, because he also will have to pay off the lawyer of the client whom he has accused of selling him a forgery, Canada’s senior and most respected Morrisseau expert, Joe McLeod. WHAT THE ARTICLE DID NOT SAY WAS THAT THIS WAS – NOT AT ALL – A BREAKING NEWS STORY, OSTENSIBLY THE REASON FOR PUBLISHING. Hearn had launched his dead end – but expensive – lawsuit, a FULL YEAR AND A HALF BEFORE THE ARTICLE WAS PUBLISHED, on June 8, 2012. With not a single new development since then. SO WHOSE AGENDA CAUSED THIS VERY OLD NEWS STORY TO BE REPUBLISHED ON FEB. 3, 2014?

15 – Major (Canadian) Celebrity “suing Toronto Gallery – In an inset headline the editor wants the reader to think, “Hey this is serious stuff when a major Canadian celebrity goes to sue somebody!”  Which clearly was the intention of the editor.

The editor is trading on the public perception that celebrities – their “betters” who supposedly know something the rest of us don’t – are on to something on a plane of understanding and experience that those of us with less money don’t really understand… So, what have they learned that the rest of us should know and beware of?

Well the National Post editor is going to fill you in, big time, on what you, also, should beware of, if you’re even thinking of buying a Morrisseau painting…

16 – Playing the Celebrity Card as “bringing out the whole truth” – Very cagily the editor has flagged another inset header, slyly intimating that the celebrity is “committed to bringing out the whole truth.” The truth about what, is left dangling, deliberately.

But the reader is no fool; he knows already what the editor and the National Post are talking about, right Dear Reader?

First the attempt is to use the “celebrity card” to back up the story, trying to bamboozle the countless millions of the hoi polloi who believe if a celebrity is suing, there has got to be something to it. Celebrities are so much smarter than the rest of us… right?

“Of course! It’s all about those Morrisseau forgeries, ripped off from an elderly wheelchair invalid, by cold-hearted crooks running a lucrative forgery business. You know, like in France with that Chagall guy. They should just burn all those Morrisseaus too. And they can start with that grotty little thing Hearn was bamboozled into buying…”

REALITY CHECK: In fact the editor produces no evidence that he even interviewed either Hearn or McDermott, as authors of the phrase of “bringing out the truth,” or anything else in the story.

17 – Photo of “piece thought to be by Morrisseau” – Where in God’s name is there a picture of a fake Morrisseau on a feature page devoted to “Art fraud,” and more specifically Morrisseau art forgeries.

Both the huge Morrisseau behind Norval’s wheelchair, and the small image below it, are genuine Morrisseaus, one vetted by Norval, the other by Joe McLeod, Canada’s senior and most reputable Morrisseau art authenticator, who has had connections, he has maintained to this day, with Norval’s family and art, since 1960.

It is utterly false for the National Post to claim that “the authenticity of the painting is in dispute” anymore than “the world is flat” just because one idiot claims it is, and the National Post prints it.

Journalism by the Lunatic Fringe – Anymore than just because a third Holocaust denier has chimed in – in this case the National Post – would that make their anti-Holocaust claims any more credible, or undermine the authenticity of that historic event. Would the National Post champion that parallel asinine lunatic fringe minority claim and consider it worth airing as a feature page in a National Canadian mainstream media outlet?

It alone is proof that the National Post was malicious and didn’t give a damn about the damage it was doing to genuine Morrisseau paintings everywhere with its ludicrous, false, and totally unsubstantiated allegations.

Why could the National Post not get Sinclair or Sommer to provide them with a single image of a proven Morrisseau forgery to illustrate its article? When both claim there are literally thousands of them out there…

Because every time they bring one of their so-called fakes to court a judge soon sets them straight and tells them their proof is twaddle, and that they are in fact defaming a genuine Morrisseau.

Tellingly, the National Post couldn’t even find one to illustrate its article. And neither could its two sources provide them with one. So it had to malign a genuine painting to fill in.

They found an illustration of a fake for the Chagall article; they could not, by hook or by crook, find a fake by Morrisseau. And they should have scotched the article of Morrisseau art fakes right there and then. Instead they maliciously carried on anyway. They were not going to let a lack of facts, a lack of fakes, hamper a good story they wanted to tell.

Clearly it is the intention of the editor, in publishing a photo of a fake Chagall, that some of the smut from the Chagall fake will rub off on the nearby genuine Hearn Morrisseau.

By the time a National Post reader had scanned the page, and ends up seeing the grotty little image of the alleged fake involved in the case the reader already is primed to believe that:

– it sure looks like a fake… by God, it is a fake!
– it should be burned like the Chagall forgery
– and maybe the gallery of the guy who dared to sell it

Even though the dealer involved – Joe McLeod, now at age 84 – has for decades been Canada’s senior and most respected Morrisseau expert since he started dealing and selling with the artist and his paintings in 1960, and has, in all that time, never ever, even once, been caught with a fake, or even accused of having a fake, by anyone. Let alone proven to have a fake.

And to the contrary, has repeatedly served as a respected consultant regarding Morrisseau and Aboriginal artists, to public galleries, museums, and universities all over the country.

In fact one of the Morrisseau paintings he evaluated – “Wheel of Life 1979” – just came out of two Canadian court rooms (Martial, Sanderson), with resounding approvals from two judges as it being a totally authentic Morrisseau painting without a qualification, or caveat of any kind.

But the National Post editor deliberately chooses to skip all that and does not even deign to caption it as a “painting,” preferring to just rudely dismiss Norval’s original work as a “piece,” you know, like in piecework done in a shop of diabolical forgers that it appears that a couple of celebrity musicians, Hearn and McDermott, have apparently discovered hard at work making fakes.

18 – Incendiary Title – A reckless title, claiming that “The authenticity of this piece, thought to be by Norval Morrisseau, is in dispute.”

False & Defamatory Title - This painting is not, as the Post claims, "thought" to be my Morrisseau. It was certified as genuine by the top expert in the field. Just because someone makes idiotic, false, and unsubstatnated claims, does not immediately translate into the painting's authenticity being in dispute. Anymore than one or two people claiming that the Post is a reputable newspaper makes it so.

False & Defamatory Title – This painting is not, as some airhead titling editor at the Post claims, “thought” to be my Morrisseau. It was certified as genuine by the top expert in the field. Just because someone makes idiotic, false, and unsubstantiated claims about a certified artwork, does not immediately translate into the painting’s authenticity being in dispute. Anymore than one or two people claiming that the Post is a reputable newspaper makes it so. But the false claim does damage the work in the eyes of the uninformed and neophyte art collectors, like say, a couple of musicians with some extra cash to spend. Or others who had entertained a thought of buying some Morrisseau originals, and are now shying away, and buying IKEA art instead. The false claims recklessly and willfully published by the Post has contributed hugely to devaluing ALL the art of Canada’s leading Aboriginal artist.

“… thought to be by Norval Morrisseau” is NOT a classification type recognized, used or endorsed by anyone in the Canadian or international fine art community.

It is a caption totally fabricated by the National Post editor to advance his malicious, false, and defamatory allegation that there are Morrisseau fakes out there that have been found, and proven. Nor has any evidence, let alone proof of that, by the National Post journalist or anyone else. In fact, not a single Morrisseau fake has been proven, not by any court, nor by any forensic expert.

Where are the pictures of proven Morrisseau fakes, to illustrate a page and a story the National Post devoted to and exposure of Morrisseau fakes? Both pictures the National Post used, are genuine Morrisseaus, and proven to be such by experts.

NOTE: Presumably, the National Post editors knew that the last time a newspaper – the Globe & Mail – labeled a picture of a Norval Morrisseau painting as an example of a Morrisseau fake, the owner successfully sued the paper and won $25,000 as a settlement for libel and defamation.

It is clearly the intent of the editor to downgrade the painting as not being authentic and pass on the information that it was only hearsay about the painting being genuine in the first place, like in a passing thought…

In fact the subject painting was verified as an authentic Morrisseau by Canada’s most senior and most credible Morrisseau authenticator who has been doing it since 1960. The editor did not report that vital information, choosing to slang the painting as a passing thought and its claim of authenticity a figment of someone’s imagination.

Jacquie Miller put up a trolling ad for a lawyer looking for work.

NO WONDER SHE HIDES HER WORK – Jacquie Miller put up a trolling ad for a lawyer looking for work, which she later totally yanked from the Citizen archives and internet libraries. She had clearly NOT read Judge Martial’s findings, because she chose only one, entirely out of context phrase from it, claiming that Martial had ruled “Wheel of Life 1979” was genuine, only “on the balance of probabilities.” Which is, of course, a total and absolute lie. IN FACT HAD SHE PRACTICED DUE DILIGENCE AND DONE HER HOMEWORK AS A SUPPOSED INVESTIGATIVE JOURNALIST AND READ THE JUDGEMENT, INSTEAD OF JUST QUOTING UNINFORMED AND TOTALLY SELF-SERVING  SOURCES, SHE WOULD HAVE LEARNED THAT JUDGE MARTIAL RULED CATEGORICALLY AND ABSOLUTELY WITHOUT A SINGLE CAVEAT OR QUALIFICATION, THAT BOTH THE FRONT AND THE BACK OF THE PAINTING WERE PAINTED AND SIGNED BY NORVAL MORRISSEAU AND BY NO ONE ELSE. His finding was totally in line with the forensic expert who ruled the big black dry brush signature on the back was written by Norval with DNA certainty, and by no one else.

19 – Reference to Jacquie Miller of Compost Media – The editor credited files for this story to Jacquie Miller, the Assistant Arts editor of the Ottawa Citizen, another Postmedia “family” newspaper.

So the National Post editor cannot use ignorance as a fallback position for his malicious posting. He consulted the Miller story and may have even talked to her about it, asking her what she knew – you know as part of his due diligence before rushing off to publish something so sensational…

Because Jacquie Miller very well knew that the whole story alleging Morrisseau fakes – she’s the Assistant Arts Editor at the Ottawa Citizen – is a Hoax and a lowlife business scam by a couple of two or three people.

I told her so, and corresponded with her by email.

If Miller was a credible journalist – are there such beings working for Compost Media? – she should have told Hopper and the National Post editor to KILL THIS PIECE – THERE IS NO CREDIBLE EVIDENCE OR PROOF FOR ANY OF IT, FROM ANYONE CREDIBLE, AND THAT ALL THE EVIDENCE FROM A VARIETY OF CREDIBLE SOURCES (COURTS, JUDGES, FORENSIC SCIENTISTS, INVESTIGATIVE JOURNALISTS WHO HAVE STUDIED AND GATHERED DOCUMENTARY PROOF OF THIS FOR YEARS) IS THAT IT IS A BUSINESS SCAM.

THAT IF THERE IS A STORY HERE, IT IS THE STORY OF A HOAX, ABOUT A FORGERY SCAM THAT NEVER EXISTED…

The truth is that Jacquie Miller, as the Assistant Arts editor of the Ottawa Citizen, very well knew, is that every court had dismissed the charges alleged in the National Post article; she knew every forensic expert had fully authenticated every so-called fake; she knew my blog and all the documents and court testimony it contained proved without a shadow of a doubt that the totally fabricated and unsubstantiated allegations of fakes was only a business scam carried out by a handful of cronies to enrich themselves and their art gallery at the expense of their business competitors.

Jacquie Miller, whose April 8, 2013 Ottawa Citizen article was nothing if not a crass job ad for lawyer Jonathan Sommer, who spoke out loudly, and was quoted in the headline, in a story in which he dissed the judge (Judge Martial who had handed him a disastrous defeat by dismissing not only his case but the believability of the only two witnesses he produced) dissed the judgment, dissed the legal process and assured Canadians that the fakes were a reality regardless of what Judge Martial said.

In what can only be considered a stunning fit of pique, after a disastrous career-stopping loss in the Martial court, losing lawyer Jonathan Sommer struck out at a Judge, a judicial decision, and a professional process of which he was supposed to be a part. I believe it is unbecoming for a lawyer to try to overturn a legal process in the media by slanging a judge and his decision in such and unprofessional way when numerous people had paid tens of thousands of dollars to have a court ruling decide the issue. Only to find that the losing lawyer is slanging it all in the national media, in spite of, and in fact sneering at, due process. Does the Ontario Bar Association not have rules of conduct for its members? We complained about this several months ago. We are not surprised that this article in total, has been completely deleted from the Citizen archives and cannot be found anymore anywhere on the internet. Was it removed by the Citizen because it was such a journalistic embarrassment? Or did a lawyer threaten the paper with making him look bad and threaten action unless it was removed? You figure it out.

THE CASE OF THE MISSING ARTICLE – In what can only be considered a stunning fit of pique, after a disastrous loss in the Martial court, losing lawyer Jonathan Sommer struck out – extra-judicially – at a Judge, a judicial decision, and a professional process of which he was supposed to be a part. I believe it is unbecoming for a lawyer to try to overturn a legal process in the media by slanging a judge and his decision in such an unprofessional way when numerous people had paid tens of thousands of dollars to have a court ruling decide the issue fairly by rules set up according to Canadian social norms. Only to find that the losing lawyer is slanging it all in the national media, in spite of, and in fact sneering at, due process. Does the Ontario Bar Association not have rules of conduct for its members? I complained about this several months ago, and am not surprised that this article in total, has been completely deleted from the Citizen archives and cannot be found anymore anywhere on the internet. Was it removed by the Citizen because it was such a journalistic embarrassment? Or did a lawyer threaten the paper with making him look bad and threaten action unless it was removed? You figure it out. IN FACT SOMMER WOULD APPEAL THE DEVASTATING DECISION AGAINST HIM, AND END UP HAVING HIS CLAIMS AND COMPLAINTS BEING COMPLETELY AND TOTALLY DISMISSED – AGAIN –  BUT THIS TIME BY A JUSTICE OF THE ONTARIO SUPERIOR COURT OF JUSTICE. In fact the Hon. Madam Justice Mary Anne Sanderson chided him, both in person – I was there; I heard her –  and in her judgement, for complaining about things that were, in fact, his own fault, due to lapses in his lawyering.

It was nothing if not a crass extra-judicial attempt by a lawyer to use the media to try and overturn a judicial decision made by a conscientious judge in the longest fine art trial in Canadian history.

Sommer brashly – which, in my view, publicly demonstrated professional misconduct – told all Canadians, through a mainstream media outlet, that they can just ignore Judge Martial’s ruling, that in spite of what he said in his judgment, countless Morrisseau fakes were a stark reality, and implied that he was open for business to take on new lawsuits alleging more Morrisseau fakes.

NOTE: The lawyer always gets very well-paid, whether he wins or loses. But then you already knew that.

What Sommer deliberately chose not say in that article, however, was that even though the collaborators claimed there were some 4,000 fakes out there, that not a single fake had ever been found by any judges, any lawyers, any police forces, any forensic scientists, etc. in the 13 years that the bogus allegations have been self-servingly slanged about by Kinsman Robinson Galleries personnel and presented by Sommer’s only witnesses in court.

The whole thing is being perpetuated without any substantiation whatsoever, as purely a money-making “scam,” as lawyer Brian Shiller told Madam Justice Mary Anne Sanderson, in Ontario Superior Court, on December 6, 2013.

Sanderson agreed, and gave Jonathan Sommer his second disastrous rebuff in his case alleging fakes. She dismissed his Appeal, refused to give him a new trial, dismissed Sommer’s allegations of 35 Martial judicial errors, and brusquely affirmed Judge Martial’s judgment in resoundingly rejecting Sommer’s case, the credibility of his only two witnesses (Ritchie Sinclair and Donald Robinson) and their totally unsubstantiated allegations of forgeries.

Madam Justice Sanderson therefore soundly supported that the painting, called a fake by Sinclair and Sommer, was absolutely authentic. In fact she loudly reiterated what three previous judges (Lederer, Godfrey, Martial) had ruled, that there was no credible evidence of any kind produced by Sommer or Sinclair that proved that the totally fabricated and unsubstantiated allegations of Morrisseau fakes had even a smidgen of evidence or proof to any of them.

Sanderson found Sinclair specifically “unreliable” as a witness, echoing Brian Shiller’s claim that Sinclair was a perjurer, for which he said Judge Martial had ample proof.

NOTE: In fact this was an eerie, but entirely predictable, echo of the findings, a few months earlier, of the Hon Justice Alphonse T Lacavera who totally dismissed a court case Sinclair had started by alleging to the Toronto police that Joe Otavnik had assaulted and criminally harassed him. In short, Justice Lacavera apparently found it impossible to believe a word Sinclair said in court or had reported to Toronto police in a sworn document.

Lacavara also found that according to the testimony of witnesses in his court there was no evidence of any Morrisseau fakes or forgeries as alleged by Sinclair. (See item # 11E above)

All this information has been published on Dec. 17, 2013 and has been on my blog since then where Jacquie Miller had read it all.

The National Post editor, who listed Jacquie Miller as a source, therefore knew, or ought to have known, the “facts,” but deliberately, just opted for “sensationalism” choosing maliciously to publish and just blithely ignore the facts that were out there for all to see.

IMPORTANT NOTE: Since I posted, in the summer of 2013, that the Miller article alleging Morrisseau fakes in the Ottawa Citizen, was, from the headline on down, nothing but a crass job ad and what I consider a display of professional misconduct for lawyer Jonathan Sommer, someone has totally purged this article from the archives and from the internet where it was previously displayed and reference by other web sites. It has been totally obliterated from them all.

You will not find a trace of it left on Compost Media, or anywhere else.

Now who and why would someone, go so out of their way, to do this huge journalistic erasure and cover-up of an extra-judicial attempt to reverse the public’s perception and understanding of a learned judge’s considered judgment and ruling, in deliberately going out of his way to rule that an alleged fake, was, in fact, a totally authentic Morrisseau, front and back, no ifs, ands, or buts?

And just what did Miller tell the National Post editor and writer Hopper about the whole thing when they came calling, you know, with their fake story on the fakes, preparatory to researching their own sensational and unsubstantiated article on exactly the same topic using the same discredited (by multiple courts and forensic scientists) and totally fabricated and unsubstantiated allegations, presented by Ritchie Sinclair and Jonathan Sommer?

Luckily for posterity and for legal cases I have a screen grab, which I have published, illustrating the entire shameful publication, deliberately expunged by Miller and Postmedia.

20 – “alleged in suits” –  The National Post editor very well knew, or ought to have known that everything he was posting was false and designed towards an end to distort the truth to a foregone conclusion that Canadians should beware of Morrisseau forgeries.

So he lamely pulled out his totally discredited and totally inapplicable “allegation” defence on a couple of his sensational and false titles.

The editor brazenly, recklessly, deliberately, and craftily tried to mask his malicious editorial fabrications by adding the “allegation” defence as an excuse to his outrageous false, incendiary, and unsubstantiated opening phrase “Lucrative ring of art forgers….”

Just adding “alleged” as an afterthought – when people have already stopped reading the end of the heading – instead of titling it properly, as an “Alleged ring” of “alleged art forgers” involved in an “allegedly lucrative” enterprise, since each one of these words is a supposition totally invented by the editor and for which there is no evidence or documentary support at all, of any kind.

The editor has falsely posited that a “ring” is involved, working as “art forgers,” and that what it is doing is “lucrative.”

When in fact not a single one of these totally fabricated and unsubstantiated allegations is even marginally true, or proven, or has any documentation of any kind to support the claims.

Tagging false, defamatory, libelous, unresearched, and unsubstantiated statements by just appending “the allegation tag” is a gross abuse of responsible journalism, and is not a recognized or allowed defence according to Canadian law established by judicial decisions.

It also does not qualify as a “free speech” right, any more than do the outrageous claims of Holocaust deniers, or Donald Sterling’s racist anti-Black tirades.

21 – The Editor’s Freudian Slip: False Cover with “Allegations” – The editor prominently – right beside the head title of “ART FRAUD” again, tried to mask his malicious intentions by adding the “allegation” defence as an excuse or afterthought, after opening with a boisterous, prominent, and incendiary “Art Fraud…”

Totally fabricated and unsubstantiated allegations, if they deliberately ignore a mountain of independently collected and published documentation, are not backed up with definitive, substantive, and documentary proof, and are attributed to an expert without proper credentials, recognized expertise, and who has a long and documented track record for lying and perjury, are libelous and defamatory.

In fact in this case the “rumours” do not, and have never existed, at all, among experts in the some 40 odd galleries selling Morrisseau art across Canada. The totally fabricated and unsubstantiated allegations are totally fraudulent and have been dismissed by police investigations and judged as such by numerous courts and forensic experts.

22 – “Stifling free speech” Defence – To cover his sorry ass the editor decided on one final creative ploy: to add a first column article about unrestrained restrictions on free speech. In short, excusing any unsubstantiated drivel you want to bandy about in a newspaper as a “free speech right.”

You know, appropriating the same defence – for his false, malicious, and defamatory page on art fraud – which Holocaust deniers regularly use as an excuse to publicize their version of “truth.”

He very well knew, or ought to have known, full well that he had crossed every reasonable journalist boundary in his layout, in favour of maliciously promoting what is demonstrably nothing but a total business scam (the existence of so-called Morrisseau fakes) as if it were a reality, when he had not even one scrap of substantiation for any of it.

He was clearly hoping that journalism means that you should be allowed to say anything as a journalist – no matter how false, how unsubstantiated – all for the good of the democracy, the People’s Right to Know, and the journalist’s right to publish any drivel no matter how sensational, unproven, and unsubstantiated, and to be utterly dismissive, and in spite of, a mountain of documentary proof to the contrary.

And so making a desperate ploy that journalists are entitled to strategically forget or just maliciously ignore the fact that Negligence and Failure to do Due Diligence apply to journalists digging for dirt merely to attract readers.

And that you cannot recklessly invent, out of thin air, without substantiation of any kind, a malicious defamation that destroys the values of people’s genuine works of art.

All of these editorial sleights of hand are deliberately aimed at skewing of the truth and the reality before the reader has even started to read the first line of the Hopper article.

The journalist tried to pretend that he was doing “balanced journalism” by going to “both sides.”

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

Repeat Performer – Brian Shiller, is the Defence Counsel for Joseph McLeod against the allegations by the two musicians, and the Post. He was the winning Artworld Defendant’s Counsel against Hatfield, and champion of “Wheel of Life 1979” as a genuine work by Norval Morrisseau, won his case hands down, in every detail, delivering a total knock-out – twice – to lawyer Jonathan Sommer and his witnesses, Margaret Hatfield, Donald Robinson, and his business associate, Ritchie Sinclair BEFORE TWO DIFFERENT JUDGES IN TWO DIFFERENT COURTS INCLUDING ONTARIO SUPERIOR COURT. Shiller gave the National Post journalist and editor, all the information they needed to FURTHER RESEARCH THE VALIDITY OF, OR KILL, THE ARTICLE AND ITS FALSE AND UNSUBSTANTIATED  ALLEGATIONS. But the Post, clearly motivated by maliciousness, deliberately chose to do neither, just ignore Shiller, and just – “Oh hell, let’s just publish anyway…!”

To that end he contacted Brian Shiller, the winning lawyer in both the Hatfield v Artworld case, and the subsequent Appeal of that judgment before the Hon. Madam Justice Mary Ann Sanderson, in the Ontario Superior Court, for a response, since Mr. Shiller is also the Defence lawyer for Joe McLeod, the art dealer targeted in both the Hearn and McDermott cases.

So far so good; and then it goes all to hell…

Shiller told him two vitally important things:

A – the paintings alleged to be fakes, in the musicians’ cases, are, in fact, both genuine Morrisseaus and forensically verifiable,

B – that Mr. Sommer, the lawyer for both Plaintiffs, and the source for the National Post’s story, has never produced any evidence whatsoever to substantiate his claims of a ring of forgers or any forgeries, even though Mr. Shiller had, several times, without luck, asked for the evidence from Sommer.

So the journalist was fully primed, with information from an unimpeachable source, a two-time winning lawyer on the matter, before two separate judges, in trial and Appeal that went on for three years in Canada’s longest fine art court case.

But, after being supplied with such powerful information that totally undermined the thesis of his article and the credibility of his two “sources,” did Hopper go back to either Sommer or Sinclair, in light of such damning new information, and demand corroborating evidence for what they said?

And did he reevaluate the wisdom of publishing their allegations in light of Mr. Shiller’s obviously devastating information?

No, Hopper and his editor did not hold back before publication.

They and the National Post obviously had the story line they wanted and they had no intention of changing any of it, just because it wasn’t true…

Why did Mr. Shiller’s warning information not serve as a clear wake-up call to the lax, negligent journalists employed on this story by the National Post?

It seems incredibly beyond belief that the journalist, the editorial staff, and their legal staff at the National Post, who presumably vet all articles before publication, could possibly pass for publication, something that was obviously maliciously designed to devalue genuine Norval Morrisseau art by multi-millions of dollars.

To devalue art that hangs in countless living rooms of thousands of Canadians across the country.

Posted in Canadian Cultural Vandals, Court Cases, Cyber Terrorism, Martial Court 2011 - 2013, Media, Ritchie Sinclair | Leave a comment

The National Post’s Diabolical Plot to Devalue the Art in your Living Room

22 Telltale Signs of a Malicious and Purely Sensational Editorial Fabrication

The National Post fabricated a patently false story line for which there is – has never been – any evidence, let alone proof, that it ever happened. And need we add, the Post produces none, and compromisingly and tellingly, deliberately ignores the facts and evidence that do exist because they counter the sensational editorial viewpoint preferred by the Post as damningly displayed on this page.

Ritchie Sinclair - totally discredited by judge after judge, after judge...

Ritchie Sinclair – Unhappy because he has been totally discredited by judge after judge, after judge… That’s five judges and justices (Lederer, Godfrey, Martial, Lacavera, Sanderson) who have ruled in different judgments that Sinclair has no proof for what he says, no recognized credentials in academics or art, no claim to the expertise he pomposits around with, and, in the curt words of the Hon. Madam Justice Mary Anne Sanderson, of the Ontario Superior Court, his testimony is “unreliable” – judicial short-hand for lying or perjury.

The Post editor deliberately ignores a mountain of contrary evidence including numerous judicial findings and judgments and forensic reports proving exactly the opposite: that the fakes alleged in the Post article are non-existent, that the man the Post promotes and asks readers to consult, as an alleged Morrisseau expert, has been dismissed and discredited by judge after judge, and proven, in court after court, to be a serial liar and perjurer, and that the claims are nothing but a lowlife business scam designed to devalue genuine Morrisseau paintings.

And the Post is aiding and abetting the Hoax, thereby devaluing the Morrisseau paintings hanging in your living room.

NOTE: All this deliberately reckless, incendiary, and malicious fabrication is done to trap your mindset into “buying into” the reality of  a supposed Morrisseau art fraud long before you read even a single line in the Morrisseau article…

Can you guess what the 22 diabolical fabrications are?

I will publish the key shortly.

22 ways that the editor of the National Post carefully and deliberately laid out his page saying that art fraud should be a major concern for Canadians.

22 ways that the editor of the National Post carefully and deliberately laid out his page warning Canadians that art fraud should be a major concern for them, especially if you have Morrisseaus hanging in your living room. The die is deliberately cast, LONG BEFORE YOU EVEN START TO READ THE ARTICLE ON HOW “A LUCRATIVE RING OF ART FORGERS” IS PROFITING FROM ITS ILLEGAL ACTIVITIES IN FORGING MORRISSEAUS. AND THAT LUCKILY, AN UPRIGHT CELEBRITY IS “SUING TORONTO GALLERY” AND MAKING A STAND AGAINST THE CREEPS, SO THAT “THE WHOLE TRUTH” WILL COME OUT, AND SO THAT THE OFFENDING ART CAN , LIKE THEY DO WITH FAKE CHAGALLS IN FRANCE, ALSO BE “ORDERED DESTROYED.”

Posted in Canadian Cultural Vandals, Court Cases, Cyber Terrorism, Media, Ritchie Sinclair | Leave a comment

Ritchie Sinclair: From Artist to “Con-artist”

“Who are you, other than a figment of your own imagination…?”

Peter Jacobsen one of Canada's top experts on libel and defamtion advised CTVglobemedia to settle out of court with Michael Moniz, for an estimated $25,000 for falsely libeling him and defaming his genuine Morrisseau paintings as fakes.

Peter Jacobsen, one of Canada’s top experts on libel and defamation, in 2009, advised CTVglobemedia to settle out of court with Michael Moniz, for an estimated $25,000 for falsely libeling him as a crook and defaming his genuine Morrisseau paintings as fakes.  The forensics did it for Michael.

Peter Jacobsen, speaks about Ontario Conservative Leader’s Hudak’s statements for which Ontario Premier Kathleen Wynne says, she’ll take him to court for libel and defamation.

“… making false and extremely damaging statements and I think that is where the line is drawn between free expression in our society and defamation. I am a tremendous advocate of free expression, but I think that where it can do a lot of harm to the whole concept of free expression is if we’re going to allow people, with impunity, to make statements that are blatantly untrue, and they won’t back them up…

“There is nothing to substantiate these (Hudak’s – ed: substitute “Sinclair’s”) statements, that we know of.” (CBC, The Current, April 1, 2014)

Jacobsen might much more correctly have been talking about Ritchie Sinclair, and his totally wild, false, and unsubstantiated claims of fakes, that have been completely rejected by numerous judges, and top forensic scientists.

But Sinclair’s wild rantings, have, by one estimate, been destructive of Norval Morrisseau’s art valuations to the tune of some $100 million, and have cut a destructive swath through the art valuations of all First Nations artists.

Four judges (Lederer, Godfrey, Martial, and Sanderson) have all rejected Sinclair’s claims as unproven and without evidence to back him up.

Six judges have impugned, or “rejected” outright, in specifics, the integrity, the expertise, the expert reports, & the claims of Sinclair and Robinson (Mogan 1996, Lederer 2008, Godfrey 2011, Martial 2013, Lacavera 2013, & Sanderson 2013)

In 2008 The Hon Justice Thomas R Lederer, after reading Sinclair’s Defence against a multi-dealer lawsuit, wrote tellingly, in what would always be a familiar refrain, in court after court:

“The defendant in this case (Sinclair) says he will defend the action by claiming the defamatory statements are true. No demonstration of the basis for this defence has been produced to this point.”

And more even more damningly:

“The (Sinclair) website suggests that a large number of the pictures to which it refers are ‘stolen, forgeries, counterfeit or otherwise inauthentic.’

“ It is difficult to believe that the defendant has had an opportunity to examine all the images referred to on the website against the list of factors to which he refers. Moreover, the website does not demonstrate or discuss any specific evidence demonstrating the failure of any image to satisfy all of these factors. There is nothing but the bald statement that they are frauds or counterfeits.” (The Hon Justice Thomas R Lederer, Dec. 4, 2008) (ed: my underlining)

 Indeed, nothing would ever change, over the next six years. to alter the telling accusation and validity of Justice Lederer’s damning final sentence.

Three judges (Godfrey, Martial, Sanderson) in cases dealing with allegations of specific fakes, have ruled totally and entirely against the claims of Sinclair and Robinson, and totally in favour of ruling the paintings they slanged, as being, to the contrary, authentic, in the absolute.

Hundreds of pages of court transcripts document numerous lies, and acts of perjury by Sinclair, a habit for which he was deliberately cited before the Hon Madam Justice Mary Anne Sanderson in Ontario Superior Court, on Dec. 6, 2013. In her judgment, she concurred when it was brought to her attention by, Brian Shiller, the winning lawyer in both the Martial trial and the subsequent Sanderson Appeal.

“I may suggest to you that the trial judge (ed: Deputy Judge Paul J Martial) could have easily condemned Mr. Sinclair as a liar, and chose not to… And I put it to you, as to your shaking your head that you’ve read this part of the evidence. It was crystal clear in my submission that Mr. Sinclair was caught in a lie.” (Trial & Appeal Winning Defence Lawyer Brian Shiller, during the Appeal before The Hon Madam Justice Mary Anne Sanderson, Ontario Superior Court, from personal notes: taken Dec. 6, 2013)

“The trial judge was entitled to reject the evidence of Sinclair and to conclude it was unsupported and unreliable. Sinclair could produce no documentary evidence to support his assertion that a well organized forgery ring painted the works auctioned by Khan Auctions.” (item 18, Ontario Superior Court 2013 ONSC 7801 Divisional Court File no. 209/13, the Judgment by the Hon Madam Justice Mary Anne Sanderson, Dec 17, 2013)

Exposed: the Secret Life of an Indian Imposter

“If you can’t dazzle them with brilliance, baffle them with bullshit.” WC Fields

For slow readers, who can’t wade through the academic documentation exposing the HOAX, we offer this pictorial snapshot of its chief “enforcer,” his bogus claims of expertise and faux credentials, and the utterly dim view of him and his claims expressed by numerous respected Deputy Judges, Judges and Justices, of numerous Ontario courts.

The Sad Demise of a Baby Genius – For slow readers, who can’t wade through the academic documentation exposing the HOAX, we offer this pictorial snapshot of its chief “enforcer,” his bogus claims of expertise and faux credentials, and the utterly dim view of him and his claims expressed by numerous respected Deputy Judges, Judges and Justices, of numerous Ontario courts. It is a sad end of an artist who is probably the very first in history to show promise at such an early age, telling Judge Martial, “Actually I began formal training (in art) at the age of four.”  SADLY, SINCLAIR HAD A BAD TEACHER, OR WAS A POOR LEARNER. IN 2004, HIS ACRYLIC ART WORKS ON CANVAS WERE SELLING AT RANDY POTTER AUCTIONS FOR $25, $30, AND $50… WHEN THEY MANAGED TO GET A BID… NOT A PARTICULARLY GOOD RESULT FOR A 47 YEAR OLD ARTIST… Clearly he needed to find another career… How about as an “enforcer” for a Hoax alleging Morrisseau fakes…?

courtroom

The Conspiracy Theory Collaborators Outside the Court – This is probably the most damaging photo ever published about a judicial proceeding in Canadian history; I predict it will be used in legal text books, by generations of lawyers to come. We kid you not: it’s the so-called “expert witness,” Donald Robinson, “thumbing his nose” at the judge, inside the building behind, by deliberately cozying up to the Plaintiff and documenting the affront with a compromisingly partisan photo that is a flagrant breach of Canadian court protocol. An “expert witness” is supposed to be an “arm’s length” witness, to help the judge establish truth, not join one of the partisan litigants in a “pals” photo. What does that say about his independence, and his credibility as a  supposed “friend of the court?” Sinclair (AKA The Baby Genius) center and Robinson right, outside the courtroom where the tag-team performed for Conspiracy Theorist Proxy #4, Margaret Hatfield. The association has cost the gullible and horribly misled schoolmarm some $58,000 in legal costs, drained from her pension, wasted on a case she could never hope to win. Judge Martial was not impressed, at all, by Donald Robinson as an “expert witness” – even less so of Ritchie Sinclair. He ended up totally “rejecting” Sinclair’s testimony, his claims, and his expertise, as well as Robinson’s “expert report,” his Morrisseau expertise, his handwriting expertise, and his claim that Ms. Hatfield’s painting was a forgery. The photo is strong corroborative evidence that Judge Martial correctly saw through the Hoax as it unfolded in his courtroom, as a put-up job by two business pals. (PS. Every photo like this you’ve ever seen – on the nightly news on TV – features the Plaintiff with her lawyer, and absolutely NEVER cozying up to the “expert witness.” Why is her lawyer Jonathan Sommer not in this photo instead? Perhaps he is the one taking the picture as these three are the only people he brought into court to advance his case. NOTE: WHEN SOMMER PRESENTED THE COMBINED TESTIMONY OF THIS TEAM BEFORE THE HON MADAM JUSTICE SANDERSON, ON APPEAL, SHE DISMISSED IT OUTRIGHT, COMING OUT SWINGING, ONLY ELEVEN DAYS LATER, TOTALLY CORROBORATING JUDGE MARTIAL’S FINDING IN EVERY RESPECT, AND DISHING OUT THE SECOND OF TWO DISASTROUS COURT DEFEATS FOR THE LOSING LAWYER, JONATHAN SOMMER, AND HIS CLAIM THAT THERE ARE LOTS OF FAKES OUT THERE AND OFFERING THESE THREE AS THE PROOF…

Posted in Art Cartel, BDPs - Black Drybrush Signed Painting, Canadian Cultural Vandals, Court Cases, Cyber Terrorism, Martial Court 2011 - 2013, Perjury or Dementia, Ritchie Sinclair | Leave a comment

Ritchie Sinclair: The Making of a Diabolical Art Terrorist

Daily expansions – till March 21

The End of a “Starving” Artist – the Birth of an ART TERRORIST

“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)

to TABLE OF CONTENTS

If you can’t dazzle them with brilliance, baffle them with bullshit. WC Fields

Ritchie Sinclair - Architect of Cultural Genocide against First Nations people and the art of Norval Morrisseau.

“SUSPICIOUS, VICIOUS, MALICIOUS & MERETRICIOUS” Ritchie Sinclair – Destructive non-Aboriginal agent against First Nations art and artists and the art of Norval Morrisseau. Sinclair is famous for publishing for years, a malicious website, which denounced as forgeries, 1,000 Morrisseau paintings which Sinclair had never ever seen, and which were painted years before Sinclair had ever even heard of the name Norval Morrisseau. And no, it’s not from superior knowledge… He was a drop-out from the only beginning art course he ever took, from a community college. 

“Some things are just meant to be… So I believe the reason I met Norval was because I was meant to. Not because of his greatness but because of our mutual greatness…” (Ritchie Sinclair CIUT FM radio interview with David Peterson, Sep. 28, 2008)

“Brian Shiller: Kinsman Robinson Gallery, they represent you ever?
Ritchie Sinclair:  No, they never represented me.
Brian Shiller: Why not?
Ritchie Sinclair: They represent Norval Morrisseau.
Brian Shiller: But why not you?
Ritchie Sinclair: Well, in a sense there’s a, there’s a competition; I mean, their show, they have a show every year for Norval Morrisseau.” (Court Trans/Hatfield v Artworld: Feb 23, 2012 p126)

(ed: DUMB & DUMBER: Clearly the Robinsons told Sinclair that they can’t have TWO MORRISSEAUS represented in their Gallery. And Sinclair was dumb enough to believe it and repeat it, to an incredulous Shiller.)

“I was introduced to Ritchie Sinclair, by Christian Morrisseau, the son of Norval Morrisseau… and was later informed by Christian that he was the self proclaimed protégé and former short-term boyfriend of his father.” (Donna Child, Director of Artworld Gallery, on first meeting Sinclair at the Aboriginal Achievement Awards in March 2008)

“He (Norval) wanted a lover… he made a request of me that he wanted male companionship. And so I went out and I looked for male companionship for him and met Mr. Ritchie Sinclair… on the streets of Toronto.” (Wolf Morrisseau (Norval’s brother) to Judge Martial, Court Trans/Hatfield v Artworld: Feb 24, 2012 p114)

Jack Pollock more than any other white man associated with Norval, tried his damndest to be "in sync" with the interests of his raucously uncontrollable artist.

Jack Pollock, Norval’s Principal Art Dealer for 20 years, more than any other white man associated with Norval, tried his damnedest to be “in sync” with the interests of his raucously uncontrollable and wildly libidinous artist.

“… as they (ed: the Albert Volpe crime family Nexus Gallery which Sinclair testified hired him out of school) were paying for materials and supplying him (Norval) with drugs and young boys, and a large house in the country… they began producing ‘limited’ editions of mechanically produced silk screens and would bribe Norval with dollars, dicks and dope to sign them.”
(Jack Pollock, “Dear M, Letters from a Gentleman of Excess” 1989, p172)

“I may suggest to you that the trial judge (ed: Deputy Judge Paul J Martial) could have easily condemned Mr. Sinclair as a liar, and chose not to… And I put it to you, as to your shaking your head that you’ve read this part of the evidence. It was crystal clear in my submission that Mr. Sinclair was caught in a lie.”
(Trial & Appeal Winning Defence Lawyer Brian Shiller, during the Appeal before The Hon Madam Justice Mary Anne Sanderson, Ontario Superior Court, from personal notes: taken Dec. 6, 2013)

“The trial judge was entitled to reject the evidence of Sinclair and to conclude it was unsupported and unreliable. Sinclair could produce no documentary evidence to support his assertion that a well organized forgery ring painted the works auctioned by Khan auctions.” (item 18, Ontario Superior Court 2013 ONSC 7801 Divisional Court File no. 209/13, the Judgment by the Hon Madam Justice Mary Anne Sanderson, Dec 17, 2013)

TABLE OF CONTENTS:

Ritchie Who? 1979 – 2007
Sinclair Praising the BDPs – 2007 – 2008
An Emotional Disaster for the Proverbial Starving Artist
Correspondence with Blogger Ugo Matulic
2008 Sinclair Tries to Kick-start a New Career
Sinclair’s Disastrous Scollard Street Show
– Sinclair’s Revenge – October 2008
The Deplorable Negligence of the Mainstream Media – Part 1
           – CTV’s Coming Legal Disaster

So Where Did it All Start? – Sinclair & Morrisseau
SINCLAIR PUBLICLY ADMITS HE KNEW ABSOLUTELY NOTHING OF NORVAL MORRISSEAU, OR HIS ART, FOR THE FIRST THREE DECADES OF THE ARTIST’S PAINTING CAREER 1950 – 1980, AND THAT HE DIDN’T DISCOVER THE EXISTENCE OF SO-CALLED FAKES UNTIL LATE IN 2008, WHEN THEY WERE FIRST REVEALED AND POINTED OUT TO HIM, BY THE MAN HE CALLS “MY MENTOR,” DONALD ROBINSON. (Mentor means, “instructor, coach, trainer, tutor, teacher, guide, adviser.”)

And tellingly, the so-called fakes Robinson and Sinclair have since targeted together, were all BDPs from the 1970s, a period of Norval’s life and painting career of which Sinclair had absolutely no personal knowledge or experience.

SINCLAIR BECOMES THE ENFORCER
All Hell Breaks Loose Among Morrisseau Dealers and Collectors
           – Zak Gets Paid with Some Genuine Imitation Woodland Art
           Sinclair Goes Physical Against his Targets In & Out of Court

Sinclair Becomes an Ersatz Lawyer
– Sinclair the Ersatz Lawyer: Part 1 – Discredited v Bugera
– Sinclair the Ersatz Lawyer: Part 2 – Discredited v Otavnik (Godfrey)
           – The One-Handed Clap
Sinclair the Ersatz Lawyer: Part 3 – Discredited v Artworld (Martial)
           Sinclair Directing Lawyer Jonathan Sommer Part 1
           – Sinclair’s “Kiss of Death”

           – Sinclair Lashes Out at First Nations Artists
           – Sinclair Lashes Out at Forensic Scientists
Sinclair the Ersatz Lawyer: Part 4 – Discredited v Otavnik (Lacavera)
Sinclair the Ersatz Lawyer: Part 5 – Discredited v Artworld Appeal (Sanderson)
           – Lawyer Jonathan Sommer Posts a Job Ad in the Ottawa Citizen
           Sinclair Directing Lawyer Jonathan Sommer Part 2

The Enforcer Repeatedly Perjures Himself & Wildly Slangs Canadian Courts

The Indian/Impostor Impersonator, Says: “Just saying, makes it so”
Not So Fast #1Says: Justice Thomas R Lederer
Not So Fast #2 Says: Judge MD Godfrey
Not So Fast #3 Says: Dep. Judge Paul J Martial
Not So Fast #4Says: The Hon Justice Alphonse T Lacavera
           – “A Fucking asshole”
Not So Fast #5 Says: The Hon Madam Justice MA Sanderson

The Meatgrinder Sitemeter Says Sinclair Sent the Anonymous Death Threat
           – “Oh so Vile!” Anonymous Emails Forensically Traced to Sinclair
           Dumb, Dumb & Dumber: Sinclair’s Friend the Dung Beetle Doctor

Sinclair’s Means, Motive, & Opportunity
The Final Gasp by the Conspiracy Theorists
Stardreamer BIO
Déja vu all over again, the McDermott Case

The Honourable Justice Murray Alexander Mogan’s Damning Dismissal
of Donald Robinson’s Credibility in the Whent Tax Case 1996
 

The Negligence & Lack of Due Diligence by the Mainstream Media – Part 2
            – CTV’s Coming Legal Disaster

sinclair_350wildRitchie Who? – For reasons known but to Sinclair, for 28 years since he first supposedly met and briefly moved in with Norval Morrisseau, at the end of 1979, Sinclair had totally kept out of both the public spotlight and been totally disconnected from the evolving world of Norval Morrisseau, Canada’s most celebrated Aboriginal artist, and his art.

Yet shortly after the death of Morrisseau (December 2007) Sinclair suddenly projected himself, holus bolus, and aggressively, into the public eye, declaring that he had been Morrisseau’s chosen protégé, his key associate, his Woodland School heir, and had worked with him, constantly, for 20 (or 28) years.

No Academic Attribution – In all those years Sinclair, who now claimed to have been the key figure in Norval’s artistic life, his designated protégé, and the inheritor of his painting school, had successfully kept any and all of his past links to Norval totally hidden from Morrisseau academics, leading Morrisseau art dealers, writers and the media, and out of every single magazine article, academic monograph, newspaper article, art book, or show catalogue that dealt with Norval Morrisseau and his art.

The 50 Year Retrospective Catalog by Kinsman Robinson Galleries, features a painting with a whopping 593% price increase, but, no mention of Ritchie Sinclair, even after the staff was up all night sifting through 50 years of Norval's life, looking for some believable evidence...

The 50 Year Retrospective Catalog by Kinsman Robinson Galleries, features a painting with a whopping 593% price increase, but, no mention of Ritchie Sinclair, even after the staff was up all night sifting through 50 years of Norval’s life, looking for some believable evidence…

No KRG Retrospective Mention – In October – December, 2012 Kinsman Robinson Galleries held what it called “Norval Morrisseau 2012 Retrospective: Honouring 50 Years of Morrisseau History.”

Yet, though KRG published photos of others with Norval, it could find not a single photo of Ritchie Sinclair working with him. In fact KRG made not a single mention of Sinclair, at all, even once, in a 50 year summary tribute to the artist.

No Film or Video Records – Sinclair had managed to keep out of every film or television segment ever made about Morrisseau. And had avoided being mentioned or shown in any of them.

No Working Photo Record – Nor was any photo ever produced showing Sinclair and Morrisseau painting together, or in any other activity.

No Witness Testimony – Nor has any witness ever come forward, or been produced, in any court to testify to being aware of a working painting relationship between Sinclair and Norval Morrisseau.

By Unanimous Agreement – Numerous longtime and reputable Morrisseau and Aboriginal art gallery owners are in agreement on one thing: they never ever heard of Ritchie Sinclair, or never knew of him, or even his background as an artist, before he started to promote himself, in 2008, as something he was not, or never was. 

No Mention by Norval – And neither has Morrisseau himself, in major writings on his career, published in 1997, and 2005, made even a passing reference to the man who has pompously gone around, since Norval died, as “Ritchie Stardreamer Sinclair, the chosen Protégé of Norval Morrisseau.”

CHUTZPA - Norval with companion Brian Marion at the Order of Canada gala meeting the Governor General.

CHUTZPA – Norval with his longtime companion Brian Marion at the Order of Canada gala, meeting the hetero Governor General. This occasion and photo will have an honoured place in “The Gay History of Canada” when it comes to be written.

In fact Brian Marion, a Cree artist, was Norval’s well documented long-term companion and was well-known as Norval’s protégé. Brian Marion was photographed working with Norval – he appeared numerous times in Lister Sinclair’s coffee table book – and appeared with Norval at public functions, including when Norval received the Order of Canada, with Brian photographed beside him.

One of many photos, of a real protégé in a genuine working relationship with Norval, that we could have picked:  Brian Marion helping Norval entertain "big shot suits" from Ottawa at Beardmore. Not a single such photo has ever surfaced showing Indian impostor Ritchie Sinclair in a working relationship with Norval though he claimed to have had an intimate connection with him for over twenty years.

One of many photos, of a real Norval protégé in a genuine working relationship with Norval, that we could have picked: Brian Marion helping Norval entertain “big shot suits” from Ottawa at Beardmore, June 25, 1978. Not a single such photo has ever surfaced showing Indian impostor/impersonator Ritchie Sinclair in a working relationship with Norval though he claimed to have had an extremely intimate connection with the artist for 28 years. How believable is any of that?

In fact there is a letter, from 1986, where Norval does talk about Ritchie Sinclair, but it is only in unflattering terms. Norval wishes he hadn’t turned up, and he had to get rid of him because Sinclair was just a damn nuisance with his mouthing off.

Norval was in Toronto briefly in 1986 trying to put a painting deal together with David Crombie. Norval expressed his annoyance that, out of nowhere, Sinclair turns up and proves to be a destructive pest so that Norval had to tell him to leave "our presence."

Norval was in Toronto briefly in 1986 trying to put a painting deal together with David Crombie. Norval expressed his annoyance that, out of nowhere, Sinclair turns up and proves to be a destructive pest so that Norval had to tell him to leave “our presence” because he was proving to be his usual destructive self, at least in Norval’s opinion. So much for “Norval’s chosen protégé.” It is the only mention we’ve ever found of Norval talking about Sinclair, and it is in anything but flattering terms.

From the Death of Morrisseau to the Re-birth of Ritchie Sinclair

It is an Incontrovertible Fact that when Norval Morrisseau, Canada’s top Aboriginal artist, died, in December 2007, as a totally Dementia-debilitated and Parkinson’s ravaged wheelchair invalid, no one had ever heard of Ritchie Sinclair, who suddenly turned up – as a prominent blogger and “comment” writer to various Morrisseau publicizing websites.

Ugo Matulic whose public-spirited generosity in paying for dozens of independent forensic analyses of alleged "forgeries" has panicked the Conspiracy Theorists big time. In 2011 Kinsman Robinson Galleries of Toronto launched a SLAPP suit against him in Ontario Superior Court to try to shut him up and stop his public spirited inestigation into alleged frauds in the Morrisseau art market. Every single "forgery" KRG has alleged has been rulled "authentic" by top Canadian forensic experts for which he has paid.

Ugo Matulic whose public-spirited generosity in paying for dozens of independent forensic analyses of alleged “forgeries” has panicked the Conspiracy Theorists big time. In 2010 Kinsman Robinson Galleries of Toronto launched a MILLION DOLLAR SLAPP suit against him in Ontario Superior Court to try to shut him up and stop his public spirited investigation into alleged frauds in the Morrisseau art market. Every single specific “forgery” KRG has alleged, has been ruled “authentic” by top Canadian forensic experts for which he has paid. After the KRG lawyer,  saw Matulic’s mountain of compromising documents – during the Discovery process – she quickly advised KRG to “cut and run” and yell “uncle,” or face a huge possible judicial penalty at trial. KRG DROPPED ITS SLAPP SUIT WITHOUT DEMANDING OR IMPOSING A SINGLE PRECONDITION OR PROHIBITION AGAINST MATULIC. He removed nothing and went on blogging the way he had been doing for years.

He was everywhere posting how ecstatic he was about Norval’s art – ALL of Norval’s art… And he lavishly praised those, like Ugo Matulic, who publicized his art. He would do so, without reserve for the next eleven months.

And Sinclair would do so, without a single word about fakes of any kind in all that time…

As the months passed, Sinclair privately decided to use Norval’s death, and his brief undocumented association with the artist, as an opportunity to promote his own failing art career, and to surface on the Canadian art scene with a newly invented title and persona as “Ritchie “Stardreamer” Sinclair, chosen protégé of Norval Morrisseau.”

He revealed his plans for personal self-promotion in a year-long email correspondence that Sinclair initiated with Calgary blogger, Morrisseau collector, and enthusiastic publicist, Ugo Matulic, in 2007.

ULTRA RARE - A typical Norval BDP (Black Dry-brush Painting) from his 1970s high point, signed, titled, and dated by his hand, in the black dry brush style. And all called fakes by Donald Robinson and Ritchie Sinclair. In spite of the fact that some 70 have been authenticated by top forensic experts. And this one, is the first Norval Morrisseau painting ever to be given a "beyond DNA certainty" authenticity rating of 100%, as being painted by Norval. So, who's the fake...?

ULTRA RARE – A typical Norval BDP (Black Dry-brush Painting) from his 1970s high point, signed, titled, and dated by his hand, in the black dry brush style. And all called fakes by Donald Robinson and Ritchie Sinclair. In spite of the fact that some 70 have been authenticated by top forensic experts. And this one, is the first Norval Morrisseau painting ever to be given a “beyond DNA certainty” authenticity rating of 100%, as being painted by Norval. So, who’s the fake…?

 

 

 

 

 

 

 


Praising the BDPs
*** – Starting immediately after Norval’s death in December 2007, Sinclair wrote to various bloggers praising all Norval’s art, calling all the 1970s BDPs that had flowed out of northern Ontario as Morrisseau’s death approached, “masterpieces.”

(***BDPs are Norval’s 1970s, high period paintings from his most prolific period, which he signed, titled, and dated, with large black dry brush writing on the back, which has allowed several top forensic scientists and handwriting analysis experts, between 2007-2014, to authenticate Norval’s handwriting, with DNA certainty – on some 70 different paintings – and hence to dismiss self-invented, self-interested claims by Donald Robinson, Morrisseau’s principal art dealer during the last decade of the artist’s painting career, that these are fakes.)

(In 2001, Toronto art dealer Donald Robinson had invented and spread his self-serving claim that Morrisseau’s 1970s BDP paintings were fakes in order to eliminate them from the marketplace (but only after he, himself had personally bought 31 of these 1970s paintings for $54,000). After he realized the flood of 1970s paintings coming to market was threatening to drive down the prices of Robinson’s 1990s Morrisseau paintings, he invented the “Morrisseau Hoax”, and spread the word that the 1970s paintings his competitors were selling were fakes.)

Starting on Dec. 23, 2007, Sinclair wrote many laudatory emails to Blogger Ugo Matulic who had written countless blogs illustrating and praising Morrisseau’s art, especially the 1970’s BDPs.

“I have watched your blog grow and glow! It’s a classy piece of work…Good work!… Your website is my favourite Morrisseau website for many reasons… I have envisioned a possibility where you and I could harmonize forces to facilitate the ‘Morrisseau’ movement as a whole, and in a general sense. We both appear to share a healthy respect for Sprit and for The People’ voice. For now I just wanted to touch base with you. Where do you live? Ritchie, Toronto.”

From Coghlan Arts' website, where Bryant Ross claims he gets all his Morrisseaus direct from the artist or has them authenitcated by him, is his sales ad which he used to try to sell "Water Spirits' for years, then suddenly, decided to call it a fake and destroy in front of TV cameras as a suppsed fogery. Where Bryant Ross leads, in cultural genocide of genuine Morrisseaus, can the NMHS be far behind?

From Coghlan Arts’ website, where Bryant Ross claims he gets all his Morrisseaus direct from the artist or has them authenticated by him, is his sales ad which he used to try to sell “Water Spirits’ for years, then suddenly, decided to call it a fake and destroy in front of TV cameras as a supposed forgery. Where Bryant Ross leads, in cultural genocide of genuine Morrisseaus, can the NMHS be far behind?

Sinclair would go on to extravagantly praise the Matulic blog and all the 1970s BDP paintings, like Michael Moniz’s “Father and Son 1977,” that he posted there, and especially singling out “Water Spirits 1979” for special praise:

“And a beautiful Morrisseau it is – so embued (sic) with Vision!” (on Dec. 24, 2007).

Fast Forward – Months later, on Aug. 26, 2008, Sinclair would ask Matulic to please remove this comment as he was getting pressured, obviously, I believe by the Robinson cartel.

Even later Sinclair would denounce this same “beautiful Morrisseau” he had effusively praised, as a complete fake, and celebrate when it was defaced as a “fake,” in public, in front of TV cameras in 2010, by arch-Conspiracy Theorist Bryant Ross.

What was going on? Why would Sinclair be so strong in his praise of Morrisseau paintings, then make a sudden about-face, and call all the paintings he had praised, fakes?

Foreshadowing – An incident in 2004 gives us a telling insight into Sinclair’s character, and a foreshadowing of what was to come in the unfolding of the Morrisseau HOAX that was to ramp up into high gear in October 2008, thanks to Ritchie Sinclair.

sinclair_350distracAn Emotional Disaster for the Proverbial Starving Artist – Only four years before, on Valentine’s Day, 2004, it must have been a first class emotional disaster for the 47 year-old Sinclair, when paintings he had painted sold for only $25, $55 and $100 each, when they were auctioned off at Randy Potter Auctions, in Port Hope, Ontario. One large painting of 28 panels, each two feet by two feet, sold for only $32 per panel. (Court Trans/ Queen v Otavnik, Randy Potter, March 5, 2013)

The Sinclair paintings had been part of the contents of a storage locker which had previously been sold off by the storage company when Sinclair had failed to pay his bills. When the buyer of the contents found First Nations-style paintings in the lot he had purchased, he consigned them to Potter’s auction, because it sold a lot of First Nations paintings. (Source: testimony of Randy Potter, Q v Otavnik, March 5, 2013)

Randy Potter, the auctioneer who sold some 1700 Morrisseaus to some 200 Canadian collectors and art dealers - WITHOUT A SINGLE ONE EVER BEING RETURNED FOR A REFUND. NOT EVEN BY DONALD ROBINSONS WHO BOUGHT 31 FROM HIM FOR $54,000, CALLED THEM ALL FAKES, YET NEVER ASKED FOR HIS MONEY BACK... NOW HOW BELIEVABLE IS THAT? Here Randy holds a Ritchie Sinclair original panel, one of 28 stored in a basement, which came into his possession when Sinclair couldn't sell them for any money, the storage locker company sold them to collect locker fees Sinclair didn't pay, and the dealer put them in Randy's auction. Randy bought them as a souvenir of how a white artist, no matter how hard he pretends, just cannot paint authentic "Anishinnabe" or Woodland art of a quality that anyone wants to buy.

Randy Potter, the auctioneer who sold some 1700 Morrisseaus to some 200 Canadian collectors and art dealers – WITHOUT A SINGLE ONE EVER BEING RETURNED FOR A REFUND BECAUSE THEY BELIEVED THEY HAD BEEN SOLD A FAKE. NOT EVEN BY DONALD ROBINSON, WHO BOUGHT 31 FROM HIM FOR $54,000. HE TOO NEVER ASKED FOR HIS MONEY BACK – that’s $54,000 just blown, supposedly – EVEN THOUGH HE WAS TO CALL THEM ALL FAKES… NOW HOW BELIEVABLE IS THAT? Here Randy holds a Ritchie Sinclair original imitation “Woodland'” art panel, one of 28 stored in a basement, which came into his possession when Sinclair couldn’t sell them for love or money. They had come into the possession of a storage locker company, when Sinclair couldn’t pay the storage fees. It sold them to collect locker fees it was owed, and the buyer then put them in Randy’s auction. Randy bought them as a souvenir of how a non-Aboriginal artist, no matter how hard he pretends, just cannot paint authentic “Anishinaabe” or Woodland art of a quality that anyone wants to buy. The panel fetched only $32 at the auction. It explains a lot about why Sinclair would go on to denounce – out of revenge – all Potter’s Morrisseaus as fakes.

When Sinclair learned that paintings done by him were to be sold at Randy Potter’s Auctions, he did not call the auctioneer and ask for information, or ask him to help negotiate with the consignor, so that Sinclair could get his paintings back.

Instead, Sinclair used his heavy-handed malicious and bullying attack technique, which, a few years later, would become familiar to Sinclair’s targeted victims, to try to intimidate Potter.

Tom Hagan had a choice...

Tom Hagan had a choice…

Tom Hagan had a choice… – Sinclair had his longtime personal and family lawyer, Zak Muscovitch, send Potter a threatening letter packed full of false information, claiming – an absolute and total lie in every way – that Potter was responsible for the actions of the storage company, and threatening Potter with immediate legal action if he went ahead with the sale of his client’s paintings.

Several years later, in testimony for a separate case for which  Muscovitch had prepared and notarized a false affidavit for Sinclair who was now maliciously targeting someone else, Muscovitch would describe his view of a lawyer’s role:

muscovitch

Zak Muscovitch, who became famous in the Hon Justice Alphonse T Lacavera’s court, as “A Fucking Asshole,” made – or lost – his reputation as a longtime lawyer for Ritchie Sinclair.

“…it’s not my position to adjudicate disputes as a lawyer. My position is to advance the interests of my clients within the rules of professional conduct and the bounds of the law, and that’s exactly what I did for Mr. Sinclair… (Zak Muscovitch testimony in Q v Otavnik Jan. 12, 2012)

In other words, lawyer Muscovitch admitted he will say or write anything his client tells him to, without regard for truth, decency, or supporting evidence, as long as he doesn’t get disbarred or go to jail for doing it. Some might see an obvious parallel to Tom Hagen (lawyer for “The Godfather”).

But auctioneer Randy Potter is not easily intimidated by aggressive lawyer’s letters making false allegations about paintings he didn’t even own. He checked with his own lawyer, then ignored the improper letter from Muscovitch which totally distorted the facts, and he went ahead and sold the Sinclair paintings to the highest bidder. They went for some $25, $32, and $55 a piece.

invoice_sinclair_painting3

Neither Sinclair nor Muscovitch followed up on their empty threats of legal action.

And Sinclair, who made a special trip to Potter’s Auction for the sale, was unable to be the winning bidder to reclaim his own 28 panel masterpiece.

Years later, under oath, Sinclair would tell Judge Godfrey his paintings “were stolen by Randy Potter, thank you… nice scam.” P 187 (Trans/Otavnik v Sinclair: Mar 18, 2010 p187)

Truth, or the lack of it, would never stand in the way of any wild and unsubstantiated claim made by Sinclair. Nor would his failure to provide the required evidence and documentation to back up his claims ever bother him.

That same night (Feb 14, 2004) that Sinclair was at Potter’s Auctions to try to buy back his own paintings, auctioneer Potter was also selling some genuine Morrisseau paintings consigned by David Voss, a longtime collector and dealer from northern Ontario. The Morrisseaus sold for several thousand dollars each.

Auction manager Donna Shea later testified before Judge MD Godfrey.

Q. Did you talk to Mr. Sinclair?
Donna Shea: Yes, I did.
Q., Did he comment on the Morrisseau paintings for sale that night?
Donna Shea: Yes, he did. After the auction he was standing staring at the wall which had several Morrisseaus up, and I asked him what he thought, and he was saying they were beautiful, that he had no money to buy a Morrisseau, he would love to have a Morrisseau, and that this was the type of painting that he would love to have.
(Court Trans/Otavnik v Sinclair: Mar 18, 2010 p9)

That was only time that Sinclair ever attended Potter’s auction, even though Potter was to sell about 1,800 genuine Morrisseaus there, to some 200 of Canada’s top fine art collectors and dealers, over a ten year period.

Randy Potter - the "Straight Arrow" - whose open-faced honesty is so evident in this photo, is also mirrored by the fact that of some 1,700 Morrisseaus he auctioned off to some 200 fine art collectors and dealers, NOT A SINGLE ONE WAS EVER RETURNED FOR A REFUND, EVER. AND THAT INCLUDES DON ROBINSON. This must be a world record for honesty and customer satisfaction that would be the envy of any seller of anything anywhere.

Randy Potter – the “Straight Arrow” – whose open-faced honesty is so evident in this photo, is also mirrored by the fact that, of some 1,700 Morrisseaus he auctioned off to some 200 fine art collectors and dealers, from c 1999 – 2008, NOT A SINGLE ONE WAS EVER RETURNED DEMANDING A REFUND, EVER, CLAIMING HE SOLD THEM A FAKE. AND THAT INCLUDES DON ROBINSON WHO WOULD LATER CLAIM ALL RANDY’S MORRISSEAUS WERE FAKES. ROBINSON WANTS CANADIANS TO BELIEVE HE JUST TOOK A BATH ON $54,000 HE SPENT ON SUPPOSED POTTER FAKES… OH, BUT ROBINSON DID RETURN ONE PAINTING OF ANOTHER ARTIST, AFTER WAITING A YEAR AND A HALF AND DEMANDED HIS MONEY BACK  – $267.50. WHICH RANDY PAID, THOUGH NO ONE ELSE WOULD EVER HAVE DONE SO, IN AN AUCTION BUSINESS WHERE NO AUCTIONEER WILL GIVE A REFUND EVEN THE SAME DAY ONCE THE HAMMER COMES DOWN. This must be a world record for honesty and customer satisfaction that would be the envy of any seller of anything anywhere. AND AS FAR AS YOU CAN GET FROM A MAN GUILTY OF SELLING FORGED MORRISSEAUS.

And in all that time, not a single solitary buyer ever brought back a single Morrisseau painting claiming it was fake, demanding a refund or exchange. Not a single one, giving Potter a customer satisfaction rating of an unheard-of 100% out of some 1,800 individual sales, a truly enviable sales record of customer satisfaction to anyone in a retail industry. And that includes Donald Robinson, the self-described “Principal Morrisseau Dealer,” who preferred to keep ALL of his 31 Potter-bought Morrisseau paintings as well and went on to sell, most of them as he told Judge Martial “for a small profit.” (Court Trans/Otavnik v Sinclair: May 31, 2011 p17)

Self-education, self-development, and research was never a strong suit for Sinclair, a high-school and community college drop-out, who was apparently not interested in examining the Potter paintings to see what he could learn from the great variations in age, condition, and obvious signs of their past life, from having passed through many hands.

This BDP, "Shaman With Power Spirits" is exactly the painting that John M Newman and fellow KRG so-called "experts" called a fake. It was subsequently declared a genuine Morrisseau by a top forensic scientist.

This BDP, “Shaman With Power Spirits 1977” is exactly the kind of painting that John M Newman and fellow KRG so-called “experts” called a fake. It was subsequently declared a genuine Morrisseau by a top forensic scientist. Sinclair calls it a fake too, painted by a forgery syndicate after 1999, when he claims thousands of Potter fakes were supposedly fabricated. And he says that even though he has not personally seen or examined 99% of them. Unlike other experts, like forensic scientists who refuse to judge a painting they have not seen or held in hand, Sinclair only needs a small jpeg to decide. This painting, which came from Potters around 2000, I have personally examined in great detail and and can say demonstrably shows the utter idiocy of Sinclair’s claims. As a longtime curator of a huge antique art and memorabilia collection, I was able to decipher that this painting had at least 5 (five) different owners. All forensic marks testified it could NEVER, EVER have come from a forgery shop in 1999, because it betrays use and abuse (dirt, paint spots, age-burn, drill holes, acrylic cracking, framing marks, multi-generations of staple holes, etc., that can only have resulted from at least five generations of ownership (both in storage and in display). It shows age-burn that could only come from at least twenty years of use and abuse, proving it was painted in 1977 by Norval not a forger in 1999. Unlike every other art evaluator or authenticator I’ve ever heard of, Sinclair works in reverse. He denounces it as a fake first, then asks to see it. Which is exactly what happened in this case. He called up the owner, identified himself and in the next breath announced “You’ve got a fake. May I come and see it and tell you all about it?” The owner, angered by the Sinclair type of bassackwards type art authentication, refused. That didn’t stop Sinclair from defaming it and  posting it  along with some 70 other paintings, in spite of the fact that all have been authenticated by one of three top Canadian forensic scientists and handwriting analysis experts.

sinclair_350malevThe Bully and the Lawyers – This bullying technique by Sinclair, of using a lawyer who didn’t care whether what he wrote on behalf of his client was true or false, would foreshadow events to come, after an embittered Sinclair did a sudden about-face in October, 2008, switching from praising 1970s Morrisseau paintings to become the main public promoter of the Robinsons’ invented and self-serving claims of “thousands of Morrisseau fakes by umpteen forgers.”

Lawyer Zak Muscovitch would become one of Sinclair’s major tools for advancing Sinclair’s hidden agenda of malice and revenge against galleries who had turned down Sinclair’s requests to become a gallery artist, and collectors who would not buy Sinclair’s imitation Woodland-Indian-style art, either because it did not appeal to them, or because he was not a First Nations person.

In 2009, when lawyer Muscovitch was sued by Joseph Otavnik for preparing and notarizing a false affidavit for Sinclair that falsely alleged criminal behavior by collector Joseph Otavnik and his family, Muscovitch retained lawyer Jonathan Sommer to defend him.

Shortly after that, Jonathan Sommer became part of the lucrative industry of suing art galleries targeted by Sinclair.

And so was born the unofficial team of Sinclair, Muscovitch and Sommer, who would help advance the public spread of the “Morrisseau Hoax” from 2009 on, each for their own motives.

Sinclair’s motive would be malice and revenge against the galleries who had turned him down as a gallery artist, and declined to represent him and sell his art, and against Morrisseau collectors who would not buy Sinclair’s art.

A Lucrative Make-work Project – The lawyers would benefit by having jobs created for them each time Sinclair persuaded another poor innocent victim that the genuine Morrisseau paintings he/she had purchased were actually fakes, and that he/she should spend 40 or 60 thousand dollars on legal fees to try to prove the painting they had purchased as genuine, from a reputable dealer, for $10,000 was a forgery. Nice…

Not a Forgery in Sight – But until October, 2008, when Sinclair “jumped the fence” to become the active public face of the hoax invented and spread by Kinsman Robinson Galleries and their close cronies, there  would be no mention of fakes whatsoever from Richie Sinclair.

2008: SINCLAIR TRIES TO KICK-START A NEW CAREER

For 17 long and trying years, since Donald Robinson first ever heard of him, in 1997, Ritchie Sinclair has spectacularly failed to get a show for his art at Toronto's Robinson Family owned-and-operated, Kinsman Robinson Galleries. The reason is simple: just like everyone else in the Canadian fine art market,  Robinson, the man Sinclair calls, "My Mentor." knows he can't sell imitation Indian art by a white Indian imposter/impersonator, but has channelled him into more useful work as a KRG "enforcer" to attack KRG business competitors, as selling Morrisseau forgeries.

For 17 long and trying years, since Donald Robinson first ever heard of him, in 1997, Ritchie Sinclair has spectacularly failed to get a show for his art at Toronto’s Robinson Family owned-and-operated, Kinsman Robinson Galleries. The reason is simple: just like everyone else in the Canadian fine art market, Robinson, the man Sinclair calls, “My Mentor,” knows he can’t sell imitation Indian art by a white Indian impostor/impersonator. So he has channeled Sinclair into more useful work as a KRG “enforcer” to attack and intimidate KRG business competitors – by malicious and defamatory websites, blogs, anonymous emails, media interviews, court appearances, etc. –  accusing them of selling Morrisseau forgeries. And scaring the bejesus and valuations out of the entire Canadian Aboriginal fine art market. Which is just fine with the Robinsons (the father, the son, the ex-wife). No one will ever sue them for their assets, when they have the “starving artist” Sinclair doing all the dirty work. Which, of course, was the plan from the beginning when they started to “court” Sinclair in early 2008, but… heh, heh, not for his art…

Ritchie’s Desperate Search for a Gallery – In the spring of 2008, Sinclair’s artistic fortunes seemed to be looking up.

For some time he had been asking various Toronto art galleries to exhibit his own art and had been turned down, in turn, by each of: Kinsman Robinson Galleries, Maslak McLeod Gallery, Artworld of Sherway Gallery, and the Liss Gallery, among others.

Finally, Sinclair did find one gallery. The Scollard Street Gallery, which in a desperation move, just before it went bankrupt, offered to give Sinclair a show in September 2008.

Full of bluster, an elated Sinclair wrote Ugo Matulic:

“I have been approached by Kinsman Robinson***, and the Liss Gallery*** here in Yorkville (along with the Scollard Street Gallery). As you know, it’s best for people like us, to keep a safe distance from sharks so I’m going with this gallery instead of those mixed up in the “Morrisseau” wars. It would be wonderful to have your support in any way you see fit.” (Apr 2, 2008).

(*** These private boasts were obviously not true. In fact Sinclair had been rejected by them both, and KRG has never featured him as a gallery artist, or given him a show of his paintings, at any time since Donald Robinson says he first ever even heard of Sinclair or first met him in 1997. But KRG personnel have certainly aggressively courted him and sought him out as a propagandist, and enforcer, to advance the Hoax on their behalf.) (Court Trans/Otavnik v Sinclair:  2010 p130)

Clearly Sinclair was aware of the HOAX – and was just biding his time to see on which side of what he called the “Morrisseau wars” his best advantage lay.

Again, he confided his marketing plan and its rationale to his then friend, blogger, Ugo Matulic. And his growing narcissist complex, hinting broadly that he is communicating with Norval who is now in the Spirit World.

“Here is some writing about my “using Norval’s name” to promote my career that you can also post if you wish.

“In my new Exhibition, “Spirit”, I am capitalizing on Morrisseau’s name and fame, however my motive for doing so is not financial. Long ago Morrisseau chose to plant a seed Vision within me…

“Norval fully supports this initiative, as do other First Nations elders. When “$” people question the integrity of “using his name” I’ll just say that I’m doing my job, just as Norval wished me to. He wants me to “use his name”!

“For Stardreamer the “emergence” begins on September 6, 2008, at the Scollard Street Gallery (112 Scollard Street in Toronto). On the very street where Morrisseau’s art career was fashioned and became fashionable “Spirit will be moving”. (email to Ugo Matulic, Aug 26, 2008, emphasis by Sinclair)

“Ritchie Sinclair Stardreamer Toronto, Canada”

The imitation Indian artwork that white Indian impersonator Ritchie Sinclair offered Canadian Aboriginal art collector Ugo Matulic for $10,000 to help jump start sales of his opening Scollard Street Gallery show in Sep 2008. Matulic turned down the offer for a simple reason: no one wants generic ethno-culutural-centred Anishinnabe art painted by a white man who does not have what it takes in his DNA, or in his cultural and historical background experience to validate what he is painting. No one does, which is why Sinclair's show was a disaster, and why his paintings sold at Potter's auction, not for the $10,000 he asked for but for $25, $32, and $55.

The imitation Indian artwork that white Indian impersonator Ritchie Sinclair “offered” Canadian Aboriginal art collector Ugo Matulic for $10,000 to help jump start sales of his opening Scollard Street Gallery show in Sept 2008. Matulic turned down the offer for a simple reason: no one wants genuine ethno-cultural-centered Anishinaabe art painted by a white man who does not have what it takes in his DNA, or in his cultural and historical background experience to validate what he is painting. No one does, just like no one wants Inuit carvings made in Taiwan. Which is why Sinclair’s imitation Indian art show was a disaster, and why his imitation Indian paintings sold at Potter’s auction, not for the $10,000 he asked Matulic for, but for $25, $32, and $55.

Sinclair even asked Blogger Ugo Matulic – in between extravagant gushes of praise for his blog work and the Morrisseau 1970s BDP paintings he published – to buy one of Sinclair’s own paintings for $10,000 to help him pay his framing costs for the show.

“Price-wise – In following Jack Pollock’s premise, my work as Norval’s chosen protégé should sit at about 45% of Norval’s market value… If you would consider purchasing it (ed: Sinclair’s own ‘Destiny’ painting) at $10,000 it would go a long way to making everything unfurl like “Destiny!” (email to Ugo Matulic, Apr 2, 2008)

A telling insight into the wildly bloated self-importance of Sinclair, whose art had sold for worse than “starving artist prices” of $25 and $32 each at Randy Potter’s auction.

Only a few days before his Scollard Street Gallery show was to open, Sinclair, AKA Stardreamer, sent Matulic an urgent request:

“Hi Spirit Walker. It’s Ritchie. Will you do me a favour and remove this comment*** I made from your blog? People are using it to attack me and I can’t afford to get in the middle of this right now.” Our work is too important! I love your blog, as you know, and I continue to appreciate your support of my work (and you). Attached is an ad for my new show (Hope you can attend!). I’d love it it you chose to post it.” (email to Ugo Matulic, Aug 26, 2008)

Clearly Sinclair was teetering on the fence, trying to figure out where his best advantage lay. On the one hand, Matulic had not yet replied about buying Sinclair’s $10,000 painting. And on the other, KRG personnel were pressuring him with their offer to publicize and promote him on their corporate web site.

But obviously, there were conditions they demanded.

***Sinclair sent Matulic a link to what he wanted removed, pronto…

comment: Stardreamer said…

“And a beautiful Morrisseau it is – so embued with Vision!”

http://norvalmorrisseau.blogspot.ca/2007/11/another-painting-that-was-for-sale_21.html

By completely reversing himself on the authenticity of a painting, in only a few months, and bending their way, by now denouncing as a fake, a painting he had praised as beautiful, Sinclair did KRG a big favour. He also gave them the URL NorvalMorrisseau.com “for safekeeping.” Not, you will notice to the Morrisseau family – the most obvious choice for the URL – whom both Sinclair and KRG, inexplicably seemed to hate.

The Robinsons continued to work hard to court and woo Sinclair to their side. On the night before his Scollard show opened they shot a video interview of Sinclair (in which he says nothing of note or consequence – specifically there is Nothing, Nix, Nada, about fakes or a syndicate of forgers) which they then posted on the KRG web site.

In fact Sinclair confessed to having no clue, as late as Oct. 5, 2008, one way or the other, on the issue of fakes, as he wrote to blogger John Zemanovich:

“There is a feud of sorts underway between various parties with regard to what is a Morrisseau forgery and what isn’t. Its a grand mystery. One that only a great trickster could dream up (guess who?)” (Ritchie Sinclair to John Zemanovich, AKA Raven, Oct. 5, 2008)

John Zemanovich, realized his assets would be vulnerable if he persisted with fraudulent allegations, and dismounted his website. Robinsons realized the same thing, and chose to woo Sinclair - who had no assets - and let him become the point man for the HOAX.

John Zemanovich, realized his assets would be vulnerable if he persisted with fraudulent allegations, and dismounted his website. The Robinsons realized the same thing, and so chose to woo Sinclair – who had no assets – and let him become the point man for the HOAX.

(***Zemanovich was a collaborator of KRG, and the Conspiracy Theory, and would soon become bosom buddies with Sinclair and Mark Anthony Jacobson, the other KRG enforcer, to perpetuate the HOAX of “thousands of fakes by umpteen forgers.”)

The last friendly email Sinclair would ever send to Matulic in Calgary was dated Sept. 7, 2008, the day after the opening of Sinclair’s show.

“I felt your support of my exhibition – and I want you to know that I know you were there in Spirit – and it is appreciated… My best to you and yours, Ritchie”

On October 5, 2008, Sinclair praised blogger Ugo Matulic (AKA Spirit Walker) again, on the John Zemanovich website:

“Just to clarify the “Spirit of Shamanism” is an inclusive energy. I certainly don’t mean to imply that Spirit Walker is the “enemy”. Far from it – this man’s passion for the school and the artwork, (whether forged or authentic) deserves my respect. I also enjoy his sense of style and design in developing his blog…

Ugo Matulic has preserved a veritable treasure trove of original documents and screen grabs of countless compromising posts that the Conspiracy Theorists had tried to remove from the internet, because when you lie so often it is very difficult to keep your story straight and honest, for Judges and before Posterity.

Ugo Matulic AKA Spirit Walker, has preserved a veritable treasure trove of original documents and screen grabs of countless compromising posts that the Conspiracy Theorists had tried to remove from the internet, because when you lie so often it is very difficult to keep your story straight and honest, for Judges and before Posterity.

“Spirit Walker’s work was largely responsible for inciting the creation of the KRG blog (the “camp” where I first posted the statement above). He has galvanized the internet effort to clarify the breadth of the body of Morrisseau’s art. He was the first with the energy and vision to give a voice to Morrisseau enthusiasts on the internet. Well done Spirit Walker! Good work…

“The Great Spirit is inclusive. We are brothers and sisters. Norval is a master magician and we are co-actors in a drama of extraordinary proportions.

“Spirit Walker has a starring role.” (Ritchie Sinclair to John Zemanovich, AKA Raven, Oct. 5, 2008)

Clearly, Sinclair was still hoping for that $10,000 sale to Matulic…

Note: Astonishingly, a few months later all Sinclair’s emails to Matulic would be “anonymous” hate mail, including one vile “death threat” that was traced by Matulic’s sitemeter to the C: drive of Stardreamer’s computer.

SINCLAIR’S DISASTROUS SCOLLARD STREET SHOW

“Ersatz Art” – Alas, but, predictably, Sinclair’s Scollard Street show exhibiting Sinclair’s imitation “Woodland art,” called “ersatz” (artificial, substitute) by one gallery owner, was not successful. It drove the final nail into the coffin of the Scollard Street Gallery, which soon closed its doors permanently.

When the Scollard published a long farewell list of gallery artists it thanked for their support over many years, the name of the 51 year-old Ritchie Sinclair was prominently missing from the list.

Only weeks after Sinclair's disastrous show the owner posted this thank you to all his featred artists on his web site

Only weeks after Sinclair’s disastrous show the owner posted this thank you to all his featured artists on his web site. Sinclair is hugely MISSING.

Imitation Indian Art – It must have become clear to Sinclair, that no one – not galleries nor collectors – wanted imitation Woodland Indian style art  painted by an unknown white artist and poseur who went about dressed like Davy Crockett, took part in pseudo-Indian ritual ceremonies, chanted, what Jack Pollock referred to as pseudo “Indian mumbo-jumbo,” and used a pseudo-Indian name – Stardreamer – all apparently done to trick buyers, intent on purchasing genuine First Nations art, into believing Sinclair was a First Nations artist, and has in his “DNA,” the Aboriginal heritage and cultural background that is intrinsic to, inseparable from, and alone validates, the true Anishinaabe or “Woodland School” of art founded by Norval Morrisseau.

Ritchie Sinclair, Promoter of Cultural Genocide against the art of Norval Morrisseau and other First Nations artists.

Ritchie Sinclair, Promoter of Cultural Genocide against the art of Norval Morrisseau and other First Nations artists, by using Norval’s own name as the tool of destruction.

Sinclair Diabolically Misappropriating Norval’s Name – One of Sinclair’s most egregious misappropriations, as a non-Aboriginal Indian impostor, is his use of Norval’s name, NOT Sinclair’s name, in naming his web site, which he illegitimately calls morrisseau.com, instead of sinclair.com. It is just more of his mercenary trading on Norval’s name, which has accomplishments, instead of his own, which has none. His intention is to fool surfers into believing that this malicious and defamatory website has the approval of Norval, has some connection to the artist, and therefore is some kind of a legitimate voice for the dead artist and/or his family. Instead of what it is, just the totally unsubstantiated venomous allegations of Ritchie Sinlair.

In fact there is a lawsuit in Ontario Superior Court at present designed to get a judicial injunction ordering:

– Sinclair to give up his illegitimate claim to and improper usage of the morrisseau name on his website, so that it can be turned over to the Morrisseau family, and


– ordering him to shut down the fraudulent, libelous,
and defamatory website and its malicious falsehoods which have destroyed millions of dollars in the valuations of Morrisseau art in the hands of thousands of honest and reputable collectors and dealers. 

Sinclair Indian Impersonator/Imposter – Sinclair’s make-over as an pseudo-Indian to affect a disguise to help promote his sales of imitation Indian art, also involved a name change and a DNA transfer.

“Stardreamer is the name Norval Morrisseau gave me on the day I met him.” (Court Trans/Otavnik v Sinclair: Mar 18, 2010 p185)

Sinclair, who started out life as a white man, for business reasons started to morph over into becoming an Indian imposter impersonator. It began with taking an Indian name, which lots of white kids do in school yards. Most of us outgrow it. Not Sinclair. For years he called himself Stardreamer, then in 2013 he went one step further inventing an Ojibwe version

Sinclair, who started out life as, Ritchie Sinclair, a white child of missionaries in the Orient. When he dropped out of school, he thought he could make a better success of himself if he became an “Indian,” so started to morph over into becoming an Indian Imposter\Impersonator. As part of his disguise, he began taking on a pseudo-Indian name, which lots of white kids have done for generations, in school yards. Most of us outgrow it when we mature. Not Sinclair. For years he called himself Stardreamer, then, no longer satisfied with that, in 2013 he went one step further inventing an Ojibwe language version – Anang Inaabandaan, to help promote his business of producing imitation Indian art. Above the announcement from one of his websites noting his rebirth as an Ojibwe. He puts (Ojibwe) in brackets so he won’t forget which Indian group he’s impersonating this week… Note too, that Ritchie’s all white background just nags him endlessly. No one with any Indian DNA in him would ever put the “authorization” for an Indian name after his. Freudian slip there…

Everyone knows that the only names exchanged on first meetings, if any, are swear words…

Not in a million years has an Indian name ever been given to anyone when first meeting him. Indian names are bestowed only for long-standing behaviour patterns or accomplishments. Ritchie was a nobody to Norval, other than a dumb, gullible white guy to put something over on, which of course, Norval was deadly fond of doing. Making fun of white men has long been a favourite amusement of Aboriginal peoples.

But then Sinclair and Robinson, both classic gullible urban white dudes, with no Aboriginal connections or experience, would not have known that, and were easily taken in by this very common form of Indian amusement.

Two Hapless Dupes – Sinclair and Robinson (whom Sinclair called “My Mentor” during court testimony) both pretended to have a mystical relationship to Norval Morrisseau. It’s good PR to wow the pompositing ignoramuses of the buying classes along Yorkville Avenue.

“A: And my mentor, Norval Morrisseau’s principal art dealer, was also sued as a co-defendant for, according to Mr. Otavnik, for having links to me and doing an interview, a video interview with me that was on the website.
Justice Lacavera: I’m sorry, who was that person?
A. It’s a gallery, the Kingsmin (ph) Robinson (ph) Gallery. It’s in Yorkville, and it’s been the principal art dealer for Norval Morrisseau for about 25 years. (Court Trans/Queen v Otavnik: Jan 11, 2012 p21)

robinson_sinclair_norval

The so-called wise elder, Donald Robinson, conned by a much wiser Indian. In turn Robinson conned Sinclair into gullibly and proudly, accepting him as a “Mentor” in perpetuating the HOAX. Mentor means instructor, trainer, teacher, tutor, guide, coach, adviser, and counselor. And Sinclair, having no academic credentials or fine art expertise of his own, just latched on to an older man who did, and just lapped up and repeated everything his “mentor” told him to say, so earning his spurs and his reputation as a malicious enforcer for Don Robinson and his Kinsman Robinson Galleries. By taking the lead, in defaming all 1970s BDPs from Norval’s high period (some three to four thousand) in the hands of KRG business competitors, the duo  cornered the market for the hundreds of Morrisseaus Robinson had stashed away secretly in his basement as a courtesy to Gabe Vadas,  so ensuring a huge future cut from the proceeds for his son Paul who inherited the gallery.

In 2008 Sinclair said:

“Norval came from Thunder Bay after he’d done paintings and had dreams about me… So he came to Toronto and he started running ads in the newspapers, looking for his protégé. I was the last person he interviewed. I guess you don’t need to interview any more once you find what you want.” (CIUT FM radio interview with David Peterson, Sep. 28, 2008)  

Said Sinclair, to Judge Martial, of the very first time he had ever heard, seen, or met Norval:

“And at one o’clock or so he (Norval) came by. He recognized me right away, he told me, from dreams, premonitions through paintings that he had made in the two previous years; that I was the person that he was seeking and he told me why. He told me what my Indian name was; he said, “Stardreamer, where have you been? I’ve been looking for you everywhere. And, so I was hired that day.” (Court Trans/Hatfield v Child: Feb 23, 2012 p104)

morrisseau_donrob1989

If there exists a photo showing two guys more ill at ease with one another than this one of Robinson meeting Norval for the first time in Aldergrvoe, BC, I have not seen it. Norval would never trust a “suit” from Toronto, anymore than anyone else out west.

Said Robinson, the very first time he ever met or talked to Norval, in Aldergrove BC, in 1989:

“I told him that I had been thinking about him for some time. He astounded me by saying that he too had been thinking about me for some time though we had never met. The immediate empathy we felt for each other was totally unexpected and caught me by surprise. Before I left that day, he performed an Ojibwa ceremony with me, saying it would help bond our friendship. I was deeply moved.” (KRG blog, Aug 23, 2008)

James Stevens the much wiser biographer of Norval Morrisseau, and with decades of experiences with and among First Nations people in his background, easily recognized the folly of dumb white men who fell for this old Indian trick that Norval constantly effected on any hapless quarry.

Unlike Robinson, Pollock did have a genuinely warm and affectionate - make that a real - relationship with Norval as photos like this attest. There are no such photos of Robinson and Morrisseau in any kind of working relationship that supposedly went on for 18 years. Not one... All the ones that exist are shabby photo ops set up by Robinson, propping up the semi-comatose wheelchair invalid beside his art dealer, all clearly designed as advertising publicity.

Unlike Robinson, Norval’s first and most successful dealer, Jack Pollock, did have a genuinely warm and affectionate – make that a real – relationship with Norval as numerous candid and unposed photos like this attest. There are no such photos of Robinson  (or Sinclair) and Morrisseau in any kind of working relationship that supposedly went on for 18 years. Not one… All the photos that exist are transparently crass photo ops set up by Robinson, propping up the semi-comatose wheelchair invalid beside his art dealer, all clearly designed as advertising publicity for KRG.

The ploy tended to inflate Norval’s persona, in the eyes of white men, as some kind of shaman with super-human insight into the spirit world not given to mere mortals.

Wrote Stevens of one such entirely predictable encounter:

Great Canadian Cultural Hereo James Stevens

Great Canadian Cultural Hero Writer James Stevens

“Anyway, Noah and I are standing there chatting and walking up from Cumberland Street came a colourful Norval. He was quite sober. As we watched him come toward us I said to Noah, “Norval is going to say to me, ‘I knew I was going to see you today.’”

“Norval came up to us and stopped. He looked at Noah as if he was a worm, and said almost the same opening greeting as I had predicted. Noah was smiling broadly at this.

“Then I made an error, instead of letting Norval go on with his greeting, I said, ‘I knew you were going to say that to me.’ He always greeted me in this fashion and others too.  A scowl came over Norval’s face and he said, ‘Stevens you are nothing but a mechanic!” (James Stevens, Picasso of the North Country, p175)

I believe Joyner Waddingto's owe Norval an apology for unceremoniously "trashing" his art.

Norval loved conning white guys, especially dumb ones…

Clearly Norval had much better success at pulling his joke on two gullible white urban Toronto dupes than with an Aboriginally attuned James Stevens.

Unfortunately Sinclair and Robinson believed they had been graced with true Aboriginal paranormal activity, or said so, to enhance their own supposed “mystical” relationship to Norval and Aboriginal spiritualism.

When, in fact, it was all just Norval bullshit and they were just idiots, for having been taken in and compounding their folly be repeating it…

Aboriginal Artist? – In the beginning Sinclair allowed he was a white guy playing Indian. In a radio interview in 2008 he allowed he was picked for this reason.

Ritchie Sinclair, who started life, either as a Davy Crockett or Daniel Boone impersonator, tried to segue that for fun and profit into become an Indian imposter/impersonator. He moved from painting “Group of Seven” stuff to painting in the “Woodland” or “Anishinaabe” style and adopting Indian names for himself, and spouting Indian mumbo-jumbo. He became malicious, swearing he would “take down the whole Morrisseau market,” when he found fine art galleries, and collectors, did not want culturally ethnocentric Anishinaabe art – and bad art at that - by a white imposter.

Ritchie Sinclair, who started life, either as a Davy Crockett or Daniel Boone impersonator, tried to segue that for fun and profit into become an Indian imposter/impersonator. He moved from painting “Group of Seven” stuff to painting in the “Woodland” or “Anishinaabe” style and adopting Indian names for himself, and spouting pseudo Indian mumbo-jumbo. He became malicious, swearing he would “take down the whole Morrisseau market,” when he found fine art galleries, and collectors, did not want imitation culturally ethnocentric Anishinaabe art – by a white Indian imposter and impersonator.

“I was in art school at George Brown a fanatic Group of Seven artist… Norval came from Thunder Bay after he’d done paintings and had dreams about me. And about creating a bridge between the native First Nations and between quote the Europeans. So he came to Toronto and he started running ads in the newspapers, looking for his protégé. I was the last person he interviewed. I guess you don’t need to interview any more once you find what you want. The next day I was up north after meeting him with thirty natives and living a whole unique lifestyle. What Norval said to me is that the Sprit was the right of everybody, and that he wanted to teach Indians a few lessons, that they didn’t really own the Great Spirit, that it was everybody’s right, and that he wanted to pass this information over to the Europeans. So I’m his example.” (CIUT FM radio interview with David Peterson, Sep. 28, 2008)

That was the same thing Sinclair told John MacGregor Newman, Associate Director of the Kinsman Robinson Galleries, who referred to Sinclair’s acknowledged white parentage in a blog (long removed), written in his introduction to the interview he did with Ritchie Sinclair, on Oct. 14, 2008 in the KRG, and posted on John Zemanovitch’s website (also long removed). Wrote Newman:

“Ritchie immersed himself in learning Norval’s techniques and was personally chosen after an interview. Through osmosis, intense study and exposure to the thoughts and lessons of a master artist over several years, Ritchie arguably became the first non-native graduate of the Thunderbird School of Shamanistic Arts…”

Sometime after that Sinclair took a transfusion of new DNA, to add to his dreadlocks, his Davy Crockett jacket, his Stardreamer name, and his pseudo-Indian mumbo jumbo incantations. Hoping perhaps that it might increase sales of his imitation Woodland art.

In June 2010, when I passed the Lane Gallery (near Kinsman Robinson Galleries in Toronto’s Yorkville district), when it had a Sinclair painting in the window, I went in to inquire about the artist Ritchie Sinclair, and was firmly assured by the owner that Sinclair was indeed “of Aboriginal background.”

Now where would a gallery owner get that kind of utter misinformation? (A few months later the Lane Gallery would also go bankrupt.)

The source for this false claim is easy to track, by listening to Sinclair’s sworn testimony to Judge Godfrey: “the style of art that Morrisseau created didn’t exist before he created it. Um, there are hundreds of native artists that have been spawned from, from this, and I am one of them.” (Court Trans/Sinclair v Otavnik: Jan 11, 2010 p2)

And again:

“Otavnik: Mr. Sinclair, you talked about – are you native – by birth?
Ritchie Sinclair: I am part native.
Otavnik: Part native.” (Court Trans/Sinclair v Otavnik: Mar 18, 2010 p190)

Ritchie Who? Again… – Expressing similar sentiments as the owners of Maslak McLeod and the Liss Gallery, was Donna Child of Artworld who had been approached by Sinclair at the Aboriginal Achievement Awards in March, 2008.

“I did not know who Ritchie Sinclair was and was later informed by Christian (ed – Norval’s son) that he was the self-proclaimed protégé and former short term boyfriend of his father. The following day I received a phone call from Ritchie Sinclair… he told me that… I should consider featuring his paintings in the gallery. At this time I was unaware that Sinclair was even a painter… I did look at Ritchie’s paintings on the internet and immediately concluded that his work was not suitable for our gallery, as it lacked the skill, intensity, and insight that other First Nations painters possessed.”

“I also discovered that Ritchie Sinclair was not a First Nations person – making his claim that Norval appointed him his Protégé unfathomable. I did not speak with him again on this matter.”

“Within a period of approximately six months Ritchie Sinclair had been rejected by several galleries and his claim to be the protégé of Norval Morrisseau was not taken seriously by galleries or collectors (he held a solo exhibit in Yorkville that was a disaster and closed early). Ritchie very quickly became a very disgruntled artist with no possible way of convincing the art community of his Protégé status based on his own painting abilities and merit.” (Affidavit/ Donna Child, Artworld of Sherway).

sinclair_350wildSinclair Rant – Shortly after the Scollard Street Gallery show disaster, according to court testimony by Maslak McLeod owner Joseph McLeod, a very agitated Sinclair came raging into his gallery just down the street.

Sinclair’s first complaint made it obvious to McLeod that he desperately wanted to ingratiate himself with Donald Robinson, owner of the nearby Kinsman Robinson Gallery. Sinclair was clearly irate that Robinson had failed to recognize or acknowledge Sinclair’s self-declared expertise that he claimed about Morrisseau. Testified McLeod:

McLeod's grown children had to run interference between Sinclair and their Dad, who would later have heart surgery.

Being 82 years old, and about to have heart surgery, was no defence for Joe McLeod, to prevent him from being confronted by a viscerally angry Ritchie Sinclair. It happened so often and with such severity, that the Toronto Police finally charged Sinclair with Criminal Harassment in Sept 2010.

“He came into my gallery and I did not know him. I think I might have seen him two or three times. And he was irate because he had not been asked by Kinsman Robinson to be part of the Norval Morrisseau Heritage Society.

(Note: The Norval Morrisseau Heritage Society was a branch plant of the KRG and was a group of academic kaffeeklatsch types and ersatz Morrisseau pompositors, who were supposed to examine Morrisseau paintings to determine if they were genuine. All according to Robinson who told them which paintings to pick, which paintings to destroy, and what to say about it all.)

“And I was shocked. I had no idea that he had any interest in this kind of thing, I didn’t know what his background was, and I didn’t know who he was. And I explained to him that it was not, I don’t think, the choice of Kinsman Robinson to decide who was going to be on the board, and that I guess, to summarize, he was out of his realm.

“They were asking for the daughter of Marshall McLuhan, who had written two or three books on the subject matter, classic, early books. They were asking, uh, the curator of the National Gallery, they were asking academics from Carleton University so my suggestion was, I didn’t have the slightest idea where he placed himself to think that they would ask him to be on the Heritage Society.” (Joseph McLeod testimony p 31, Otavnik v Sinclair March 18, 2010)

(Note: Sinclair has completed no post high school education.)

Sinclair then called Joe McLeod and his son “fat cats,” And ranted and raved that he was “going to take down the whole Morrisseau market.”

“He, he was angry and he said something to the effect, “oh, man, do you want to talk? Do you want to talk? Oh, man, do you want to talk? And I said, “no.” And, my son was there, and he stood up, and he was extremely belligerent, and he said… Hey, man, fat cats. And I said, “Hold it. You know, what are you talking about? And, uh, he said, “I am going to take down the whole Morrisseau market. I am going to and he ranted on and on. And finally I said, listen, you know, get out.” (Joseph McLeod testimony p 32, Otavnik v Sinclair March 18, 2010)

SINCLAIR’S REVENGE – October 2008

Astonishing About Face – On October 13, 2008, Ritchie Sinclair did an astonishing and complete about face, going from a year long public praising of ALL Norval’s art of all kinds, to starting his website viciously attacking ALL the galleries, people, and paintings he had publicly praised only days before.

sinclair_350malevMalicious & Defamatory Website: A now obviously very bitter Ritchie Sinclair, who had kept his head out of the public eye for some 29 years, since he had first, and briefly, attached himself to Norval Morrisseau, seized the public stage with a vengeance, mounting a malicious and defamatory website which listed some 1,000 of Norval’s paintings as “inferior counterfeit Morrisseaus,” “forgeries,” and “fraudulent.” He included numerous paintings that are in famous Canadian and American museums.

And he attacked prominent Aboriginal artists as creators of forgeries, and claimed that many of Canada’s reputable and leading gallery owners who were promoters of First Nations art and artists, were fraudulently selling Morrisseau fakes.

Over the next few years special targets of Sinclair’s venom were predictable: Maslak McLeod Gallery, Artworld Gallery, auctioneer Randy Potter, art collector Joe Otavnik, long time Morrisseau expert Joseph McLeod, art dealer Michael Moniz, blogger Ugo Matulic, etc.

Anti-First Nations – With exceptional venom Sinclair used his web site to publish malicious claims targeting various artist members of the Morrisseau family as well as other leading Aboriginal artists, including Dr. Goyce Kakegamic, and Don Ningewance, denouncing them all as forgers and purveyors of fakes, etc.

web_sinclair_familysup

Sinclair’s malicious website, for years, has libeled and defamed, without proof, all the members of the Morrisseau family. Note how Sinclair repeatedly slangs a variety of people and businesses, over and over on each page. And that he spends more time OBSESSIVELY GOING OUT OF HIS WAY TO VILIFY PEOPLE, EVEN MORE THAN THE PAINTING.

web_sinclair_benjisup

web_sinclair_benjisup

Sinclair’s malicious website has, libeled and defamed, without proof, Benji Morrisseau, Norval’s nephew, as a diabolical forger. And note how in each page he repeats the names of the Morrisseau family as complicit in a forgery scheme. Mentioning their names thousands of times in all – for years… Poisoning the minds of millions of internet surfers around the world that Canadian First Nations people seem to be involved in a lot of crookedness. When this screen grab was made Benji had been vilified 496 days (over a year) and 360 people from around the world had been poisoned by Sinclair against Canada’s First Nations artists.

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Sinclair’s malicious website has, for years, libeled and defamed, without proof, Lisa Morrisseau, Norval’s daughter, as a diabolical forger. Her answer, “Watta idiot!” In fact Lisa never owned a painting of her father’s, until late in life, she finally got one. She was ecstatic and went on Facebook, on July 18, 2011, to brag about her triumph. She bought “Arrangement on Green 1976″ a BDP of the type Ritchie Sinclair claims are all fakes. The Theater of the Absurd featuring Indian Impostor/Impersonator Ritchie Sinclair, carries on… He has vilified Lisa for many years.

Lisa Morrisseau, and her siblings were abandonned by her Dad, Norval Morrisseau, when she was three, and raised with the nurturing and finanacial support of her mother Harriet's brothers, the Kakegamics.

Lisa Morrisseau, shouted out on Facebook when she finally acquired one of her father’s paintings in 2011. “THIS ONE IS ALL MINE! I FINALLY HAVE AN ORIGINAL PAINTING BY MY FATHER, OOH YESS!”

Lisa Morrisseau's "first Morrisseau" shows all the earmarks of a Norval BDP, wear and tear, missing paint, dirt and scuff marks, etc, of having passed through many hands since Norval painted it in 1976. Only an idiot - which is how Lisa dismisses Ritchie Sinclair - could possibly claim this is a forgery painted by someone after 1999.

Lisa Morrisseau’s “first Morrisseau” shows all the earmarks of a Norval BDP, wear and tear, missing paint, dirt and scuff marks, etc, of having passed through many hands since Norval painted it in 1976. Only an idiot – which is how Lisa dismisses Ritchie Sinclair – could possibly claim this is a forgery painted by someone after 1999. Sinclair and Don Robinson also claim the BDP fakes are transparently lousy forgeries and easy to spot across the room… Then why would Norval’s own daughter, tutored by a family of artists, spend her money on it?

 

 

 

 

 

 

 

 

 

 

 

Sinclair’s malicious activities have been blamed for destroying $100 million in the art valuations of Norval Morrisseau’s art and that of Canada’s First Nations artists generally.

Sinclair's malicious website has, for years, libeled and defamed, without proof, Dr. Goyce Kakegamic, an esteemed Canadian Aboriginal elder and artist, as a diabolical forger. GO AHEAD COUNT HOW MANY OTHER RESPECTABLE PEOPLE INVOLVED IN CANADA'S FINE ART MARKET ARE SLANGED ON THIS PAGE. CLEARLY SINCLAIR HATES THE PEOPLE MORE THAN THE PAINTINGS.

Sinclair’s malicious website has, for years, libeled and defamed, without proof, Dr. Goyce Kakegamic, an esteemed Canadian Aboriginal elder and artist, as a diabolical forger. GO AHEAD COUNT HOW MANY OTHER RESPECTABLE PEOPLE INVOLVED IN CANADA’S FINE ART COMMUNITY ARE SLANGED ON THIS PAGE. CLEARLY SINCLAIR HATES THE PEOPLE MORE THAN THE PAINTINGS. When this screen grab was made it had been on the internet vilifying people for seven months. By 2014 Sinclair has been vilifying Dr. Kakegamic for years…

I consider this the greatest act of cultural genocide in Canadian history, as a direct result of what I consider the Greatest HOAX in Canadian history, Donald Robinson’s false and self-serving claim that there is a fraud ring creating “thousands of fakes by umpteen forgers” of Morrisseau paintings out there.

Sinclair's malicious website has, libeled and defamed, without proof, Don Ningewance, as a diabolical forger. In fact dozens of these pages specifically attacking reputable First Nations people were published by Sinclair for years, so poisoning the minds of internet surfers from around the world with vicious accusations that First Nations artists and people are diabolical forgers and criminals.

Sinclair’s malicious website has, libeled and defamed, without proof, Don Ningewance, as a diabolical forger. In fact dozens of these pages specifically attacking reputable First Nations people were published by Sinclair for years, so poisoning the minds of internet surfers from around the world with vicious accusations that First Nations artists and people are diabolical forgers and criminals. This defamatory posting had been up for 605 days, almost two years, vilifying Saskatchewan’s respected artist Don Ningewance.

THE HOAX WAS INVENTED IN 2001

The Morrisseau HOAX was invented, in May 2001, by Donald Robinson, (of Toronto’s Kinsman Robinson Galleries) who was the Morrisseau cartel’s*** principal art dealer, in order to corner the market for their own “direct-from-the-artist-studio” paintings, and to discredit the genuine paintings being sold by their main business competitors, by falsely claiming those paintings were all fakes or forgeries.

Before 2001 there had never, ever been any suggestion of Morrisseau fakes in the market. What forger would possibly be stupid enough to fake paintings that the artist himself was selling on the street for next to nothing?

*** the cartel was a group of white businessmen, who surrounded an Aboriginal artist in decline, that first met in Aldergrove, British Columbia, in 1989, to listen to Donald Robinson outline his proposed plan to fix prices for Norval’s art, which had disastrously low evaluations at the time, because Norval had, for years, been selling his art himself from the streets, for next to nothing, or trading it for booze, drugs, food, or sex.

The cartel was comprised of Morrisseau, Robinson, Gabe Vadas, Bryant Ross, and Karl Burrows, all of whom would be involved in Norval’s art business. Norval’s “companion,” Gabe Vadas, took over Norval’s Power of Attorney in April 1990, and seized control over, and directed the declining artist’s personal, business, financial, and artistic affairs – in toto – till he died, virtually comatose, seventeen years later. (Source: Statement of Defence Otavnik v Vadas, May 8, 2007)

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Parallel Development: As word leaked out, in Canada, around 1999, that the National Gallery of Canada would mount the first ever Retrospective for an Aboriginal Artist – the terminally-ill Norval Morrisseau – ravenous collectors from across northern Ontario, where he had lived and painted for decades, hoping to capitalize on Norval’s growing fame, scoured the countryside for the thousands of paintings Norval had sold there, door-to-door, and in the malls and streets of many small towns, and sent hundreds of them to auctions in southern Ontario.

The Master of the House of Invention – In 1999-2000 Robinson had personally bought 31 of these genuine Northern Ontario-sourced, Morrisseau paintings, at Randy Potter Auctions, for $54,000, but when he realized that the market would be flooded, which would hugely drive down the inordinately high prices he was charging at his high end Yorkville gallery, he had to come up with a self-serving strategy, to protect his family business and his son’s legacy.

And thus was born/invented the KRG created myth of “thousands of fakes by umpteen forgers.”

THE DEPLORABLE NEGLIGENCE OF THE MAINSTREAM MEDIA Part 1

Murray Whyte, the journalist whose due diligence started the media support for the biggest HOAX in Canadian history.

Murray Whyte, the journalist whose total lack of journalistic due diligence in 2001, started the media support for the biggest HOAX in Canadian history.

The Willfully, Lazy & Negligent Journalists of the Mainstream Media – The Robinson self-serving claim, of “thousands of fakes by umpteen forgers” was eagerly, compliantly, and totally uncritically spread to the public as if it was factual, by Murray Whyte and the National Post, on May 18, 2001.

And this was done without any reference to any corroborating evidence, documents, independently verifiable facts, and without even asking or consulting the Dementia-debilitated artist himself, who was conveniently unavailable because he was locked away, by the cartel, in a terminal care facility in Nanaimo.

A “fakes” claim which, since October 2008, Ritchie Sinclair has been relentlessly and publicly promoting for Donald Robinson and Kinsman Robinson Galleries with his malicious and defamatory web site.

The HOAX, destroying the art heritage of Norval Morrisseau, ranks right up there with the Canadian Government’s cultural genocide residential schools policy, to “kill the Indian in the child.”

And the effect in the destruction of First Nations culture and the art heritage of Canada is every bit as lethal. The blatantly racist activities of the Morrisseau cartel have cast a black cloud over, not only the art of Norval Morrisseau, but the art of all Canadian First Nations artists.

In fact the destruction was noted by none other than sometime Kinsman Robinson Galleries and Sinclair colleague, John Zemanovich, a stockbroker and sometime Morrisseau art collector, who dismounted his own website in 2008 and wrote a farewell comment to KRG.

John Zemanovich, realized his assets would be vulnerable if he persisted with fraudulent allegations, and dismounted his website. Robinsons realized the same thing, and chose to woo Sinclair - who had no assets - and let him become the point man for the HOAX.

John Zemanovich, realized his assets would be vulnerable if he persisted with fraudulent allegations, and dismounted his website. The Robinsons realized the same thing, but rather than leave the field, like Zemanovich, they chose to woo Sinclair – who had no assets – and let him become the point man to promote the HOAX.

“Faced with a potential lawsuit, I had a choice to make about continuing the Blog. As I have no financial interest in the authentication issue either way, it is wise for me to exit given the new levels of nastiness this matter has reached. It appears that public statements by Ritchie Sinclair at morrisseau.com and on the KRG blog have caused this matter to boil over. I wish you all well and thank you for your comments and complimentary emails. Hopefully this matter gets resolved soon because it is killing the native art movement. Raven (AKA John Zemanovich)

As has happened so many times in Canadian history, it’s white guys doing it; and First Nations people who are the victims. This time their art and artists are the target and the losers.

Witless Complicity of Mainstream Media Journalists Echo & Enable Sinclair – Sinclair’s activities at publicizing and trying to get the fraud firmly entrenched as a reality in the public mindset, has only been possible because of the witless complicity of journalists of the mainstream media, who, uniformly abandoned all protocols which are supposed to be followed by their profession in the interests of balanced journalism. Which is supposed to include checking out your sources, their credibility, their credentials, their motives, etc. and their proof – and that of other independent sources – for all the relevant facts.

AND TO DO IT ALL BEFORE PUBLISHING.

It’s exactly because of this failure of due diligence by journalists of the mainstream media, specifically at the Globe and Mail, that they were successfully sued for libel and defamation – of himself and his genuine Morrisseau BDP paintings – by art dealer Michael Moniz, in June 2007.

In March 2009 the Globe settled out of court, paying Moniz some $25,000 for its libel and defamation of his genuine Morrisseau paintings.

In Feburary 2014, the Media Idiocy reached a new high of incompetence when CTV’s weatherman and sports guy, Jeff Hutcheson, featured the totally judicially discredited Ritchie Sinclair slanging a painting as a fake that had recently been authenticated by Morrisseau family members, a top Canadian forensic scientist, a judicial finding after the longest fine art trial in Canadian history, and the corroborative finding, of Madam Justice Mary Anne Sanderson of the Ontario Superior Court of Justice, who totally dismissed the Appeal launched by Jonathan Sommer who insisted it was a fake and was making good money doing so.

Canada AM trashes a Canadian heritage treasure, by CTV's experts, the thoroughly discredited Ritchie Sinclair and a weatherman and sports guy.

Canada AM sets out to deliberately trash and slang a Canadian heritage treasure, on national television, using CTV’s chosen experts: the thoroughly discredited Ritchie Sinclair and a weatherman and sports guy. The painting which CTV and Sinclair chose to slang before millions of Canadians, was “Wheel of Life 1979,” which had been ruled authentic, by one of Canada’s top forensic scientists (Dr. Atul K Singla), by Canada’s senior, longest-established, and most reputable Morrisseau expert (Joe McLeod), by members of the Morrisseau family, by Deputy Judge Paul J Martial in the Small Claims Court after the longest fine art trial in Canadian history, and by Ontario Superior Court Justice Madam Mary Anne Sanderson, who reviewed the evidence and came down totally and absolutely on the side of its authenticity. During the Appeal winning lawyer Brian Shiller specifically pointed out to Justice Sanderson that the proof was incontrovertible that Ritchie Sinclair had committed perjury. Justice Sanderson concurred, when she ruled that Judge Martial was right to reject the testimony of Ritchie Sinclair. CTV maliciously and without practicing even a minimum of Due Diligence allowed Canada AM and its weather man to give a national platform to feature the totally discredited Ritchie Sinclair to slang all these top Canadian experts, and continue to try his damnedest to devalue this fine painting, and all other similar paintings owned by thousands of Canadians and people overseas.

SO WHERE DID IT ALL START? SINCLAIR & MORRISSEAU

Rewind – Morrisseau family members have acknowledged (in published separate statements and in court testimony) that they are well aware that Sinclair, around 1981, was one of many young boys and young men who briefly became attached to Norval as apprentices, assistants, and “companions.” Norval later wrote (in 1997) that there were some 150 “followers” in all. Norval’s brother Wolf testified that Norval called them all his “protégés.”

(Unlike Sinclair, most of these Norval “companions” preferred a subsequent life of anonymity. Not Sinclair, who, went out of his way, repeatedly, to seek notoriety for himself and his opinions, by putting himself in the public eye, every chance he got.)

Specifically with regard to Sinclair, Wolf Morrisseau testified before Judge Martial that circa 1981 he hired young Ritchie Sinclair as a paid companion for Norval, who had sent him to Toronto to find young men to provide him companionship.

Wolf told Judge Martial the details of Sinclair’s relationship with his older brother Norval.

“A: I was living with my brother in Buckhorn, near Peterborough, and he made a request of me – he would send me to Toronto to go and buy groceries and whatever paints and supplies – and so he made a request of me that he wanted male companionship. And so I went out and I looked for male companionship for him and met Mr., Mr. Ritchie.
Q. I’m sorry…
A. Mr. Sinclair.
Q. …when you say ‘male companionship’ was he more specific?
A. Well…
Q. What do you mean by ‘male companionship’?
A. He, he wanted a lover.
Q. I see. And when you said you met Ritchie Sinclair where did you meet him?
A. I met him on the streets of Toronto.
Q. When you say ‘the streets’ what do you mean?,,,
A. He was just on the street. Yeah.
Q. Doing what?
A. I don’t know. He was just doing his thing.
Q. What was his thing?
A. I don’t know; I really do not know; I cannot answer that; honestly; I just saw him and I, I, I asked him, I said, “Do you know anyone that would entertain an artist?” And he said, “Well, what’s he paying?” I said, “Well, that’s not for me to decide but you can decide that with him.” And he agreed and we got in the car and we went to see my brother.
Q. All right; and can you describe what your brother’s relationship was with Ritchie Sinclair?
A. I believe they were very close friends; I believe that they experience (sic) more than just two guys being friends. I think they had a sexual relationship.” (Court Trans/Hatfield v Artworld: Feb 24, 2012 p114)

In Jack Pollock’s memoir, “Dear M,” he writes of Morrisseau’s descent into a Toronto urban life of homosexual excess.

“…he abandoned his wife and children… and began an incredible journey into total sexual indulgence. I have often fantasized about his coterie of beautiful young men (all hustlers, all very well paid with thousands of dollars in cash, which I provided from paintings sold) lots of drugs, and ritual pseudo-Indian ceremonies.” (Jack Pollock, “Dear M” p26)

Sinclair and another white man, also an Indian imposter, Gabe Vadas, took video of themselves involved in one of these pseudo-Indian ritual ceremonies in 1997 in the yard at the McMichael Gallery in Kleinberg, presided over by a very Dementia and Parkinson’s debilitated and largely incoherent Norval Morrisseau.

Note: Pollock, Norval’s primary dealer for 19 years, was himself a very public and rapaciously gay man, who died of AIDS he likely picked up in the wild Toronto bathhouse and Y scene that he and Norval frequented in the 1970s and 80s. But for all his own self-confessed aggressivity, Pollock said he was but a minor player, compared to Norval.

Pollock wrote he saw Norval return from one all-nighter, the evening before a CBC TV interview.

“To this day I don’t know what he met, but I think it was a bear. I’ve never seen so many hickeys. His whole neck was covered in huge bruises. He looked like the wrath of God. At the CBC, they had to do a make-up job like you’ve never seen, slapping pancake over the bruises.” (Jack Pollock, “Dear M,” p41)

Pollock wrote that later the Albert Volpe crime family bribed Norval to abandon Pollock and work for them,

“… as they were paying for materials and supplying him with drugs and young boys, and a large house in the country… they began producing ‘limited’ editions of mechanically produced silk screens and would bribe Norval with dollars, dicks and dope to sign them. (Jack Pollock, “Dear M,” p172)

This was the exact time period that Ritchie Sinclair testified he got to know the Volpes, just before he said he went off to go live in a big house “up north.”  Sinclair testified in court, that the Volpes were very nice people.

In fact, just as Sinclair claims he came on the scene with the Volpes and Norval, the end was already in sight for the brief “Toronto period” of Morrisseau’s life, and therefore any continuing ties of Norval with Ritchie Sinclair.

In December 1981 Pollock closed his gallery permanently, having lost his major artist to the mob.

Norval Flees Toronto for Thunder Bay – And only months later, in 1982, with Pollock gone, and increasingly scared of the mob, and their exploitation of him, Norval fled Toronto (and Ritchie Sinclair) for Northern Ontario, where he had lived and painted for most of his life. He went to Thunder Bay where he was to stay for several years working with his chosen art dealer and close friend Gary Lamont, in between moves to Winnipeg, and Jasper, Alberta. (Source, Pollock, “Dear M”)

NOTE: After Norval moved to Thunder Bay, he rented a house for three years from his old friend Will Hedican. Hedican told Stevens that Norval’s nephew Benji Morrisseau was one of his apprentices doing backgrounds and fill-in painting. So Lamont and Benji were in a working partnership with Norval Morrisseau in the years following 1982-1985.

Thirty years later, in 2013, the names of Lamont and Benji Morrisseau would resurface again, accused by Ritchie Sinclair and Jonathan Sommer in McDermott v McLeod as supposed forgers of Morrisseau art. With no published proof of any kind, just, again, the multiply-discredited “say so” of Ritchie Sinclair.

(In the 1980s Norval often lived on the streets of Vancouver, and in 1988 and 1989 he formed permanent relationships with new “protégés” Gabe Vadas and Karl Burrows, in the Vancouver region. In the last 18 years of Norval’s life (from 1989 till 2007) Burrows, not Sinclair was Norval’s artist assistant, with the latter-day preposterously pompositing Sinclair nowhere in sight at any time for any period.)

In Thunder Bay, Norval and Lamont together would arrange for the sale of a group of some 216 paintings to Norval friend and lawyer Ken Whent, during early 1984 – 1986, the provenance of paintings that will offer a valuable insight into the HOAX.

The authenticity and appraisal of these 216 paintings were to figure hugely in a Tax Court of Canada Court Case in 1995, when the Judge specifically excoriated Donald Robinson’s role as a credible appraiser before the court.

Justice Mogan would become the first of a long list of judges who utterly dismissed Donald Robinson as having far too much compromising self-interest to be a credible witness with regard to art by Norval Morrisseau.

SINCLAIR PUBLICLY ADMITS HE KNEW ABSOLUTELY NOTHING OF MORRISSEAU OR HIS ART FOR THE FIRST THREE DECADES OF THE ARTIST’S PAINTING CAREER

Rewind: Norval Who? – Sinclair himself testified that when he first met Norval – late 1979; others say it was 1981 – he had never even heard of Norval, or ever even seen a painting by him. (Though Norval was a famous Canadian artist and Order of Canada holder at the time.)

So how can Sinclair claim to be such an all-knowing expert on a period when he wasn’t even there?

sinclair_350wild“Now, this is the first day I’d ever seen a Morrisseau painting in my life. It was a big surprise that, that my teacher actually knew him; who he was… So that day, I was hired and, I went to live in Vandorf, Ontario, and work with him.” (Court Trans/Hatfield v Artworld: Feb 23, 2012 p105)

Note: In the radio interview, Sinclair says that the day after he was hired, he was “up north” living with 30 Indians. But in his testimony in the Hatfield v Artworld case, he said he was living with Morrisseau in Vandorf, Ontario, which is part of Stouffville, 5 km east of Aurora, and 20 km north of Markham. It is not “up north” and the house he described does not have “30 Indians.” Just more examples of his inventive testimony as he tries to remodel his past depending on the needs of the moment.

As Sinclair stated in a CIUT FM radio interview, on Sep. 28, 2008, when he was busy jump-starting his new art career:

David Peterson: “Had you had any exposure to the native lifestyle, to the native culture, to Aboriginal art per se?”

Sinclair: I’d never had a whisper of it cross my world until the day I met Norval… Some things are just meant to be… So I believe the reason I met Norval was because I was meant to. Not because of his greatness but because of our mutual greatness…” (CIUT FM radio interview with David Peterson, Sep. 28, 2008)

Landmark Note 1: The Fake 1979s style BDP’s – Sinclair claims he went to work for Norval at the end of 1979. But there is no proof of that. Wolf Morrisseau recalled that he hired Sinclair in circa 1981, and all the existing corroborative proof from Sinclair himself, plus from Pollock being undermined by the Volpes in 1981, makes 1980 a more convincing compromising and supportive date.

Whether, as an ignorant novice, Sinclair started work in the fall of 1979, or in 1981, it means, incontrovertibly, that Sinclair had no experience whatsoever in the 1970s style BDP paintings which he was, suddenly, out of the blue, to begin to denounce as fakes 28 years later. He was not there when they were painted; he had no clue or expertise of the raw materials he would later claim were fakes. Which is one reason that explains why he was so totally and colossally wrong at misdiagnosing what, after 2008, he called “fakes.”

Note: Remember, unlike any other artist, Norval never had an inventory, so Sinclair also had no previous studio art – that is the 1970s style art – available to study or learn from. To Norval, his paintings were treated as instant cash and he sold them cheaply, and instantly, just after he painted them, for $20 or $30 just to get booze, food, a taxi ride, room and board, a quick drug fix or sex.

Other established artists, like Robert Bateman, who want $5,000 to $40,000 for a painting, will build up an inventory that will remain unsold for years. Not Norval.

So thousands of Norval’s 1970s paintings were gone and scattered all over northern Ontario, and were never ever seen by Ritchie Sinclair when he came on the scene c 1980. Sinclair, in Toronto, would therefore be totally ignorant of ALL of Norval’s 1970s paintings on which Norval’s self-described protégé was to pontificate to absurd lengths 28 years later.

Sinclair’s total lack of knowledge is also corroborated by the fact that:

1 – Sinclair did not recognize, detect, or publicize, a single 1970s fake from the entire period 1979 till October 2008.

2 – that he told Judge Martial in 2012 that all his research on the topic of the fakes was done in the past four years. “I’ve now – through four years of consistent daily study, I can tell you that my opinion is clearly that that’s Wolf Morrisseau (a forger) that painted that… that these, at the time, were old paintings that were fakes.” (Court Trans/Hatfield v Artworld: Jun 4, 2012 p2)

(Even though Wolf and Norval have patently and totally different painting styles.)

Sinclair admits that his hands-on experience, with genuine paintings, over 28 years had done nothing to educate him on forgeries; that all his research was done from October 2008 till he testified on June 4, 2012.

And of course all internet research of small, low resolution jpegs – he copied 99% of the images he posted as examples of fakes off the internet, never ever seeing the originals.  Many were copied off Blogger Ugo Matulic’s site, and were exactly the same pictures Sinclair had been so exuberantly praising in 2008. Sinclair used inferior copies of educational materials that no genuine curator, art dealer, of forensic scientist would ever recognize as a substitute for hands-on examination of genuine paintings, which Sinclair, of course, did not have access to.

Landmark Note 2: The Lack of Fakes in September 2008 –  In what is a truly stunning revelation in this same interview, in September 2008, is that there is not even a tangential reference by Sinclair to any Morrisseau fakes, forgers, forgeries, or syndicate of forgers, of any kind, or any mention of fake BDPs of any kind. And this, after 28 years of supposedly watching the Morrisseau scene…

 (Sinclair’s view, at this time, totally mirrors, absolutely, the same “not an issue,” “non-mention” of any fakes by Norval in his personally written chapter in his book “Travels to the House of Invention” in 1997, and again in the re-edited version “Return” issued in 2005. In Norval’s estimation, by his clearly failing to mention in writing, the existence of any fakes of any kind, whatsoever, even as late as 2005, they neither existed or were not seen as even a minor problem.)

Gone Apoplectic – Only days later, in October 2008, in what can only be considered an astounding reversal of gigantic proportions, suddenly thousands of fakes, forgeries, and false BDPs, all produced by a diabolical group of forgers, was ALL that Sinclair would ever write, blog, email, or comment on in his writings, interviews, or court testimony.

What the hell happened… literally overnight?

SINCLAIR BECOMES THE ENFORCER

Ritchie Sinclair, Promoter of Cultural Genocide against the art of Norval Morrisseau and other First Nations artists.

Ritchie Sinclair, Promoter of Cultural Genocide against the art of Norval Morrisseau and other First Nations artists.

In 2008, the Kinsman Robinson Galleries operators had begun “courting” Ritchie Sinclair by doing a video interview with him and putting it on their gallery website. Robinson knew that Sinclair craved publicity and recognition, even notoriety.

IMPORTANT HISTORICAL NOTE: This is the very first time in this world or the next, that anyone – other than Sinclair himself – publishes anything on or about Ritchie Sinclair regarding Morrisseau, in the History of the Western World. And it’s done, not by a credible Morrisseau academic, or scholar, but by a self-serving art dealer who is working overtime to recruit a gullible enforcer to work for the Robinson gallery to attack their business competitors and advance their invented HOAX, of “thousands of fakes by umpteen forgers.”

Robinson desperately needed Sinclair to be his propaganda tool and become a proxy target for impending lawsuits, so that Kinsman Robinson Galleries assets are not imperilled, but only Sinclair’s, who, of course has none.

Beginning in 2001, Robinson and his cronies had invented and spread the false rumours of “thousands of fake Morrisseau paintings created by umpteen forgers” “out there,” to enrich themselves by casting doubt on the validity of paintings sold by their competitors, thus knocking them out of the Morrisseau market.

But by November 2008 slanging genuine Morrisseau paintings was getting dangerous.

Landmark Lawsuit #1 – In June 2008 Otavnik won his landmark lawsuit against Vadas and Morrisseau for libelling him and defaming his genuine Morrisseau paintings, and they paid him $11,000 to shut him up.

Landmark Lawsuit #2 – Michael Moniz had a huge libel and defamation lawsuit against CTVglobemedia to protect his own genuine Morrisseau paintings slanged in a Globe article by Val Ross. (He would win $25,000 and a Globe gag order to shut up and go away. The lawsuit probably set the Globe back $50,000 in all.)

Is it any wonder the Robinsons were panicking, big time, and looking for a gullible foil?

The Robinsons had not yet been sued for the enormous devaluation of genuine Morrisseau art their invented stories, spread through a compliant press and media had caused. But, now the likelihood of their being sued successfully was a brutal possibility, staring them in the face.

KRG had lots of assets they could lose in a lawsuit.

Ritchie Sinclair, who was bitter, malicious, and thirsty for publicity and notoriety, had no assets – no house, no property, no art assets, or discernible income, and he is living in a rental apartment he  shares with his roommate, Garth Cole, a City of Toronto employee.

The Enforcer Emerges – Probably because it paid better than his career as a starving artist, Sinclair soon took a job as an “Enforcer” for the Conspiracy Theorists, and was soon wildly claiming there were “thousands of fakes by umpteen forgers” out there, nothing of the sort he’d ever said before anywhere.

Sinclair has proven a godsend for the Kinsman Robinson Galleries. They have a maliciously fanatic, eager, and frenetic outreach worker, and enforcer, to take all the heat for wildly attacking people on the KRG hit list and maligning their reputations and their genuine Morrisseau paintings.

Sinclair does not let truth or the need for documentation or evidence stand in his way.

Sinclair is free to lash out in any direction, against any person or painting, with the wildest accusations for one simple reason. There will never be consequences of any kind for him, no matter what he says or does, or what he loses in a court case.

KRG posted on their gallery website a link to Sinclair’s malicious website, falsely labeling over a thousand Morrisseau paintings as fakes but, a few months later, had to remove the link and the video of Sinclair after Joseph Otavnik sued Donald Robinson and his gallery for promoting Sinclair who was devaluing and defaming Otavnik’s genuine art.

Anti – BDP – A special target of Sinclair became the thousands of Norval’s 1970s BDPs – from Norval’s most prolific “high period” which the artist had vigorously signed with large black dry brush signatures, titles, and dates on the back – which Sinclair had called “masterpieces” before.

Beginning in October, 2008, Sinclair soon had 1,000 low resolution pictures of BDP paintings, 99% of which he had never even seen, listed as forgeries on his web site.

The height of absurdity was reached when Sinclair targeted five paintings as bad fakes which Norval Morrisseau himself had included in his 1997 Kinsman Robinson Galleries book “Travels to the House of Invention,” as well as some from major American fine art museums.

The Enforcer Acts Out – Sinclair became the public face, the mouthpiece, and the attack dog for the Robinsons and the Morrisseau Hoax.

“SUSPICIOUS, VICIOUS, MALICIOUS, & MERETRICIOUS”

Sinclair rage attacked leading First Nations artists, Morrisseau family members and reputable fine art dealers, all without a single shred of evidence.

Sinclair’s rage (from his website) attacked honourable leading First Nations artists, Morrisseau family members and reputable fine art dealers, all without a single shred of evidence. The “Morrisseau HOAX cartel” and its enforcer, Ritchie Sinclair, have conducted the most malicious corporate witch hunt ever conducted in Canadian history against honourable and decent people of all kinds who stood in the way of Donald Robinson, Kinsman Robinson Galleries, and Ritchie Sinclair, all trying to enrich themselves by nefariously destroying the businesses of others and the genuine art heritage of Norval Morrisseau, during a period Norval was totally disabled by Dementia and unable to protect himself against the marketing machinations of the white businessmen who controlled his every move and activity in the last 17 years of his life. It’s the worst case of elder abuse in Canadian history.

All Hell Breaks Loose Among Morrisseau Dealers and Collectors

Shortly after October 2008 when Sinclair posted pictures of a thousand genuine Morrisseau paintings on his website that he claimed were fakes, all hell broke out among Morrisseau dealers, galleries, and collectors.

Sinclair included the names of the people and businesses who owned or were selling these paintings. His website particularly targeted art galleries and dealers who had refused to represent Sinclair as a gallery artist, and/or were competitors of Kinsman Robinson Galleries.

Multiple Dealer Lawsuit – A month later, on November 21, 2008, five dealers/gallery owners (Bugera, McLeod, Child, White, Kim) filed their intention to start a lawsuit against Sinclair, suing him for $17 million, then filed a motion to have the court bring an interlocutory injunction against Sinclair’s website, i.e. to order the website taken down until the litigation was decided.

Sinclair’s well-known complete lack of assets was pointed out by the law firm of Symes & Street to the Group launching the lawsuit against Sinclair in December 2008.

“Symes & Street has explained to us that Sinclair does not appear to have any assets and thus, it is unlikely that we would collect on any damages awarded were we to be successful in the civil suit for defamation. We further understand that should the Court order Sinclair to pay any part of our costs, it is unlikely that we would be able to recover any monies from Sinclair.” (Source Symes & Street, Legal Doc Nov 21, 2008)

At the interim hearing for the interlocutory injunction on December 4, The Honourable Justice Thomas Lederer indicated that there was a very good chance that their full motion would be granted when it was held a couple of months later.

The law firm dropped out of the lawsuit, after billing its clients $80,000 for a few weeks work. The group fell apart when faced with this stark reality, laying out unbearable legal costs to chase a malicious indigent with no ability to pay, through the Canadian courts for some kind of justice.

Joseph Otavnik, a Great Canadian Cultural Hero, for issuing the first court challenge to the Conspiracy Theorists, who declined the honour to meet in front of a judge with their supposed proof of forgery. Having sent Norval Morrisseau and his white business manager to run for cover he now tackled Ritchie Sinclair who saw himself as the primary "enforcer" for the Conspiracy Theorists.

Joseph Otavnik, a Great Canadian Cultural Hero, for issuing the first court challenge to the Conspiracy Theorists, who declined the honour to meet in front of a judge with their supposed proof of forgery. Having sent Norval Morrisseau and his white business manager to run for cover he now tackled Ritchie Sinclair who saw himself as the primary “enforcer” for the Conspiracy Theorists.

Otavnik v Sinclair – On Dec. 22, 2008, fresh from his successful lawsuit against Gabe Vadas and Norval Morrisseau, in which he was paid off with $11,000 to shut up about them libeling him and defaming his paintings – Joseph Otavnik launched a lawsuit against Sinclair and Kinsman Robinson Galleries for jointly defaming and devaluing his painting “Jesuit Preist Brings Word 1974” on Sinclair’s website, and KRG for promoting Sinclair’s defamation.

Sinclair fought back. He had his lawyer, Zak Muscovitch prepare and notarize an affidavit that contained all kinds of vile and totally unsubstantiated allegations made up by Sinclair to submit to the multiple dealer lawsuit. It contained allegations that Joseph Otavnik and his family were involved in criminal activities. So Otavnik sued Sinclair’s lawyer, Zak Muscovitch.

Remember lawyer Muscovitch? He’s the same guy who sent a threatening letter filled with all kinds of false allegations and information to auctioneer Randy Potter back in 2004 when Sinclair’s own paintings were being sold, and went for yard sale prices.

 

Zak Muscovitch was the first lawyer to see there was money to be made in promoting the wild and unsubstantiated claims of fakes and forgeries dreamed up by Ritchie Sinclair and Donald Robinson.

Zak Muscovitch was the first lawyer to see there was money to be made in promoting the wild and unsubstantiated claims of fakes and forgeries dreamed up by Ritchie Sinclair and Donald Robinson.

Paid with Ersatz “Morrisseaus:” For an unspecified job Muscovitch did for Sinclair, he seems to have agreed to be paid in what he expected to be “Morrisseau” paintings. When his wife took some of the paintings to sell down the street to the Maslak-McLeod Gallery, to have Joe McLeod authenticate them and appraise them, she was shocked when McLeod announced that they were only “ersatz Morrisseaus,” in fact not Morrisseaus at all but imitation “Woodland art” paintings by Ritchie Sinclair. Joseph McLeod politely told her he was not interested in buying these paintings. It appeared to McLeod that the Muscovitch family couldn’t tell a Morrisseau from an imitation Woodland by Sinclair.

So the wife had to relate the sad news to Zak, that the paintings they had thought were worth multi-thousands, were worth only $20 or $30 bucks apiece. (Zak knew what Sinclair’s art prices were because he had been the lawyer trying to threaten Randy Potter to prevent him from selling a consignment of Sinclair art in 2004. The art was sold, anyway, for those pathetic amounts. But it was all that knowledgeable bidders thought Sinclair’s imitation Woodland art was worth.)

Enter: Jonathan Sommer: When Otavnik sued Muscovitch, Muscovitch was defended by none other than Jonathan Sommer, the same lawyer who would represent Margaret Hatfield in Hatfield v Artworld. Hatfield would pay Sommer, and Sinclair would direct him. As a result, Sommer lost both the case, and the later appeal (December, 2013).

But HOAX Plaintiff lawyer Sommer no doubt got paid anyway. Not only that, but he’s got two more cases lined up that are almost identical to the Hatfield case and are likely to end the same way, since Sommer will no doubt take his legal direction again, as documented multiple times before, from “community college” drop-out, now “ersatz lawyer” Ritchie Sinclair. More big losses coming up for the client; big bucks for the lawyer. Sinclair’s portion of it all is unknown.

Jonathan Browne, AKA "the Dung Beetle Doctor," AKA Proxy #3, who lost a wonderful painting when he called a genuine Morrisseau a fake, and passed a little old lady school teacher straight into the arms of the Conspiracy Theorists. The experience has set her back some $40,000 in legal fees. Will he help bail her out with a donation?

Dr. Jonathan Browne, AKA “the Dung Beetle Doctor,” who lost a wonderful painting when he called a genuine Morrisseau a fake, and passed a little old lady school teacher (Hatfield) straight into the arms of the Conspiracy Theorist, Ritchie Sinclair. The experience has set her back some $56,000 in legal fees. Will he help bail her out with a donation?

In January, 2009, Ritchie’s pal Jonathan Browne had lawyer Zak Muscovitch sue Jackie Bugera, owner of the well-known Bearclaw Gallery in Edmonton, claiming she sold him a fake Morrisseau painting. She was one of the five dealers involved in the multiple dealer lawsuit against Sinclair. Jackie’s family had a long association with Morrisseau, and she knew perfectly well that the painting was genuine. She would have won the case, but she did not even file a defense. She made a deal and took the painting back.

In July, 2009, Margaret Hatfield filed a Small Claims Court file against Artworld of Sherway, because she had been convinced by Jonathan Browne and Sinclair  that a painting she bought there was fake. (source: Hatfield testimony in Hatfield v Artworld) Gallery Director Donna Child did not give in. She fought back and won her case. Judge Martial ruled that her painting was genuine, and that there was lots of evidence from people who had seen Morrisseau sign, title, and date, the backs of his paintings using black dry brush. Ms. Child was also one of the people involved in the multiple dealer lawsuit against Sinclair. She had also turned him down as a gallery artist.

In September 2009, Sinclair made up a huge list of false complaints against Joseph Otavnik who was suing Sinclair, and persuaded the Toronto police to charge Otavnik with criminal harassment. (The cop, Detective Frank Olsen, who brought the charges testified that he believed Sinclair because Sinclair was crying on the phone.)

After 3 years, 20 court appearances, and 5 full days of trial, The Honourable Justice Alphonse T Lacavera would find Joseph Otavnik not guilty on all counts, and would make it very clear in his 40 page ruling that he did not believe a thing Sinclair had said. He also stated he did not belief that there were “thousands of fakes by umpteen forgers”

Enforcing Compliance at the Elmwood Spa – One of Sinclair’s “enforcer” jobs was to police compliance for KRG by getting genuine Morrisseau paintings that had been purchased from the Maslak McLeod Gallery, removed from an exhibit at Toronto’s well-known Elmwood Spa (owned by a member of the Thomson family, which is famous for a huge Canadian art bequest to the Art Gallery of Ontario.) Sinclair was also sent to make sure that a Morrisseau book launch scheduled for Nov. 10, 2010, was cancelled.

From Sinclair's vicious and malicious website, his attack on Sherry Brydson's Elmwood Spa and the book of Norval's art she planned to publish until her gallery curator became subject to a multi-prong attack by the Morrisseau HOAX cartel. First she got a threatening phone call from Paul Robinson, then a vile follow-up phone call from KRG enforcer Mark Anthony Jacobson, then a compliance visite from Ritchie Sinclair in his Davy Crockett costume and accompanied by his rommate Garth Cole who works for the City of Toronto when not helping Sinclair with his enforcement activities.

From Sinclair’s vicious and malicious website, his attack on Sherry Brydson’s Elmwood Spa and the book of Norval’s art she planned to publish, until her gallery curator became subject to a multi-prong attack by the Morrisseau HOAX cartel. First she got a threatening phone call from Paul Robinson, then a vile follow-up phone call from KRG enforcer Mark Anthony Jacobson, which truly scared her, then a compliance visit from Ritchie Sinclair in his Davy Crockett costume and accompanied by his roommate Garth Cole, who works for the City of Toronto when not helping Sinclair with his enforcement activities. NOTE HOW SINCLAIR LIBELED AND DEFAMED THE ELMWOOD SPA, JOE MCLEOD, CANADA’S MOST SENIOR AND MOST REPUTABLE MORRISSEAU ART EXPERT AND ALL THE MEMBERS OF THE MORRISSEAU FAMILY. HE REPEATED THESE VICIOUS SLANGS ON HUNDREDS OF HIS MALICIOUS PAGES THAT WERE UP FOR YEARS LIBELING AND DEFAMING DECENT AND HONEST CANADIAN COLLECTORS OF MORRISSEAU ART.

Note how

Note how devious Sinclair is when defaming a painting which his “Mentor” bought. While he ruthlessly posts the name of the Elmwood Spa with fakes, he does NOT post anywhere here, the name of Donald Robinson, who bought this painting and never returned it as a fake, and he does not publish the name of Kinsman Robinson Galleries who put up the money to buy it and originally authenticated it as a genuine Morrisseau when Robinson bought it in early 2000 at Randy Potter Auctions. Whereas in the Elmwood Spa page he names numerous people he wants to defame, there is not a single person who is associated with this painting named, not Donald Robinson, not Paul Robinson, not John MacGregor Newman, and not Kinsman Robinson Galleries. Sinclair saves them the embarrassment he ruthlessly slangs on others, mostly First Nations people. But he does slang three additional paintings here, two of which have been authenticated by two of Canada’s top handwriting analysis experts. In fact the bottom duo  were the subject of a winning lawsuit in 2008, where Joe Otavnik was paid $11,000 by Gabe Vadas and Norval Morrisseau, in an out-of-court settlement after they slanged the paintings as forgeries, and he sued. Vadas and Morrisseau refused to face a judge with their (non-existent) proof , preferring to bribe Otavnik to shut up and go away. Faced with a forensic report they knew their libel and defamatory claims would not stand the wrath of a judge. This page has been up for years.

Jessica Wilson had never experienced anything like it before...

Jessica Wilson told us it was the most vile and truly scary phone call she had ever received.

The show and the book featured many 1970s BDPs authenticated by Joe McLeod, Canada’s senior and most respected Morrisseau expert.

I watched (he didn’t know me then) as Sinclair, dressed in his Davy Crockett uniform, went from floor to floor of the Spa, to make certain the paintings he was maliciously and falsely calling fakes had all been removed by the very scared and intimidated young gallery curator.

She had earlier been phoned by Sinclair fellow enforcer and Donald Robinson friend, Mark Anthony Jacobson and viciously threatened with “or else” if she didn’t comply with the removals.

The curator told my wife, Joan Goldi, it was the most vile phone call she had ever received and that she was physically afraid as a result.

sinclair_350wildThe Enforcer Goes Physical on the Street – On Sept 3, 2010 Toronto Police charged the 53 year-old Sinclair with Criminal Harassment resulting from 7 different incidents where he physically threatened 82 year old gallery owner Joe McLeod, at his car, on the street, at his place of work, and at his residence where Sinclair tripped the burglar alarm at 2 a:m. McLeod’s adult son and daughter had to physically run interference for their frail and very scared elderly father.

NOTE: McLeod – Canada’s senior and most reputable Morrisseau authenticator – had been the target of multiple acts of Criminal Harassment. He had also been the target of the enforcer at the Elmwood Spa, in the Hatfield case, and now, the Hearn case, and the McDermott case.

The Toronto Police Arrest Warrant for Ritchie Sinclair.

The Toronto Police Arrest Warrant for Ritchie Sinclair.

Ritchie Sinclair, Promoter of Cultural Genocide against the art of Norval Morrisseau and other First Nations artists.

An Most Unusual Calling for a so-called Artist – Ritchie Sinclair has a wild and aggressive record, not only of sending scatological and profanity-laced “anonymous” emails, to his targets, but trying to physically harass, and intimidate them, as well, when he meets them in person. On three different occasions, court security had to restrain him from trying to take pictures of people he was pursuing in courtrooms with his camera. The most recent time was Mar. 7, 2014, in Brampton courthouse, when police ordered him to stop harassing witnesses, and remove images from his camera, which he had shot, in open violation of court prohibitions, of witnesses in Goldi v Sinclair. 

The Enforcer Goes Physical in Court – On Nov 16, 2010, in the foyer of a courtroom where I had gone to listen to Otavnik v Sinclair, someone had pointed me out to Sinclair. I was standing with my wife when Sinclair suddenly lunged at me and screamed, “What do you people think you’re doing!” causing me to lurch backwards.

Only minutes later, in his opening remarks to Judge Godfrey, Sinclair wildly demanded that I be removed from the courtroom. Judge Godfrey smiled and said “He’s entitled to stay; he’s a member of the public.”

Smashing Behaviour – On Sept 1, 2011, before the hearing of Hatfield v Artworld began, Sinclair slapped documents Joan Goldi was trying to hand him, violently out of her hand, and to the floor.

Sinclair’s email – Sinclair regularly sends “anonymous” threats to people he has targeted. The language used easily identifies the sender. He just can’t seem to help himself, even though he must know his actions are being reported to police. (THE DAMNING SITEMETER)

IN HIS OWN WORDS - Sinclair cannot control his venom in public - less so in private with his violent emails. Note how he scrounges for every word in the dictionary for his vile attack on numerous PEOPLE - all decent, honourable, Morrisseau collectors or dealers or First Nations artists, in this one page of thousands he publishes. And all the vileness, libel, and defamatory print is targeted at the most highly authenticated Morrisseau in history,

THE HOAX ENFORCER IN HIS OWN WORDS – Sinclair has a reputation for not being able to control his venom in public – less so in private with his violent emails. Note how he scrounges for every possible word in the dictionary for his vile attack on numerous PEOPLE – all decent, honourable, Morrisseau collectors, dealers or First Nations artists, in this one example page of thousands he has published. And all the vileness, libel, and defamatory print is targeted at the most highly authenticated Morrisseau painting in history, proven to be authentic by Donald Robinson himself – who was the under bidder at auction -, Norval Morrisseau, and two of Canada’s top forensic experts, including one who gave it an unheard-of “beyond DNA authenticity rating of 100%. It is the clearest indication possible that TRUTH, HONESTY, ETHICS OR MORALITY WILL NOT STOP SINCLAIR ATTACKS ON ANYONE WHOM HE PERCEIVES TO BE A THREAT TO ADVANCING THE BIGGEST HOAX IN CANADIAN HISTORY FOR THE BUSINESS ADVANTAGE OF THE PERSON HE CALLS “MY MENTOR,” DONALD ROBINSON OF TORONTO’S KINSMAN ROBINSON GALLERIES.

A vile Sinclair attack on Dr. Goyce Kakegamic, an esteemed Aboriginal elder, activist, and noted artist who helped raise Norval's children when Norval abandoned them. Sinclair, who dropped out of an entry level art course at a Community College, and has no degrees, diplomas, or certificates in art or academics of any kind, has always targeted with special venom accomplished people who do have credentials and achievements like judges, forensic scientists, and others like Goyce Kakegamic who earned a B.A. the hard way, and was awarded an Honourary Doctorate.

One of numerous vile attacks by Sinclair (who is non-Aboriginal) on Deputy Grand Chief, Dr. Goyce Kakegamic, an esteemed Aboriginal elder, activist, and noted artist who helped raise Norval’s children when Norval abandoned them. Sinclair, a high-school dropout, who also dropped out of an entry level art course at a Community College, and has no degrees, diplomas, or certificates in art or academics of any kind, has always targeted with special venom, accomplished people who do have credentials and achievements like judges, forensic scientists, and others like Dr. Goyce Kakegamic who earned a B.A. the hard way, and was awarded an Honourary Doctorate, by Lakehead University. In Sinclair’s world of racist HOAXERS the esteemed academic and Deputy Grand Chief is dismissed as some lowlife forger.

SINCLAIR BECOMES AN ERSATZ LAWYER

Sinclair the Ersatz Lawyer: Is Born – On April 1, 2009 Sinclair wrote to his once friend and correspondent Matulic bragging about his high self opinion of his abilities as a lawyer, though he had not graduated from high school or anything else either, since.

“You have 24 Hours to take down your defamatory statements about me. Alternatively I will have your site taken down and sue you for defamation. If you think I’m not serious ask your friends how they like dealing with the Canadian Court system and if Ritchie is up to the challenge.” (email to Ugo Matulic, Apr 1, 2009)

Before & After - From Sinclair's website, when he first called this Morrisseau painting autentic in his "Morrisseau Masterpiece Gallery," and then after taking instruction at Kinsman Robinson Galleries from "My mentor" Donald Robinson, he completely reversed himself and reposted it as a fake instead. He did this many times, with many paintings. When Ugo Matulic published these many asinine reversals Sinclair threatened to sue him, hoping to shut him up.  Suing investigative journalists is another thing he learned from his "mentor" Donald Robinson. When Sinclair failed to shut up Matulic, Kinsman Robinson Galleries decided it would "Sue to Scare" Matulic with a million dollar SLAPP suit. When the KRG lawyer, Chloe Snider, saw the mountain of proof Matulic had, she advised KRG that they had better capitulate, FAST or end up losing AWFULLY in court. KRG totally abandoned its SLAPP suit and Matulic continued to publish as before.

Before & After – From Sinclair’s website, when he first called this Morrisseau painting autentic in his “Morrisseau Masterpiece Gallery,” and then after taking instruction at Kinsman Robinson Galleries from “My mentor” Donald Robinson, he completely reversed himself and reposted it as a fake instead. He did this many times, with many paintings. When Ugo Matulic published these many asinine reversals Sinclair threatened to sue him, hoping to shut him up. Suing investigative journalists is another thing he learned from his “mentor” Donald Robinson. When Sinclair failed to shut up Matulic, Kinsman Robinson Galleries decided it would “Sue to Scare” Matulic with a million dollar SLAPP suit. When the KRG lawyer, Chloe Snider, saw the mountain of proof Matulic had, she advised KRG that they had better capitulate, FAST or end up losing AWFULLY in court. KRG totally abandoned its SLAPP suit and Matulic continued to publish as before.

From October 2008, when Sinclair had done a complete about face, literally overnight, from praising 1970s Morrisseau BDP paintings, to denouncing them as fakes, the high school drop-out and starving artist suddenly committed himself to the HOAX, and went overboard in joining and promoting the self-interest of the small clique of Conspiracy Theorists hunkered down in the Kinsman Robinson Galleries.

More idiotic mistakes from Sinclair's website which attacked Morrisseau art. Here he posted as a Morrisseau "Masterpiece" a painting Norval never ever had anything to do with. It was painted by Richard Bedwash. But to Sinclair, with no academic fine art credentials of any kind, and no First Nations cultural experience of any kind, one Indian is just like another. Another exposé by Ugo Matulic of the utter and total incompetence of Kinsman Robinson Galleries and its enforcer Ritchie Sinclair. NOTE THAT SINCLAIR POSTED THIS, AND THE PREVIOUS ONE, AS AUTHENTIC FOR FOUR AND FIVE MONTHS OR MORE BEFORE HE REVERSED HIMSELF UTTERLY, AND REMOVING THEM, SO EXPOSING HIMSELF AS THE WORST FINE ART AUTHENTICATOR IN  CANADIAN HISTORY, RIGHT BEHIND THE INSURMOUNTABLE RECORD OF ACHIEVEMENT IN THE SAME CATEGORY BY DONALD ROBINSON.

More idiotic mistakes from Sinclair’s website which attacked Morrisseau art. Here he posted as a Morrisseau “Masterpiece” a painting Norval never ever had anything to do with. It was painted by Richard Bedwash. But to Sinclair, with no academic fine art credentials of any kind, and no First Nations cultural experience of any kind, one Indian is just like another. Another exposé by Ugo Matulic of the utter and total incompetence of Kinsman Robinson Galleries and its enforcer Ritchie Sinclair. NOTE THAT SINCLAIR POSTED THIS, AND THE PREVIOUS ONE, AS AUTHENTIC FOR FOUR AND FIVE MONTHS OR MORE BEFORE HE REVERSED HIMSELF UTTERLY, AND REMOVING THEM, SO EXPOSING HIMSELF AS THE WORST FINE ART AUTHENTICATOR IN CANADIAN HISTORY, RIGHT BEHIND THE INSURMOUNTABLE RECORD OF ACHIEVEMENT IN THE SAME CATEGORY BY DONALD ROBINSON. It’s quite understandable since Sinclair calls Robinson “My Mentor,” which means “instructor, teacher, adviser, tutor, guide, coach, counselor.” A classic case of the “blind, leading the blind.”

Since then, Sinclair appears to have become the chief publicist, and the director of legal operations for all the lawsuits alleging fakes, brought by those gullible people who have allowed themselves to be persuaded by Sinclair that they purchased fakes, and so should sue the gallery.

Of course, the galleries that were targeted all just happen to be competitors of KRG, as well as on Sinclair’s hit list.

With generations of Morrisseau experience behind her, she stood her ground against idle gossip from Conspiracy Theorists including the Norval Morrisseau Heritage Society.

With generations of direct contact with Norval Morrisseau and his art behind her, Jackie Bugera and her gallery stood their ground against the slanging idle gossip from Conspiracy Theorists – Dr. Browne, Ritchie Sinclair, Zak Muscovitch, and including some pompous but utterly wrong-headed members of the Norval Morrisseau Heritage Society – and refused to agree her painting was a fake. A forensic scientist later proved her utterly right, and the naysayers? … dumber than a bag of hammers.

Sinclair the Ersatz Lawyer: Part 1 – Browne v Bugera – Sinclair was involved in initiating the lawsuit launched, on  Jan. 15, 2009,  by Dr. Jonathan Browne and Dr. Julie Witmer of Ottawa, Ontario, against Jackie Bugera and the Bearclaw Gallery, of Edmonton, Alberta, accusing her of selling them a fake, “Grandfather Speaks of Great Ansistral Warrior 1977.”

The painting had also been secretly slanged as a fake by members of the Norval Morrisseau Heritage Society, probably at the water cooler at the National Gallery of Canada where Witmer and Browne were listed patrons right below Wallace “the potato man” McCain. It takes no brains to figure out that the two hometown NMHS members who sniped in secret were fellow Bytown bosom buddies, Ruth Phillips of Carleton U and Greg Hill, a curator at the NGC.

Beset by self-declared Morrisseau experts, Sinclair, Phillips and Hill, the good Doctors panicked big time, when they were assured “Grandfather” was a fake. Sinclair brought the Brownes together with his own lawyer, Zak Muscovitch – the attack dog Sinclair had used against Potter back in 2004 – to draw up the legal papers, with Sinclair providing the fine art content, assessment, and criticism. Zak had been Sinclair’s lawyer since 1998.

It is an astonishing thing how two obviously highly achieving academics, like the Doctors Browne and Witmer, can act so impetuously and idiotically at the behest of a high-school drop-out, even going so far as to publish a malicious and defamatory website “MorrisseauBuyersBeware.com” slanging Bearclaw Gallery, and “Grandfather” and other similar Morrisseaus as fakes.

Dr. Jonathan Browne discovered to his considerable embarassemnt that not practicing due diligence before following bad advice is not something a neophyte art collector should do.

Dr. Jonathan Browne discovered to his considerable embarrassment that not practicing due diligence before following bad advice, from a high school drop-out, is not something a neophyte art collector should do.

The Drs. Browne and Witmer – both noted art patrons of the National Gallery of Canada – suddenly transformed themselves, via a stupendous Sinclair type transformation, from hapless and ignorant art victims, to internet authorities on Morrisseau fakes, and were quite comfortable in going public – with no independently verifiable facts – to suddenly start slanging Jackie Bugera, and her Bearclaw Gallery, a long established and reputable Morrisseau dealer who had ties to Norval himself, going back two generations, and over many decades.

They were so wrong-headed with their claim that “Grandfather” was a fake that they stubbornly refused the offers by both Michael Moniz and Ugo Matulic when the duo offered to pay for an expensive forensic examination (well over $1,000), so that Browne and Witmer could get a scientific and independent assessment of the so-called Sinclair fake. But no, they and their high-school dropout ersatz art expert and legal advisor, on secondment from the Conspiracy Theorists at the KRG, knew better.

No retailer likes a noisy, disgruntled customer, no matter how wrong-headed, so Bugera quietly settled the lawsuit out of court, with Bugera giving the grousing customers back their money.

The painting that gullible CT Proxies Dr. Jonathan Browne and Dr. Julie Witmer claimed was a fake was subsequently certified as a genuine Morrisseau by a forensic scientist. Proving, once again, that you shouldn't blindly listen to people who claim they are experts whom you meet on an  internet dating site.

The painting that gullible CT Proxies Dr. Jonathan Browne and Dr. Julie Witmer claimed was a fake was subsequently certified as a genuine Morrisseau by a forensic scientist. Proving, once again, that you shouldn’t blindly listen to people who claim they are experts whom you meet on an internet dating site.

Bugera did not budge an inch, in her belief and claim that “Grandfather” was a genuine Morrisseau. But she demanded that Browne and Witmer take down their libelous and defamatory web site, and to shut up in public with their wild, fraudulent, and unsubstantiated allegations.

The duo slinked out of public view, and removed themselves from the masthead as prominent patrons of the Art Gallery of Canada.

Bugera also got Browne to get Sinclair to remove his libelous, malicious, and defamatory postings of her name and her paintings.

Here is how Sinclair ”complied,” after removing the pictures, by replacing them with dozens of huge red stop signs still prominently linking the name of Bearclaw Gallery as the source of endless forgeries.

On Apr 1, 2012, top forensic scientist Kenneth J Davies, found, with DNA certainty, that “Grandfather” was authentically signed by Norval Morrisseau in the BDP style, proving incontrovertibly that Drs. Browne and Witmer had falsely slanged an authentic Morrisseau. and clearly libeled the owner of Bearclaw Gallery.

And that the “Doctor duo” had been dumber than a bag of hammers to listen to Ritchie Sinclair.

So high-school dropout Ritchie Sinclair loses Round 1 as a Credible Morrisseau expert, being utterly discredited in his claims and expertise by a top forensic expert.

Sinclair the Failed Ersatz Lawyer: Part 2 – Otavnik v Sinclair – On Dec. 22, 2008, Joe Otavnik, stung by Ritchie Sinclair’s malicious, libelous, and defamatory slanging of his genuine Morrisseaus on his website launched a lawsuit against Sinclair, accusing him of lying when Sinclair publicly claimed “Jesuit Preist Brings the Word 1974” was a fake. 

The Notorious Robinson Expert Report #1 – “Jesuit Preist” – Sinclair recruited Donald Robinson, whom he calls “My mentor,” to write a 114 page “expert report” proving “Jesuit Preist” was a fake.

IMPORTANT HISTORICAL NOTE: This notorious Robinson Report, specially commissioned by Ritchie Sinclair, would be the first ever mention in any published literature anywhere, in this world or the next, of Ritchie Sinclair. Here, in that self-serving document, is Robinson’s absolutely tepid endorsement of Ritchie Sinclair AKA “Stardreamer,” “protégé of Norval Morrisseau.”

“I would like to recognize Ritchie Sinclair for his efforts to identity Norval’s true artistic legacy. He is another person struggling with few resources against organized multi-faceted legal actions.” (Robinson, Acknowledgements, Sinclair & Hatfield Reports, 2009, 2010)

robinson_sinclairA One-handed Clap – Robinson gives Sinclair the kind of reference reserved for office secretaries, leaving totally unsaid anything with regard to his supposed Morrisseau connections or expertise.

So as late as 2010, it’s the best encomium – hell the only one – Sinclair has ever received from anyone else. Sinclair must have considered it a leg up. Remember he had stormed into Maslak McLeod railing against Donald Robinson for not putting him on the Norval Morrisseau Heritage Society’s roster of so-called Morrisseau experts.

Sinclair even got Robinson into court testifying why the Sinclair and Robinson duo – both claimed themselves to be ”the world’s top Morrisseau experts” – both considered “Jesuit Preist” a fake.

And then it gets worse, much worse – But Robinson was as utterly restrained in crediting Sinclair with any Morrisseau expertise on any level whatsoever, even when prompted to do so by Sinclair while testifying on his behalf before Judge Godfrey. The pompositous Sinclair obviously expected Robinson to wax honourific about “Ritchie – Stardreamer – Sinclair, protégé of Norval Morrisseau.” All he could get out of Robinson was a loud thud…

Ritchie Sinclair found trying to elicit a commendation out of Donald Robinson harder than pulling teeth from a walrus.

Ritchie Sinclair found trying to elicit a commendation out of Donald Robinson harder than pulling teeth from a walrus.

“MR. SINCLAIR: Q. Um, could you tell the court a little bit about who I am, Mr. Robinson, and what you know of who I am and my relationship with Norval Morrisseau?
A. Well, I understand that you were, you were once, but you knew Norval Morrisseau a number of years, and that you were painting with him. I am not sure what else I can say.” (Court Trans/Otavnik v Sinclair: Mar 18, 2010 p129)

A truly tellingly tepid endorsement if there ever was one for the self-proclaimed chosen protégé of Norval Morrisseau. But Robinson was incapable of saying anything more because there was nothing more to say. Everything Sinclair says about himself is made up in his own wild fantasy world. Robinson was only being honest.

Robinson only says – according to what he knows – that Sinclair “knew” Norval for “a number of years” – thousands of people can say that! And that Sinclair painted with him – literally hundreds of others can say the same thing among the thousands of people Norval brushed up against, in his fifty years as Canada’s most widely travelled artist.

In 2014 those two Robinson encomiums to Ritchie Sinclair are the only references that appear in the published academic literature on Norval Morrisseau, or among the thousands of pages of Court Transcripts that I have read over the last six years.

And then it gets worse…

In fact Robinson had NOT mentioned Ritchie Sinclair even once, in his “Travels to the House of Invention (1997).” Nor did he add Sinclair when he updated the book in 2005, and made a paltry few additions – but significantly adding the names of Gabe and Michele Vadas as important in Norval’s story.

Robinson clearly thought the Vadas addition was extremely important because in 2005, everyone expected Norval to die momentarily, and Vadas would inherit everything. And at that very moment Donald Robinson was storing some $20 to $40 million dollars worth of Norval’s paintings in the the KRG basement for Vadas. Clearly Robinson wanted to ingratiate himself with Vadas so he would continue to be his dealer for this huge hoard of paintings.

BUT ROBINSON DID NOT ADD THE NAME OF RITCHIE SINCLAIR. Repeat, this was in 2005.

It is pretty clear, that while Robinson is willing to employ Sinclair as an enforcer, blogger, and guerrilla emailer, and to associate with Sinclair in the courts – where the public galleries are always empty, and the transcripts are never read – he does not want his name associated with Sinclair’s in the Morrisseau books that will be read by Posterity. Or by representing him to his clients, as a gallery artist, which he has utterly refused to do in the past 17 years.

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

Spreading Terror among the Conspiracy Theorists, was Brian Shiller, the Defendant’s Counsel, and champion of “Wheel of Life 1979” as a genuine work by Norval Morrisseau. He won his case 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. And then he did it again delivering another courtroom defeat to Sommer in the Appeal before Madam Justice Mary Anne Sanderson in the Ontario Superior Court of Justice.

Lawyer Brian Shiller in his cross-examination, mercilessly roasted Robinson by turning him ruthlessly on a spit of his own creation during Hatfield v Artworld, asking him about the glaring omission of “Ritchie Sinclair – Stardreamer – the chosen protégé of Norval Morrisseau,” in the two last books Norval and he would ever produce on the artist and his legacy.

“Q. Okay. Now, you wrote two books on Mr. Morrisseau; correct?
Donald Robinson: Yes.
Q. Is Ritchie Sinclair mentioned in either of those books?
Donald Robinson: I’m sorry; did he….
Q. Is Ritchie Sinclair mentioned in either of those books?
Donald Robinson: I don’t remember. I don’t; I mean, certainly not in a major way; perhaps not at all; I, I don’t remember; perhaps in the acknowledgements; probably not at all.
Q. Probably not at all?
Donald Robinson: I don’t remember it. They were written several years ago.
Q. One is in ’89 (sic); one is in ’05; correct?
Donald Robinson: Probably, yes.” (Court Trans/Hatfield v Artworld: Feb 23, 2012 p6)

If you wrote this for a movie script it would be totally rejected, as incredible, as nobody could possibly be so utterly forgetful about a “major personality” in two recently published major books. Clearly something else is going on in this massive verbal and mental shuffling that Robinson is desperately fumbling with.

A Sad Legacy of a Failed Artist – These few niggardly references to Ritchie Sinclair are all that survive of his supposed painting relationship to Norval Morrisseau – it is clearly non-existent

In the same two books, Norval Morrsseau, writing in his own chapter, utterly fails to make any mention – even one – of the self-proclaimed “Ritchie Stardreamer Sinclair, chosen protégé of Norval Morrisseau.”

All the documented and sworn testimony that does exist on Sinclair and his relationship to Norval Morrisseau is that for a brief moment in time he was what the Morrisseau family and Christian said he was, “the self proclaimed protégé and former short-term boyfriend of his father.” – (Christian Morrisseau (Norval’s son) to Donna Child, Mar 7, 2008)

Donald Robinson wrote a huge report trying to prove Jesuit Preist was a fake. Judge Godfrey didn't buy it and urged Joe Otavnik to get a forensic finding for the signature. He did, and a top Canadian handwriting expert said it was an authentic Morrisseau signature, with DNA certainty.

Donald Robinson wrote a huge report trying to prove Jesuit Preist was a fake. Judge Godfrey didn’t buy it and urged Joe Otavnik to get a forensic finding for the signature. He did, and a top Canadian handwriting expert said it was an authentic Morrisseau signature, with DNA certainty. Proving that Robinson and Sinclair are dumber than a bag of hammers.

On Jan 11, 2011 Judge MD Godfrey totally and absolutely ignored, and so dismissed, entirely, both Sinclair’s testimony and Robinson’s expert reports and testimony, ruling that the painting was not in any way, shape, or form degraded, discredited, or devalued, essentially, as a result of any of their claims, and that it was as authentic a Morrisseau as it was the day it came into court. Robinson had spent six months fabricating a report that the judge essentially threw verbally into the waste bin.

To add insult to injury, Judge Godfrey who already found that neither Sinclair nor Robinson had convincing arguments that “Jesuit Preist Brings the Word 1974” was a fake, neither did Joe Otavnik demonstrate to him that what Robinson and Sinclair had said and done – after all Godfrey had found their allegations false and lacking in factual merit – had damaged his painting in any way. He even recommended that Otavnik get a forensic scientist to authenticate it to solidify its credibility.

On Dec 19, 2011, top forensic scientist Kenneth J Davies, found, with DNA certainty, that “Jesuit Preist Brings the Word 1974” was authentically signed by Norval Morrisseau in the BDP style, proving incontrovertibly that both Ritchie Sinclair and Donald Robinson had falsely slanged an authentic Morrisseau.

And proving, incontrovertibly, that either, Sinclair and Robinson had been dumber than a bag of hammers, or…

And proving that Judge Godfrey had exhibited uncanny insight and had been “right on” with his ruling.

So high-school dropout Ritchie Sinclair loses Round 2 as a Credible Morrisseau expert, being utterly discredited in his claims and expertise by both a judge and a top forensic expert.

Sinclair the Failed Ersatz Lawyer: Part 3 – Hatfield v Artworld – One person who had been drawn to Jonathan Browne’s defamatory “MorrisseauBuyersBeware” website was a little old retired school marm, Margaret Hatfield, who now began to fear her own painting “Wheel of Life 1979” – bought several years before, in 2005, from Artworld of Sherway – was a fake, and in a panic, contacted Browne.

Dr. Browne, only months after agreeing to a settlement with Bugera, and agreeing to dismount his defamatory website and submit to a gag order, was obviously now, nursing a huge grudge against Bearclaw, and decided his brand of ethics didn’t forbid him from slanging Bugera and her painting in private.

The good Dr. Browne immediately referred Hatfield over to Ritchie Sinclair, the high-school dropout.

Sinclair was quick to see an opportunity to slang Artworld, one of the very galleries that had refused to represent him in 2008, thus standing in the way of his own envisioned new kick-start to his art career, aided by his claims of being Norval Morrisseau’s chosen protégé.

It was Sinclair who now seems to have affirmed for the elderly retired school marm, that her painting “Wheel of Life 1979” was indeed a fake, and encouraged her to launch a lawsuit against Artworld and hit them up for a ton of money.

And so Sinclair, seems to have referred and directed her business to lawyer Jonathan Sommer.

Previously, when Sinclair’s own lawyer, Zak Muscovitch got into hot water over a Morrisseau related issue, and was being sued by Joe Otavnik for preparing and notarizing a false affidavit, he had hired Jonathan Sommer to represent him in Otavnik v Muscovitch.

(Joe Otavnik had taken considerable exceptions to a false and vile defamatory affidavit that Zak Muscovitch had prepared and notarized for Sinclair, and included in court documents. In his defence, Muscovitch claimed he was not responsible for their accuracy or truth because as a lawyer, he was not duty bound to read anything he prepared and notarized or verify with research anything he prepared and certified with his Notary’s “rubber stamp,” even if it contained allegations of serious criminal behavior.)

Now Sommer would get a second job – Hatfield v Artworld – thanks to Ritchie Sinclair. It would lead to a financial disaster for his client, when a court ultimately utterly dismissed Sinclair as not being knowledgeable, believable, or trustworthy on any level as a witness, or as an art, or Morrisseau expert, and rejected his testimony as well as that of a man Sinclair referred to as “My mentor,” Donald Robinson.

The far seat is where Jonathan Sommer was advised by Ritchie Sinclair who knelt down beside him. Beside him was where Margaret Hatfield sat when Sinclair came up behind her, grabbed her and kissed her.

The far seat is where Jonathan Sommer sat when he was advised by Ritchie Sinclair, who crouched down beside him as he supplied him documents and instructions on what to say about what. This side of Sommer was the swung out seat where Margaret Hatfield sat when Sinclair came up behind her, grabbed her and kissed her, on the top of her head, to steady her badly shattered nerves… I had a bird’s eye view of it all, for five long days, over two years, from a seat just seven feet to the right. For a historian and an investigative journalist, it’s just as important to be able to observe the actors in a drama, up close and personal, as it is to read the 750 pages of transcripts the trial produced, which of course, I also did, and repeatedly studied.

The Ersatz Lawyer Directs Jonathan Sommer 1 – One amazing observation I made in court is how Sinclair, repeatedly and actively directed a passive Jonathan Sommer in how to prosecute the case even though Sinclair has no post-high school education, and was not a party or litigant in the Hatfield v Artworld lawsuit. He was only brought in as a witness for the Plaintiff, Margaret Hatfield, by her lawyer, Jonathan Sommer – and so was not even supposed to be in the public gallery during the proceedings.

On several occasions during recesses, Sinclair quickly approached Sommer at the Plaintiff’s desk – seven feet in front of me – and handed him documents on which he vigorously pointed out the salient features to the completely passive lawyer, and verbosely explained how to use them to the greatest effect.

This odd coupling was possible because Sinclair seems to have brought Sommer and Hatfield together, essentially giving Sommer the job to as Plaintiff’s lawyer for Hatfield v Artworld of Sherway.

sinclair_maggieThe Sinclair “Kiss of Death” – On another such occasion, Sinclair walked up behind the elderly Margaret Hatfield – only seven feet in front of me – and grabbing her by the shoulders planted a big kiss on top of her head. Sinclair was openly desperate in wanting to reassure a clearly frail old lady Plaintiff who was, to my close observation, utterly frightened, by the court process, by the respectable and confident Defence team she saw opposing her for the first time, the disastrous case she increasingly found herself in the middle of, and the knowledge that her lawyer had submitted billings of some $40,000, in a Small Claims Court Case, if you can imagine. These billings, would mount to an estimated $58,000 when Sinclair and Sommer decided to accuse Judge Martial of some 35 judicial mistakes (published by Sinclair) and seek an expensive Appeal, all funded by a totally hapless and clearly manipulated little old lady. The kiss was meant to keep her in line.

In Ontario Superior Court Madam Justice Mary Anne Sanderson, brusquely and speedily, utterly dismissed the Appeal and refused Sommer a new trial. I watched the whole Appeal – Sommer sat ten feet in front of me, Ms. Hatfield on my immediate left, and Sinclair immediately beside her, all of us squashed into small seats in a tiny public gallery. Giving me a wonderful bird’s eye view to see how Sinclair was directing Jonathan Sommer in what to say and when to say it.

Even though Sinclair was to be Sommer’s only witness for the Hatfield trial (he also had  an “expert witness” Donald Robinson), and court rules forbid a witness from observing the court  proceedings until after he has testified, (and Sinclair knows this rule, even if lawyer Sommer didn’t) Sommer allowed Sinclair to stay in the court the whole first day when Ms. Hatfield was testifying. Which is how the “Kiss of Death” came about.

The defense lawyer, who was then Robert Dowhan, complained to Sommer and to the Court. The next day, Sommer told the Court that he was now adding a “new witness” to his list, which is totally untrue, because the witness list has to be handed in 30 days before the trial. And besides, in over two years, Sommer produced no other witnesses at all – not one – and only one “expert witness” which was Robinson.

So on the one side you had a couple of longtime business partners, one of whom Sommer had masquerading as an “expert witness” – a belief of which he was to be brusquely disabused by Judge Martial in his finding – while the Defence had seven witnesses from a wide variety of backgrounds and interests. They came from all over Canada, and most had never met each other. And the Defence had an expert witness in Dr. Atul K Singla who had no personal, business, fine art, or financial ties to anyone else. A truly “expert witness” and friend of the court in the best sense of the word.

This was the lop-sided reality faced by Judge Martial, and in a real sense, tied his hands, and put him on an unwavering railway track to his finding. In fact months before he published his finding I had predicted and published how he would rule.

Disclosure: I admit I was not a fan of Judge Martial during the trial. I admit he outfoxed me completely and others in the public gallery. I – and others – thought he should never have allowed Donald Robinson – with obviously huge financial self-interest at stake – to testify as an “expert witness” or to then go on to testify for so long. In a trial which had 10 (ten) witnesses, fully 1/3 (one-third) of the trial transcripts feature Donald Robinson, giving mute proof that Judge Martial was bending over backwards for the Plaintiff, even at the expense of offending the public gallery. It is incontrovertible proof of the ludicrous claim made by Jonathan Sommer in his Appeal, that Judge Martial did not listen to his expert witness or witness. And in fact, the number of Sinclair’s trial transcript pages are only matched by those for one Defence witness.

A Colossal Rebuff – What it does, is, it underlines, hugely, the determination of Judge Martial to treat the allegations seriously, and then having done so – beyond a reasonable doubt – illustrates the true magnitude of the rebuff dealt to the quality of witnesses and argument that Jonathan Sommer presented to the court.

As a matter of fact, I could see that Sommer had no case – in fact I told him, face-to-face, in the hall, on Day 1, that he was flogging a dead horse because “Wheel of Life 1979” was genuine – because he did not bring in as witnesses any of the people whom he should have brought in to testify, including Morrisseau’s “caregivers” Michelle Vadas and Gabor Vadas (who had wielded Morrisseau’s Power of Attorney and handled all his legal and financial affairs for 17 years, Morrisseau’s doctor from Nanaimo, and lawyer Clark Purves from Victoria who had supposedly sent a weird demand letter with a key document attached, that, strangely had been prepared and added 5 days after the lawyer’s letter was issued.

In fact, in his finding, two years later, Judge Martial noted the lack of important witnesses he had expected Sommer to produce for a trial of this importance.

All alone, on the Plaintiff side, Sommer had only longtime collaborators, Sinclair and Robinson, who had teamed up again – as they had in their previous disastrous outing in Otavnik v Sinclair – and Robinson had produced another fabricated “expert report”, all to “prove” his very self-serving claim that the Hatfield painting, “Wheel of Life 1979,” was a fake.

Judge Martial totally rejected anything either of the duo had to say, or produce for the court.

So dealing Sommer a courtroom defeat of epic proportions.

He should have known better than so obviously, and repeatedly, take legal advice and direction for a failed ersatz lawyer like high school dropout Ritchie Sinclair.

Sinclair Lashes Out at First Nations Artists – Sinclair specifically lashed out at Morrisseau family members and First Nations artists during the Martial court claiming that Wolf, Norval’s brother, was a forger, and “David Morrisseau’s definitely one… Christian Morrisseau’s definitely one. Eugene Morrisseau’s definitely one. His nephew, Benji Morrisseau is another. There’s (sic) a few others.” (Court Trans/Hatfield v Artworld: Jun 4, 2012 p198)

Sinclair’s anti-Aboriginal invective was copied from his “Mentor,” Donald Robinson, who in testimony on the stand, while questioned by Defence lawyer Robert Dowhan, carried out a visceral attack – I witnessed Robinson’s unrestrained venom from ten feet away – on all the members of the Morrisseau family, calling them all liars and forgers, and adding the name Lisa Morrisseau to the list. (Court Trans/Hatfield v Artworld: Sep 11, 2011 p17)

“Robert Dowhan: All right, and you tendered as Exhibit 10 to this proceeding a document that you brought yourself that there are one, two, three, four, five, six individuals that say they witnessed Norval Morrisseau sign paintings on the back in black acrylic paint with a brush.
Donald Robinson: Yeah….
Robert Dowhan: They’re all lying?
Donald Robinson: They are all lying, absolutely. They’re complicit in this whole scheme.
Robert Dowhan: All right.
Donald Robinson: Bear in mind he’s in – it’s all just one family.”
(Court Trans/Hatfield v Artworld: Sep 11, 2011 p24)

Interestingly in his anti-Aboriginal tirade, Robinson was attacking the ethics and morality of his own artist, because Norval was sitting in the midst of the family group that Robinson lambasted and called liars and forgers. So, how trustworthy is a man’s (Norval’s) signature on an Affidavit of Forgery, when his own business partner calls him a crook, liar, and forger in front of a judge?

To me that fact alone totally destroys the only underpinning for the Greatest Fraud in Canadian Art History, which entirely depends on only one thing: Norval’s truthfulness – his Dementia-debilitated brain aside – when his signature appeared on those Affidavits from 2003-2005, claiming hundreds of his genuine paintings were fake.

Judge Martial was far more brutal, than Judge Godfrey had been, in his dismissal of the “Don and Ritchie Show,” “rejecting” outright, multiple times, their claims, expertise, expert reports, and testimony. And throwing into their faces his ruling that the painting they claimed was a fake, front and back, was in fact, authentic, both front and back.

Now a second judge, Martial, has piled on the discredited starving artist and high-school dropout, and has more severely and directly rejected and discredited Sinclair as having any credibility, either of art or Morrisseau expertise of any kind.

The painting “Wheel of Life 1979” had also been ruled authentic by one of Canada’s top forensic scientists and handwriting analysis experts, Dr. Atul K Singla, Ph.D. (forensics), M.A. (forensics).

But being a disastrously losing lawyer paid Sommer handsomely. Ms. Hatfield, the retired little old lady school marm would end up losing some $57,000 (which would be the final estimated billing, for the trial and the Appeal by Sommer based on fees he charged that he provided to the court).

All due to Sinclair and Sommer’s totally inept attempts to prove a genuine Morrisseau BDP painting was a fake before both, a judge of the Small Claims Court, and a Justice of the Ontario Superior Court.

In fact – and both Sinclair and Sommer knew it – “Wheel of Life 1979” had already been authenticated as genuine by a slew of Morrisseau experts and one of Canada’s top forensic scientists, who found it authentically signed by the artist,  with DNA certainty, and by no one else.

Anti – Forensic – Sinclair has expressed and shown a special disdain for Canada’s highly educated and credentialed top forensic scientists and handwriting analysis experts, still listing in 2014 as “inferior counterfeits” over 70 of Norval’s 1970s BDPs, authenticated by top handwriting analysis experts, including “Shaman Envelopes Soma 1976” the first and only Morrisseau painting in history to ever receive a forensic authenticity rating of “beyond DNA” certainty of 100%.

This is obviously because the highly educated forensics and handwriting experts are the ones who, in court, are listened to and respected by the judges, not those who claim they are experts, then testify in a way that makes it obvious that they are driven by self-interest, not by an interest in truth.

Judges would rather believe a highly educated forensics and handwriting expert who testifies that he has analyzed the black dry brush signature on the back of a 1970s painting and compared it with other known Morrisseau signatures from letters, etc. and has verified that it is indeed a genuine Morrisseau signature, which means that the painting is indeed a genuine Morrisseau painting.

So high-school dropout Ritchie Sinclair loses Round 3 as a credible Morrisseau expert, being utterly discredited in his claims and expertise by a second judge and another top forensic expert.

Sinclair’s Motives in Hatfield v Artworld

But Sinclair actually comes out of it without losing anything, since he has invested no money whatsoever into the process. He, however, has manipulated the situation to continue fulfilling his motives, which are malice (against those who would not sell his own paintings, revenge (against collectors who would not buy his paintings), and a desire to ingratiate himself to Donald Robinson (who he had called his “mentor,” the same title he used to describe Norval Morrisseau.)

Sinclair, along with his crony Jonathan Browne, had convinced the gullible Margaret Hatfield to become the proxy to further the aims of the people who had invented and spread the Morrisseau Hoax (i.e to convince the public that there were “thousands of fakes ‘out there’ created by umpteen forgers”) even though not one iota of credible evidence had ever been produced by anyone. Ms Hatfield paid the bills for the effort to prove their unsubstantiated cause.

The attack (malice and revenge) was on Artworld of Sherway, and its Director Donna Child, who had turned down Sinclair’s request to become an artist represented by her gallery. The Gallery and its Director were also a party in the multiple dealer lawsuit against Sinclair.

The attack was also intended for Jim White, the person who had consigned the painting “Wheel of Life” to Artworld to sell. White was also a party to the large lawsuit against Sinclair.

Both Child and White and their companies were competitors of Sinclair’s so-called “mentor,” art dealer and gallery owner Donald Robinson, who had been Morrisseau’s principal dealer for the last decade of his painting life (and who was the only other witness for Hatfield other than Sinclair.) So, by manipulating his proxy to attach Child and White and their businesses, Sinclair has continued to ingratiate himself, and make himself indispensible to, art dealer Donald Robinson.

And, keep in mind, that, in October 2008, Sinclair had become the public face and mouthpiece of the “Conspiracy Theory” that was originally invented and spread to the public by Robinson with no substantiated evidence (and with the help of compliant and lazy journalists who failed to do due diligence before they spewed out what Robinson had virtually dictated to him.

Sinclair was lashing out and attacking in all directions, and coming up with all kinds of wild “theories” (which Sinclair claimed were “facts”) for which there was never a single shred of credible evidence produced. But, it seems, no one could touch Sinclair in civil court, because he has no visible income, and no visible assets.

Proving, incontrovertibly, that however discredited the claims proved to be, the pay could be lucrative for those getting paid by the gullible proxies.

While the ulterior motives of Sinclair, and the self-interested originators of the “Conspiracy Theory” aka the “Morrisseau Hoax” were being met.

Sinclair the Failed Ersatz Lawyer: Part 4 – Queen v Otavnik – On May 2013, only weeks after Judge Martial issued his finding against the disastrous case presented by Jonathan Sommer, another judge stepped into the picture – The Hon Justice Alphonse T Lacavera – and ruled hugely against Sinclair, in the Criminal Harassment and Assault case Sinclair had launched against Joe Otavnik in September 2009.

Rewind – As a result of Sinclair’s libelous and defamatory website, launched in October 2008, by December, 2008, the malicious high-school dropout was beset by multiple lawsuits from leading Canadian art dealers.

In reply, in early 2009, Sinclair launched a blizzard of angry and threatening emails. Sought out for special attack was Ugo Matulic who accused Sinclair, KRG, and Don Robinson of conspiring in a fraud to debase, discredit, and devalue genuine Morrisseau BDP paintings. Sinclair demanded Matulic stop mentioning Sinclair on his blog. Matulic ignored him.

On Mar 28, 2009, Matulic received an anonymous “death threat” email threatening to put him in a “meat-grinder” (like in the movie Fargo.) Matulic’s site meter traced the call to the home computer and the “Stardreamer C-drive” of Ritchie Sinclair.

Matulic went to the police and swore out a report, alleging Criminal Harassment, but truly scared of Sinclair, he refused to publish any of it on his blog.

Six months later in September 2009, Matulic published, naming Ritchie Sinclair as the author of the “meat-grinder” death threat and saying he had reported it to police.

Sinclair would later testify before The Honourable Justice Alphonse T Lacavera, that it didn’t come from him.

“I would never send anybody a letter that was threatening in any way. That is not my nature, and I would never consider doing such a thing… I was extremely upset. Here I’m a person that has been clean as a whistle all my life, and these people, behind my back complained to the police in another whole part of our country, about something I had absolutely nothing to do with, and I had no knowledge of it, so I immediately went to the police and I said ,’Look, you guys, this man is harassing me like crazy…it had nothing to do with me, but it’s still up there. It still says, “Death threat by Ritchie Sinclair.” (Transcript/Queen v Otavnik Jan 11, 2012)

Reality Check: Clean as a whistle? Sinclair had physically lunged at me in a court foyer, had smashed papers out my wife’s hand in a court room, and had stalked Joe Otavnik mercilessly with a camera in multiple court rooms where he was not a party.

And the Toronto Police had charged Sinclair with Criminal Harassment after some seven or more physically aggressive assaults on 82 year-old Joe McLeod, at his car, in the street, at his place of business, and had set off his burglar alarm at his home at 2 a:m.

The Toronto Police Arrest Warrant for Ritchie Sinclair.

The Toronto Police Arrest Warrant for Ritchie Sinclair.

As a precaution, just before Sinclair went to the Toronto police, he secretly got Jonathan Browne – remember him as the author of the Bugera defamation of a few months earlier – to phone the Calgary police to see if they were pursuing Matulic’s claims. This was obviously done so police could not detect Sinclair’s own ID or phone number etc. (Source: Sinclair’s reports and emails to the Toronto Police.)

Assured by Browne that the police said it was all on the back burner, Sinclair immediately went to the Toronto Police and filed his own Criminal Harassment case against Joe Otavnik.

Sinclair trained his guns on Otavnik for two reasons.

These Potter paintings forced Morrisseau and his business manager to settle out of court and pay Joe Otavnik $11,000 for defaming his paintings.

These Potter paintings – one being authenticated by a forensic scientist – forced Morrisseau and his business manager Gabe Vadas to settle out of court and pay Joe Otavnik $11,000 after he sued them in 2007, for defaming his genuine Morrisseau paintings as fakes. So Otavnik became the target of choice for Ritchie Sinclair and fellow Conspiracy Theorist Donald Robinson.

– On June 9, 2008 Otavnik had won a huge lawsuit against Gabe Vadas and Norval Morrisseau who had libeled him and slanged his genuine Morrisseau art as forgeries.

On Mar 13, 2007 a forensic expert completed a report that certified that the Otavnik painting slanged, by Vadas and Morrisseau, was, in fact, a genuine work by the artist, with DNA certainty.

But rather than daring to go to court with their proof against that of Otavnik, the cowering duo, of artist and business manager, asked Otavnik for an out-of-court settlement and paid him $11,000 to shut up.

Sinclair was angered that Otavnik had proven that Vadas and Morrisseau were both lying, and that a painting they – and Sinclair – had called fake, was recognized as authentic not only by a top forensic scientist, but as well as by Vadas and Morrisseau, in going so far as to pay off Otavnik.

– In Dec. 2008, two months after Sinclair’s libelous and defamatory website had gone up, Otavnik had launched a similar slew of lawsuits against Sinclair (and his collaborators) who were defaming Otavnik’s Morrisseau art on Sinclair’s malicious website.

Otavnik had launched a lawsuit against Sinclair (in which Judge Godfrey would ultimately rule against Sinclair’s claim of forgery). Otavnik had also launched lawsuits against Sinclair’s lawyer, his lawyer’s wife, and Sinclair’s roommate, Garth Cole.

Clearly feeling beset on all sides Sinclair had to lash out in some way.

First, in July 2009, then again in September, Sinclair went to Toronto police and swore out Criminal Harassment and Assault charges against Joseph Otavnik. They were all based on Sinclair’s very distorted descriptions of events that had happened many months before, some up to a year earlier.

Another seven months passed before, in April 2010, Otavnik would be charged by police  for Criminal Harassment and Assault, based entirely on Sinclair’s false claims. The evidence would all be based on Sinclair’s sworn testimony and in a sworn report of some forty pages he made to police. The trial would last for three years, and involve over 20 court appearances, and five full days of trial and testimony.

On May 19, 2013 The Hon Justice Alphonse T Lacavera issued his 40 page finding dismissed all the Criminal Harassment and Assault charges that Sinclair had made against Otavnik. Clearly Justice Lacavera did not believe a word from the man with the Stardreamer C-drive.

Justice Lacavera made it clear he did not believe a word in Sinclair’s sworn affidavit to police or in Sinclair’s  court testimony, rejecting his claims that Otavnik had put a headlock on him at Old City Hall, had thrown a heavy binder at him (which Sinclair was forced to admit was only about ten pages of paper stapled together), had aggressively intimidated judges, etc., or a number of other wild allegations which Sinclair claimed to be true.

Furthermore Justice Lacavera ruled that, as a result of testimony he had heard, plus questions he himself had asked the witnesses, he did not believe there existed, as Sinclair claimed, a so-called conspiracy of “thousands of fakes by umpteen forgers” of Morrisseau art out there.

Clearly he considered Sinclair to be no more credible or honest in his art expertise and Morrisseau knowledge than in his other wild claims.

So high-school dropout Ritchie Sinclair loses round 4 as a truthful court witness, believable police informant, or credible Morrisseau expert, being utterly discredited in his claims and expertise by a third judge.

Sinclair the Failed Ersatz Lawyer: Part 5a – Martial Appeal – After his disastrous courtroom defeat by Judge Martial in the Hatfield v Artworld case, in March 2013, lawyer Jonathan Sommer became desperate.

In what can only be considered a crass job ad for more similar legal business, Jonathan Sommer sent out the call in the Ottawa Citizen article, remarkably, just after his landmark courtroom setback and defeat by the Martial court:

“My opinion, and that of my client, based upon what I have seen, is that there is a huge problem with the existence of fakes, and people should be particularly cautious when purchasing the work of Norval Morrisseau, and examine each painting on a case-by-case basis, and not rely unduly on a single statement about a single painting made by a single small-claims courts judge.” (Headline, Ottawa Citizen, Jacquie Miller, Apr. 8, 2013)

In what can only be considered a stunning fit of pique, after a disastrous career-stopping loss in the Martial court, losing lawyer Jonathan Sommer struck out at a Judge, a judicial decision, and a professional process of which he was supposed to be a part. I believe it is unbecoming for a lawyer to try to overturn a legal process in the media by slanging a judge and his decision in such and unprofessional way when numerous people had paid tens of thousands of dollars to have a court ruling decide the issue. Only to find that the losing lawyer is slanging it all in the national media, in spite of, and in fact sneering at, due process. Does the Ontario Bar Association not have rules of conduct for its members? We complained about this several months ago. We are not surprised that this article in total, has been completely deleted from the Citizen archives and cannot be found anymore anywhere on the internet. Was it removed by the Citizen because it was such a journalistic embarrassment? Or did a lawyer threaten the paper with making him look bad and threaten action unless it was removed? You figure it out.

THE CASE OF THE MISSING ARTICLE – In what can only be considered a stunning fit of pique, after a disastrous loss in the Martial court, losing lawyer Jonathan Sommer struck out at a Judge, a judicial decision, and a professional process of which he was supposed to be a part. I believe it is unbecoming for a lawyer to try to overturn a legal process in the media by slanging a judge and his decision in such an unprofessional way when numerous people had paid tens of thousands of dollars to have a court ruling decide the issue. Only to find that the losing lawyer is slanging it all in the national media, in spite of, and in fact sneering at, due process. Does the Ontario Bar Association not have rules of conduct for its members? I complained about this several months ago, and am not surprised that this article in total, has been completely deleted from the Citizen archives and cannot be found anymore anywhere on the internet. Was it removed by the Citizen because it was such a journalistic embarrassment? Or did a lawyer threaten the paper with making him look bad and threaten action unless it was removed? You figure it out. IN FACT SOMMER WOULD APPEAL AND  END UP HAVING HIS CLAIMS AND COMPLAINTS BEING COMPLETELY AND TOTALLY  DISMISSED, BUT THIS TIME BY A JUSTICE OF THE ONTARIO SUPERIOR COURT OF JUSTICE. In fact Madam Justice Mary Anne Sanderson chided him – I was there; I heard her – for complaining about things that were, in fact, his own fault, due to lapses in his lawyering.

Sommer offers no new or old evidence to support this statement. In fact the “evidence” – actually the total lack of same – that he himself had offered in the just completed court proceedings indicated that there was ACTUALLY NO EVIDENCE OF ANY KIND FOR THESE STATEMENTS.

Which is exactly what Judge Martial clearly indicated to Sommer in his carefully considered 30 page finding.

LATER, JUDGE MARTIAL’S FINDINGS WERE TOTALLY AND STRONGLY UPHELD BY ONTARIO SUPERIOR COURT OF APPEAL MADAM JUSTICE MARY ANNE SANDERSON.

Incredibly, Sommer’s Ottawa Citizen “job ad” worked, even though he had disastrously failed at his previous “job” – the Hatfield v Artworld case. A few months later Sommer hooked a new client when John McDermott – he can sing but he can’t read – became convinced by Sinclair’s Conspiracy Theorist group that he too had fakes, and it was worthwhile spending $50,000 or more to try to get Sommer to try to prove it, again, in court.

And this just after the longest fine art court case in Canadian history had just proven in the most absolute terms possible – in this world or the next – that what the Sommer/Sinclair team had claimed about a painting, and about Morrisseau paintings in general, was absolutely false, in the extreme, by any measure you want to adopt, and had only succeeded in decimating the paltry retirement savings of a retired school marm.

Three times in a row now, Sinclair’s malicious and defamatory claims against three genuine Morrisseau paintings have been completely discredited by two of Canada’s top forensic scientists, who ruled they were authentic.

But the lawyer made a bundle, nevertheless. (Lawyers and stockbrokers always get handsomely paid, whether they win or lose. In truth, only the client loses.)

Sommer’s statement to the Ottawa Citizen, if correctly quoted, was, in my opinion, a gross and egregious falsification of the trial, of what Judge Martial’s finding had been, of all the five days of testimony which I had personally heard and witnessed, and of some 800 pages of trial transcripts I have read.

I heard everything he heard; I saw everything that he saw, from just eight feet behind him. And I read more court transcripts than he did, since I had over hundred pages transcribed that neither he nor the Defence lawyer had ordered or seen.

The Superior Court Weighs In – In fact Judge Martial’s findings, in their totality, would be massively upheld in the Appeal, when Madam Justice Mary Anne Sanderson agreed totally with Judge Martial’s handling of the case and his conclusions, even going so far as to chide Sommer about his conduct in the handling of both the trial and the Appeal, brutally dismissing all of his some 35 complaints as unfounded, untrue, and some even his own fault.

She stated that the judge had clearly taken a long time to conscientiously go through the 750 pages of court transcripts before rendering his verdict. Saying, in effect, that Sommer had – without cause – maligned a good judge, and a fair process, when he had only himself and his lawyering to blame for his landmark defeat.

The Incredulous Madam Justice Sanderson of the Superior Court  – I could see within the opening minutes of the Appeal, that Madam Justice Sanderson, right out the gate, smelled a rat. She could just not believe what she was hearing when Sommer explained how unhappy he was with Judge Martial’s verdict, which ruled in no uncertain terms that “Wheel of Life 1979” was absolutely authentic. She expressed her astonishment three different times, because she just could not believe what Sommer was saying.

“It should be a cause for rejoicing!” she blurted out several times, because she wanted to be sure she had heard right…

She had. And realized the same thing I had, in the public gallery: Sommer – along with his “legal director” Sinclair – had not been interested in an honest assessment of the painting by Judge Martial, and would settle for nothing less than for him to rule the painting was a fake. The Plaintiff would accept nothing less than that the court rule Sinclair and Robinson’s way.

Within the opening minutes of the Appeal, after which arguments were to go on for some four more hours – and a wait of 11 more days for a decision –  I knew instantly how Madam Justice Sanderson would rule in the case. In a flash the ludicrousness of the Appeal was instantly unveiled, hiding in plain sight, for all to see, provided they had eyes and basic intelligence.

Madam Justice Sanderson obviously realized that Sommer, Sinclair, and Hatfield, had a hidden agenda they were seeking to impose on the courts and its judges, namely that they wanted them to rubber stamp the Conspiracy Theorist claim of “thousands of fakes by umpteen forgers” that KRG had started and they were spreading through associates.

It was quite clear to me that Madam Justice Sanderson had no intention of allowing either herself, or the courts, to be hi-jacked to advance someone’s private business agenda.

Sinclair the Failed Ersatz Lawyer: Part 5b – Directing Jonathan 2 – Before Madam Justice Sanderson, Sinclair again played his aggressive lawyer role, in fact interjecting so loudly to something Jonathan Sommer had just agreed to, that Sommer literally spun around to face Sinclair and Hatfield, who were both sitting immediately beside me in the small public gallery.

As Madam Justice Sanderson was momentarily clarifying a point with Defence lawyer Brian Shiller, Sommer passed a note back to the duo. Sinclair aggressively dictated to Hatfield who scribbled furiously. Sinclair then passed the note to Sommer. Sommer then rose, and informed Madam Justice Sanderson that he had misspoken moments earlier and would like to correct the record.

Sinclair became the subject of a courtroom conversation when lawyer for the Defence, Brian Shiller, addressing Madam Justice Mary Anne Sanderson, said that Judge Martial had ample proof to call Ritchie Sinclair a liar and perjurer, but chose not to.

“I may suggest to you that the trial judge could have easily condemned Mr. Sinclair as a liar, and chose not to… And I put it to you, as to your shaking your head that you’ve read this part of the evidence. It was crystal clear in my submission that Mr. Sinclair was caught in a lie.”
(Brian Shiller to Madam Justice Sanderson, personal notes: Dec. 6, 2013)

In her final ruling on the Appeal, Justice Sanderson made the following comment on Ritchie Sinclair’s testimony at the trial:

“The trial judge was entitled to reject the evidence of Sinclair and to conclude it was unsupported and unreliable. Sinclair could produce no documentary evidence to support his assertion that a well organized forgery ring painted the works auctioned by Khan auctions.” (item 18, Ontario Superior Court 2013 ONSC 7801 Divisional Court File no. 209/13)

THE ENFORCER REPEATEDLY PERJURES HIMSELF
& WILDLY SNUBS CANADIAN COURTS

On numerous occasions I have seen, reflected in official court transcripts or have personally heard, Sinclair perjure himself in various courts, falsely claiming before a variety of different judges a variety of claims that are demonstrable false:

The Indian Imposter/Impersonator – at Otavnik v Sinclair – Sinclair told Judge Godfrey that he was “native artist, when he has not a single strand of Aboriginal background in his DNA, and has, in fact, pointed out numerous times, that he was “chosen” by Norval exactly because he was all white – that he was in fact the white “connection” – while Brian Marion who was Norval’s longtime boyfriend and his only documented “genuine protégé” – was the Aboriginal “connection.”

We have proof from a blog (long removed), written by John MacGregor Newman in his introduction to the interview he did with Ritchie Sinclair, on Oct. 14, 2008 in the Kinsman Robinson Galleries and posted on John Zemanovitch’s website (long removed).

“Ritchie immersed himself in learning Norval’s techniques and was personally chosen after an interview. Through osmosis, intense study and exposure to the thoughts and lessons of a master artist over several years, Ritchie arguably became the first non-native graduate of the Thunderbird School of Shamanistic Arts…”

Learning “through osmosis” is not recognized by any University, Community College, Art College, school, or any other diploma, certificate, or degree-granting institution anywhere, but probably had its origins in Haitian voodoism.

And “intense study” and “exposure to the thoughts and lessons” are not at all believable for a man who dropped out of high school, and then, at age 22, failed to complete a simple introductory course in commercial art at a 1979 type of community college, and has never, subsequently – like millions of other Canadians have, after high school – taken self-improvement courses in art school, night school, or going to a degree, certificate, or diploma granting college or university, and graduating.

This pretentious bumph was all John MacGreggor Newman and KRG hype designed to inflate the fractured ego of a starving artist at the lowest point in his artistic life and make him over as an “Enforcer” for their gallery and the biggest Hoax in Canadian history.

JUST SAYING SO, DOESN’T MAKE IT SO

The Proof is in…”Just Sayin’… Makes it So” – Sinclair also repeatedly exhibits the biggest cardinal sin of those with little or less education, loudly and overbearingly, pompositing about stuff for which they have no credible or independently verifiable proof of any kind. This group of dysfunctional intellectual pretenders seem to believe that “just saying, makes it so.”

Not So Fast #1: Says The Hon Justice Thomas R Lederer – On Dec. 4, 2008 The Honourable Thomas R Lederer, Justice of the Ontario Superior Court of Justice, commented directly on Ritchie Sinclair and his false and malicious claims on his website, for which five leading reputable Canadian art dealers launched a lawsuit saying he libeled and defamed them, and negatively affected their businesses.

Justice Lederer heard a Motion for Interlocutory Relief, which means that the 5 dealers bringing the lawsuit against Sinclair applied to have the court order that Sinclair’s malicious and defamatory website, with its multiple false allegations of fakes being sold by each business as listed below, be removed from the internet while the litigation against Sinclair goes on.

Maslak McLeod Gallery 45 images

Bearclaw Gallery 45 images

Artworld Gallery 36 images

Gallery Sunami 12 images

White dealership 24 images

http://www.canlii.org/en/on/onsc/doc/2008/2008canlii67901/2008canlii67901.pdf

link to Justice Lederer’s judgment on the motion for interlocutory relief related to the multiple dealer lawsuit

In a list where he goes into excruciating detail, in page after page listing Sinclair’s public postings, Justice Lederer, pointedly, referring to some 160 images, maligned and defamed as “stolen, forgeries, counterfeit or were otherwise ‘inauthentic,” and further, “The defendant in this case says he will defend the action by claiming the defamatory statements are true. No demonstration of the basis for this defence has been produced to this point.” (page 9)

And more even more damningly:

“The website suggests that a large number of the pictures to which it refers are ‘stolen, forgeries, counterfeit or otherwise inauthentic.’ It is difficult to believe that the defendant has had an opportunity to examine all the images referred to on the website against the list of factors to which he refers. Moreover, the website does not demonstrate or discuss any specific evidence demonstrating the failure of any image to satisfy all of these factors. There is nothing but the bald statement that they are frauds or counterfeits.”

And in fact, only months before, Sinclair – unbeknownst to Justice Lederer – had himself posted exactly the same thing, saying he had personally only seen a few of the paintings he was posting on his website. And was, now, latterly, slanging big time.

(Note: Until October, 2008, when he “jumped the fence” to front for the Robinsons and become the public face, the mouthpiece, and the attack weapon for the Morrisseau Hoax, Sinclair’s website had been devoted to praising Morrisseau’s paintings. He had included the statement below.)

“The images posted in this archive are not for sale. They are simply pictures of artwork that I collected from various internet art sources years ago and then posted here for inspiration and enjoyment. With the exception of paintings that I witnessed being painted or exhibited by Morrisseau, I have no way of discerning whether the images shown here are all authentic Morrisseau originals. Enjoy!” (Stardreamer.com website)

screen_sinclair_enjoy2008b

IN FACT – I am virtually certain that, of the some 169 paintings, slanged by Sinclair and listed in the multiple dealer group claim in 2008, Sinclair had not ever seen or personally examined, or handled, a single one of the paintings being sold by Bugera, McLeod, Child, White, or Kim.

So making Sinclair – by his own published standard – totally incapable of ruling on whether they were fakes or not when he admitted to having “no way of discerning whether the images shown here are all authentic Morrisseau originals.”

By what can only be considered an astounding sleight of voodoo or “osmosis,” now, only weeks later (in the autumn of 2008), Sinclair completely reversed himself saying he now had incontrovertible proof, which only weeks ago he publicly admitted  he did not have, that they were all fakes.

NOTE – Trying to Hide the Truth from History: As is the case with so many telltale emails, comments, postings, and blog entries made by Ritchie Sinclair, and staff members of Kinsman Robinson Galleries, this one has long ago, been  removed, because of its damning and compromising nature, from their websites and blog archives.

Canadians, and Canada’s art heritage, owes a deep debt of gratitude to Ugo Matulic, who, with a single-minded passion, unparalleled in Canadian art history, has devoted himself 24/7, with preserving these internet documents for Posterity, with thousands of screen grabs he made, the instant they were published, from 2007 to 2014.

Some, altered or removed within hours, even minutes later, were not expunged fast enough to escape Matulic’s wary eye and Snagit clicker.

His internet and computer sleuthing has uncovered the authors of defamatory emails who thought they could hide behind “anonymous” postings, but were exposed as being Ritchie Sinclair and John MacGregor Newman, himself a fanatic, but mostly secret blogger for Kinsman Robinson Galleries.

Matulic’s countless, telling screen grabs shine an illuminating light into the dark and murky, nether depths of the Canadian fine art market, and expose those who seek to manipulate the gullible, the honest, and the innocent, for malicious and self-serving ends, and replace Truth with Fiction and Falsehood.

Justice Lederer goes on with his damning catalogue of Sinclair failings:

“… in many cases, the defendant has not seen the actual paintings. He has come to his opinions using images reproduced on the internet.

“She (plaintiff lawyer) points out that there is one example where the defendant pronounced one painting as clearly authentic and then came to the opposite view a year later.

“There are two Norval Morriseaus in the National Gallery. Despite the fact that they are accepted as genuine by those responsible, the defendant has concluded they are frauds. Counsel for the plaintiffs goes on to point out that there is no independent confirmation of the defendant’s expertise in examining and authenticating the works of Norval Morriseau.

 “This is in contra-distinction to some of the individuals associated with the plaintiffs who have been recognized by the courts as experts.

“In the circumstances, on their face, the comments and observations of the defendant are defamatory. However, he has not had an opportunity to fully respond and his right to freedom of expression.”

NOTE: This Group Lawsuit came to a shuddering stop just as they were on the verge of dealing a knock-out blow to Sinclair’s libel and defamation, a finding clearly signaled by Justice Lederer’s clearly encouraging comments in his 15 page finding.

But there was a falling out among the partners in the lawsuit. After a few weeks they had spent over $80,000 on lawyer’s fees, and had nothing to show for it, but the legal fees just kept on climbing. And faced with Sinclair’s “indigent” status, the law firm too, wanted out.

When Sinclair’s lawyer brought a lawsuit against Bugera in January, 2008, on behalf of Jonathan Browne, claiming a painting she sold him was a fake (which it was not), rather than fight a suit she could easily have won, Bugera made a quick side-deal with the Sinclair/Muscovitch/Browne group in January 2009. Having got what she wanted, she dropped out of the Group lawsuit, and left the others to pay mounting legal bills. Panic set in and they folded rather than carrying on.

Justice Lederer would have shaken his head. He had clearly telegraphed to them that they were only weeks from a likely very successful conclusion. Instead the faltering partners left the libel and defamation to stand, leaving the field clear for Sinclair to continue his defamations, claiming victory and braying away “see they had fakes exactly like I said, and didn’t contest it.”

It would take someone else, with courage, to put a stop to the libel and defamation, and try to clean up the mess the members of Canada’s fine art community had made by omission and commission.

That someone was a Judge.

Not So Fast #3: Says Judge MD Godfrey – On Mar 25, 2013 The Honourable M Donald Godfrey ruled that NOT EVEN THE ONE SINGLE PAINTING “Jesuit Preist Brings Word 1974” which Ritchie Sinclair’s claimed was a fake, had been believably proven as fake by him – let alone the 1,000 Sinclair was slanging, as complete forgeries.

And more damningly, that Sinclair’s own choice as the top expert supporting his proof, Donald Robinson, the man he called “My mentor,” was no more believable or credible, as a witness, or a Morrisseau expert than Sinclair, even though he had written a 114 page report, which he says took him six months to write, claiming the painting was fake. Judge Godfrey just blithely ignored him – as one would a fantasy – after listening to his wild claims that sounded just as credible as the preposterous blustering of Sinclair.

Judge Godfrey assured the Plaintiff, Joseph Otavnik, that “Jesuit Preist Brings Word 1974” had not been damaged, diminished, or devalued in any way by the bogus claims made on paper and with testimony, by Sinclair and Robinson, in court.

Another Judge would get to spend the next two years mulling over the same proofs of so-called fakes and forgery by the same duo of self-proclaimed Morrisseau experts.

Before going completely overboard in destroying their claims and credibility.

Not So Fast #4: Says Judge Martial – On Mar 25, 2013 Deputy Judge Paul J Martial of the Small Claims Court, was finally able to examine the evidence which Sinclair claimed to Justice Lederer, to possess in 2008, supposedly proving the existence of “thousands of fakes by umpteen forgers.”

Those who told Sinclair to “put up or shut up” would finally see Sinclair do his “show and tell.”

And after listening to Sinclair’ wild ranting in the courtroom – my call from ten feet away – Judge Martial gave him a raspberry, “rejecting” Sinclair as being a credible witness on anything, and Morrisseau in particular.

“The Court finds that Mr. Ritchie Sinclair was not impartial or objective for the reason that there is a civil action against him by Donna Child who is the defendant in this action as well as by Joseph McLeod, and several other people…

“His methodology in identifying forgeries is clearly inadequate and suspect since he testified that he does not even view the original paintings before condemning them as fakes.” (Page 16)

“Mr. Sinclair’s testimony of numerous forgers paid for with drugs although dramatic was not supported by the evidence.

And Sinclair’s testimony regarding Kevin Cott and his painting, was a clear case of perjury, and was specifically tagged as such by lawyer Brian Shiller later on, before Madam Justice Mary Anne Sanderson.

Now still another Judge joined the queue of those declaring that Sinclair could not be trusted in his testimony on anything.

Not So Fast #5: Says Justice Lacavera – On May 16, 2013 The Honourable Justice Alphonse T Lacavera totally dismissed the charges of Assault and Criminal Harassment filed by Ritchie Sinclair with the Toronto Police, against Joseph Otavnik, and found Otavnik “not guilty of criminal harassment,” and “not guilty of the offence of assault.”

Justice Lacavera clearly stated he did not believe a word Sinclair said, including that he lived in mortal fear of Otavnik. Judge Lacavera makes it clear that the more verifiable truth was that Sinclair and his lawyer were stalking Otavnik, not the other way around:

– Sinclair had gone alone to Otavnik’s house to serve legal documents instead of using a process server

– Sinclair going out of his way to attend a court case, which did not involve him, but where he was certain to encounter Otavnik, of whom he was supposedly physically afraid

– Sinclair had no right to call it Criminal Harassment, when Otavnik showed up at his home to legitimately serve court papers on Sinclair’s person, as the law requires. It was Otavnik’s right.

“A Fucking Asshole” – that Sinclair’s lawyer Zak Muscovitch, was obviously deliberately deceptive and devious in claiming to Otavnik that he was not Sinclair’s lawyer of record for this case, and yet still spent hours in a courtroom, “observing” cases in which he was not involved at all, spying on Otavnik and secretly advising Sinclair.

Judge Lacavera wrote:

“As I indicated earlier, the lawyer said that he did not act for the complainant in the Small Claims Court case because the accused called him a fucking asshole… I have already dealt with why the accused was contacting the lawyer at all and this was over service of his claim. I note Mr. Muscovitch said he went, even though he was called a fucking asshole, to Small Claims Court and even though he was not representing the complainant.”

Justice Lacavera also said that he did not believe that Otavnik had thrown a binder at Sinclair, nor had put a headlock on him in a public place at Old City Hall when there were no witnesses about in such a public place.

Seven months later another Justice of the Superior Court of Ontario would get another chance to assess Sinclair’s truthfulness and credibility as both a court witness and a Morrisseau expert.

Not So Fast #6: Says Justice Sanderson – Madam Justice Mary Anne Sanderson of the Ontario Superior Court, who had gone through hundreds of pages of court transcripts and then for hours, listened to Jonathan Sommer make his case for a new trial, specifically excoriated Sinclair for his gross intellectual and ethical failing, when she dismissed him as a truthful or credible witness of any kind on the Morrisseau file, in her finding of Dec. 17, 2013.

Referring to Judge Martial who had earlier, totally rejected and dismissed Sinclair’s testimony, as unbelievable and unproven (in colloquial terms his testimony was fraudulent, lies, and amounted to perjury, as Brian Shiller went on to remind Justice Sanderson) she chimed in no uncertain terms.

“The trial judge was entitled to reject the evidence of Sinclair and to conclude it was unsupported and unreliable. Sinclair could produce no documentary evidence to support his assertion that a well organized forgery ring painted the works auctioned by Khan auctions.” (item 18, Ontario Superior Court 2013 ONSC 7801 Divisional Court File no. 209/13)

Five judges, in a row, including a Deputy Judge, and a Judge of the Small Claims Court, a Justice of the Ontario Court of Justice, and two Justices of the Ontario Superior Court, had totally dismissed Ritchie Sinclair, in no uncertain terms, as not believable or credible on anything he said and specifically his claimed expertise on Morrisseau art.

A Mountain out of a Molehill – Sinclair told Judge Godfrey that “I painted with him (Norval) from 1979 until he was no longer capable of painting.” P158, pretending to have an unbroken and ongoing painting relationship with Norval while Morrisseau family members have stated – some under oath in court – that Sinclair was only a short-term boyfriend of Norval’s c 1981.

The Pretend Graduate – at Sinclair v Otavnik – Sinclair told Judge Godfrey that “Uh, I am a graduate of Commercial Art at George Brown College, 1979” when the truth is that, he was there only a few months, and left before end of term, dropping out at age 22, and leaving him with no post-high school credentials, diplomas, certificates, degrees etc., of any kind, in art or anything else.

In those days community colleges were for students who had not completed Grade XIII, which was the fifth and final high school completion year in Ontario, and a necessary qualification for getting into a university. Community colleges were trade schools taught by teachers who had trade or workplace experience instead of university degrees and teaching certificates. Community colleges did not have university or college degree granting status in those days, but handed out diplomas, or certificates, but you had to pass your course and complete your year, neither of which Sinclair did.

Norval looked to community colleges, not for diplomas or certificates, but as a source for something else he was more interested in. Once when a friend brought him a lavish present, Norval, who was not an acquisitive materialist, loudly scoffed it off with a derisive:

“If you wanted to give me a present, why didn’t you go over to the College and get me a boy!”  (James Stevens, Picasso of the North Country, p174)

A Thief? – Sinclair told Judge Godfrey that – Sinclair told Judge Martial that Randy Potter had paintings “which were stolen by Randy Potter, thank you… nice scam.” P 187 which is as bald-faced a lie as it’s possible to make, all done with the intention to libel and defame a man in an attempt to make it look like the man who sold some 1,800 genuine Morrisseau paintings, and never had a one returned as a fake or for a refund, was a diabolical criminal.

Dementia or… – at Hatfield v Artworld – Sinclair told Judge Martial that all paintings sold at Potter’s were all fakes. But on Feb 14, 2004, the only time he ever attended a Potter auction, he had told auction manager, Donna Shea, they were wonderful Morrisseaus.

Sorry, I Meant the Opposite – at Hatfield v Artworld – Sinclair told Judge Martial that he only posted paintings, not people’s names on his malicious and defamatory web site. Testifying regarding, “the exposure of images, purported Morrisseau paintings that I displayed on the web site as of October 2008… When I put them on the website, out of a preponderance of caution, I named no individuals because I had no way of – all I was doing was trying to protect the art itself. So I re-titled every, every painting: Inferior Counterfeit Forgery Number One; Inferior Counterfeit Forgery Number Two, and so on up until 1,000 images.” (Court Trans/Hatfield v Artworld: Feb 23, 2012 p116)

In fact the complete opposite is true – Sinclair hid the names of the paintings but published the names of the owners and others he wanted to libel and defame.

Reality Check – In fact Sinclair maliciously libeled and personally defamed many reputable and decent Canadian artists, fine art collectors, art dealers, gallery owners, auctioneers, and numerous First Nations people. On the SOMA posting alone, as an example, he clearly and deliberately maligns not only the painting – whose name he has hidden – but the owners Goldi Productions Ltd., as well as other people: Ugo Matulic, Randy Potter, and Dr. Goyce Kakegamic.

A Self-Declared Full-time Protégé – Sinclair repeatedly claims a virtually seamless painting relationship with Norval Morrisseau over some 20 years, which is hotly disputed by the Morrisseau family, who claim Sinclair had only a brief painting relationship with Sinclair in the early 80s.

– at Hatfield v Artworld – Sinclair told Judge Martial that “in multiple times and multiple places we painted together periodically from 1979 until 1999” and “probably 95 percent of the days” after August 1979, and “a good part of the subsequent years after that.” (Court Trans/Hatfield v Artworld: Feb 23, 2012 p105)

Obviously it was a “spiritual relationship” based on “osmosis,” because for 95% of that time, Norval was thousands of miles away from Toronto where Sinclair lived.

at Queen v Otavnik – Sinclair told Judge Lacavera that “I apprenticed with Morrisseau beginning in 1979, and we worked together over the course of 20 years, and were close friends until he passed away in 2007” (Court Trans/Queen v Otavnik: Jan 12, 2012 p)

Ritchie, Be Gone! – Norval would say something different. In fact, when Norval briefly returned to Toronto in 1986 – he had left TO and Sinclair years before – only coming back hoping to flesh out a contract with then Minister of Indian and Northern Affairs, David Crombie, for some subway paintings, when he received an unwelcome, and surprise visitor, Ritchie Sinclair.

A letter Norval wrote, makes clear that he did not welcome the “return” of Ritchie Sinclair, did not welcome his intrusion into Norval’s painting and business life, and looked on him as a destructive force, and the sooner he left the scene the better for Norval.

“then Richie Step into the Scene from god Know where and Started a Round of talks what we Should Do etc. again (we) or myself had to tell Ritchie Sinclair to Leave or Present’s (ed: our presence) for he was Not getting us anywhere: except Divert us from our Goal for what we wish to Do me and tala, we told him to Leave…” (Letter, Norval Morrisseau, 1986)

Norval was in Toronto briefly in 1986 trying to put a painting deal together with David Crombie. Norval expressed his annoyance that, out of nowhere, Sinclair turns up and proves to be a destructive pest so that Norval had to tell him to leave "our presence."

Norval was in Toronto briefly in 1986 trying to put a painting deal together with David Crombie. Norval expressed his annoyance that, out of nowhere, Sinclair turns up and proves to be a destructive pest so that Norval had to tell him to leave “our presence.”

The letter – as well a mountain of testimonials from other sources – makes utter mincemeat out of Sinclair’s claim that he had a constant, and close, painting relationship with Morrisseau from 1979 till 1999, as Norval’s chosen protégé.

In the Hatfield case, Feb 23, 2012 Defence lawyer Brian Shillere tried to get Sinclair to come up with exact dates for his claimed relationship with Norval Morrisseau. It was like trying to grab oil with bare hands.

Shiller: Take me through a little bit of all these years with Norval Morrisseau. So you meet up with him in, was it August ’79, right; and so you’re with him continuously, ’79, ’80, ’81’, ’82?
Sinclair: No, we weren’t tied at the hip or anything; it was, it was a fluid lifestyle; we had multiple places at the same time….
Shiller: Together?
Sinclair: Not together; more like comrades on the path; artists doing their thing, you know, so I mean, I could, I could down in Toronto working in the studio for a few days and then meet up. I mean, basically that’s, that’s what it, we crossed like this for 20 years. The last time he painted with me we stayed in his, my place in 1999.” (Court Trans/Hatfield v Artworld: Feb 23, 2012 p127)

The Case of the Missing Photos! – What is incontrovertible, and telling, is that Sinclair – who is hotter for self-promoting publicity than anyone I have ever met – has never ever produced a single photo or video showing him painting or in a working relationship of any kind with Norval Morrisseau, though he seemingly had countless opportunities to take them over a 28 year period and never even got one picture to prove what he says is true.

His single picture – like hundreds of similar tourist celebrity photos taken in Norval’s wheelchair invalid period, when the Dementia-debilitated artist could no longer even mouth “BE GONE” – is a truly pathetic one – showing Sinclair desperately reaching out to try a pretence of intimacy for the camera. It’s a fake. A mentally vacant Norval shows no interest in embracing Sinclair. The photo mirrors, rather the letter above.

No Academic Mention! – What is also true is that Sinclair is not mentioned even once in any professional or academic literature, or exhibition catalogue, dealing with Norval Morrisseau’s life as a man, or artist.

Sinclair Reborn – In fact Sinclair’s rebirth as a Morrisseau protégé and the entire bio was a total construct invented after Morrisseau’s death. In Aug, 2008 –  tellingly, a year after Norval’s death – Sinclair emailed Ugo Matulic saying he now intended to use Norval’s name etc., to boost his own art career.

A Conspiracy Group that Never Was – at the Queen v Otavnik – Sinclair told Judge Lacavera, in a sworn document Sinclair signed off on, to the Toronto police, and was submitted in a court case, that John Goldi was one of eight members of “The Morrisseau/Fraudulent Art Syndicate,” listing him (myself) as working in concert with numerous people I had never ever met or even talked to, or both.

That Sick Donald Robinson – at Sinclair v Otavnik – Sinclair told Judge Godfrey, that Donald Robinson whom he had just told Judge Godfrey, was in the foyer and would testify after a short recess, came back to say Robinson was sick and had to go home, though I had just seen Robinson laughing and joking away, with Sinclair, only minutes before in the courtroom foyer

Struck by a Judge – at Hatfield v Artworld – Sinclair told Judge Martial that a judge had dismissed and “struck” two Goldi lawsuit claims, “Their two claims were struck because disclosing no cause of action…” which was totally untrue. And in fact, his fallacious claim which was untrue in every respect, became the subject of a Motion we filed, and a hearing during which Judge McCrae ordered him to remove the false information, which he had published, itself a gross violation of court rules. (Court Trans/Hatfield v Artworld: Jun 4, 2012 p202)

Unethically Publishing Secrets that Never Were – at Goldi v Sinclair – in gross violation of Ontario court rules Sinclair published secret proceedings of a Settlement Conference which were never to be published, publicly posting on his website, comments that were fallacious in the extreme to begin with, attributing actions and findings of a judge which never happened, and wildly distorting what actually happened to enhance his point of view and agenda. When he was warned to remove the false postings refused to do so for months.

It took a Motion before another judge, in a public hearing, to get them removed. When after hearing the Motion, Judge McCrae immediately ordered the Sinclair comments removed from his web site, because they were a gross violation of court rules, as well as because they were false – in the judge’s words, “it never happened,” Sinclair argued back that he was only reporting the “facts.”

A rising Judge McCrae sternly repeated, “What you say never happened.” Sinclair replied: “Let me think about it.” A visibly angry Judge McCrae, now literally leaned forward and barked, “I want them gone, NOW.”

“It was a fake, all along Kevin!” – at Hatfield v Artworld – Sinclair told Judge Martial that Sinclair had told art collector Kevin Cott, only weeks after he bought an original Morrisseau “Season of Rut for Moose,” in 2008, for $18,000, that it was a fake. Cott had testified that, in fact Sinclair recommended the painting in person, and urged him to buy it, adding: “he was ecstatic at the one I purchased” saying, “this one is unbelievable, pure Morrisseau. I can tell you 100 percent, it was done by him.” (Court Trans/Hatfield v Artworld: Jun4, 2012 p2)

Cott testified he only discovered some four years later in early 2012, and two weeks before his court appearance, that Sinclair posted it as a fake on his web site.

On this Sinclair testimony alone, lawyer Brian Shiller told a perceptive and nodding Madam Justice Mary Anne Sanderson, of the Ontario Court of Appeal, that Judge Martial had “ample grounds to call Sinclair a liar,” but chose not to.

The Enforcer Goes Nuts – Sinclair would become the most fanatic internet blogger, commenter, and cyber bully in Canadian fine art history. Wherever a web site, a blog, a newspaper, a museum, an exhibition, or a TV show gave him an opportunity to “COMMENT” on a topic he was intent on controlling, he fanatically and maliciously attacked the same people and paintings over and over again, without, ever, offering any credible, independently verifiable proof or evidence of any kind, for any of his allegations.

The Enforcer Goes Underground – Sinclair, using a variety of fake and anonymous personas, would regularly send out a blizzard of anonymous emails that were full of expletives against the same people he targeted publicly with his real name. Within only months of having asked Ugo Matulic to buy one of his paintings for $10,000, he emailed him an anonymous and vicious “death threat” telling him he would end up in a “meat grinder” (like in the movie Fargo.) 

Matulic who had a site meter that traced the anonymous email threat to the C-drive on Sinclair’s “Stardreamer” hard drive, reported it to the police.

Incontrovertible proof of the source of the threatening "meat grinder" email sent to Ugo Matulic, the "C drive on the Stardreamer computer, owned by only one person in the world, Ritchie Sinclair using his pseudo-Indian name. Matulic, because of his blogs exposing the HOAX being perpetuated by Sinclair and the Robinsons, has been their target for years.

Incontrovertible Sitemeter proof of the source of the threatening “meat grinder” email sent, supposedly “anonymously,” to Ugo Matulic, as being the “C drive on the Stardreamer computer, owned by only one person in the world, Ritchie Sinclair using his pseudo-Indian name. Matulic, because of his blogs exposing the HOAX being perpetuated by Sinclair and the Robinsons, has been their target for years. This vendetta, which started in 2008, culminated when Kinsman Robinon Galleries launched a million dollar lawsuit for libel and defamation against him in 2010. When, in 2013, Chloe Snider, the KRG lawyer saw Matulic’s proof for everything he had been saying for years, during Day 1 of Discovery, she urged KRG to abandon the lawsuit, or else face disaster in a courtroom confrontation with Matulic and his evidence. KRG folded without condition or restrictions on Matulic, allowing him to go on publishing exactly the same way he had been for years. Allowing him to completely ignore KRG demands that he remove offending blog pages, remove their names from his site, and stop mentioning them in future blogs. It was a complete a victory for Matulic in every way, against what was clearly and only a SLAPP suit designed to gag someone publishing documented truth in the Public Interest. While the Robinson’s tried to shut Matulic up through the courts, Sinclair was trying to terrorize him with threats of ending up in a meat grinder, if he didn’t stop.


The Wisdom of Deputy Judge Gordon Z Bobesich
– On Jan. 24, 2013, in Brampton Small Claims Court, Judge Bobesich leaned forward and earnestly addressed the only two people standing in front of him in court: myself, John Goldi, and Ritchie Sinclair.

“Look, let me tell you two something. Don’t you realize that that there are only two people in the entire world who care about this? Why not just settle it here and now?”

It was a telling moment for a very good reason. When utterly vile “Anonymous” attack emails were being sent to people who were being targeted by someone in the Morrisseau art cartel, I knew with a certainty of 110% that I had not sent them, not to myself or anyone else…

That left only one other person standing in the court, who, according to Judge Bobesich’s opinion, could have been motivated to send them: Ritchie Sinclair, who already had established himself as the most notorious and fanatic comment emailer, and blogger on the internet in Canadian fine art history.

The blizzard of “anonymous” emails continue in their vileness in 2014, being received by the usual targets, but now also including me, the investigative journalist covering this story, wishing on them the same pre-mature death visited on Michael Moniz. “One down; two to go,” was one I personally received following Michael Moniz’s death.

And then it gets worse – On Jan. 11, 2011 Judge MD Godfrey issued his ruling in Otavnik v Sinclair and Sinclair v Otavnik, dismissing both suits and not awarding costs to either. But more importantly, what he did NOT do was to do what Sinclair in his testimony, and Donald Robinson with his testimony and his 114 expert report demanded, to denounce Otavnik’s painting “Jesuit Preist Brings Word 1974,” a fake or forgery. Judge Godfrey told Otavnik his painting was undiminished, and not devalued in any way by the accusations made by Sinclair and Robinson, and urged him to get it forensically examined and certified. (Which, was done a couple of years later, proving Judge Godfrey’s wisdom, and Sinclair and Robinson’s ignorance, or worse.)

Within hours of Judge Godfrey's decision, refusing to rule that "Jesuit Preist" was a fake as demanded by Sinclair and Robinson, the vile emails started.

Within hours of Judge Godfrey’s decision, refusing to rule that “Jesuit Preist” was a fake as demanded by Sinclair and Robinson, the vile emails started.

Within only hours of Judge Godfrey announcing his decision – disastrous for Sinclair, and Robinson who had spent six months writing his so-called expert report calling “Jesuit Preist” a fake – the vile emails started. All were, of course “Anonymous” from some malicious person who thought he could successfully hide his identity.

And the content of what they were to disclose, embroidered usually with some scatological tidbits, over the next three days, show that they could only have come from someone in the courtroom when Judge Godfrey read out his findings.

Remember Judge Bobesich’s warning about who were the only ones interested in this case?

Tracing the Vile Scatological Emails – In fact three of nine people in the court at the time, could not possibly be the source of vile emails, including the judge, the court reporter, and Otavnik who would hardly target himself, his colleagues and friends.

There were no court reporters from any media outlet; there were no court transcripts. There was no way for the information, about the decision, to get outside the courtroom.

The public had no way at all of finding out what had gone on in court, except through the only people in the public gallery, which were Joan Goldi and John Goldi, neither of whom would send vile emails to themselves or their friends.

And then there were four (4) – That left the only four other people in the whole world – remember Judge Bobesich! – who were in the courtroom at the time: Ritchie Sinclair, his roommate, Garth Cole and two female supporters. There was no one else…

By a simple process of elimination, the vile and attacking emails, featuring wildly distorted claims and alleging utterly fallacious findings by the judge, the “Anonymous” scatological emails , could only have come from the malicious practiced pen of Ritchie Sinclair or his supporters. You pick which one was most likely…

Dumb and Dumber, Fourteen Times – The totally distorted nature of the courtroom reporting Sinclair fabricated, and then leaked to the outside world, is tellingly reflected in a letter sent by Jonathan Browne – who is alleged to have a Ph.D. in dung beetles –  to frequent Sinclair attack victim, Ugo Matulic, only three days after the judge’s finding was read out. It reflects no fewer than fourteen (14) UTTERLY FALSE ERRORS OF FACT Browne could only have received from no one else in the whole world, but from his frequent collaborator in perpetuating the Morrisseau cartel Hoax, Ritchie Sinclair.

REWIND – Sinclair had provided Browne the services of his longtime family lawyer, Zak Muscovitch – referred to in The Hon Justice Alphonse T Lacavera’s findings as “a fucking asshole” – to draw up Browne’s notoriously failed lawsuit to try to prove a painting he bought from Jackie Bugera, in Edmonton, AB, was a fake. Now Browne and Sinclair are at it again, only three days after Judge Godfrey’s verbal ruling, which I got – directly; not hearsay – from the judge’s mouth, and Browne got (could only have gotten) from Sinclair’s mouth.

Fourteen ULTRA FALSE ERRORS OF FACT by the dung beetle doctor. Note the date, only three days after Judge Godfrey's verbally announced finding. It would not be published by the media, nor written about anywhere, and no transcripts were available. So everything in the letter had only one source in the whole world - one of only four possible people in the courtroom at the time, Ritchie Sinclair and three close collaborators. ALL of the statements - which Browne passes off as fact - are truly breathtaking in their total and utter falseness. It is a scathing and salutary lesson that a Ph.D. which Browne allegedly has, is no guarantee that you have common sense, and also is no protection against being duped by malicious, defamatory, and utterly false claims by a passionate and diabolical propagandist intent on perpetuating his HOAX. FINALLY - Note how this supposed academic refers to the "transcripts of the proceedings" as "are absolutely scathing." The doctor made this up - totally. Court transcripts take months to get. Three days after the judge's finding was orally presented, there DO NOT EXIST anywhere the transcripts Browne calls scathing. Like everything else Browne has ever said on the Morrisseau file this too is utter fantasy, made up by himself or fed him by his longtime friend, and collaborator, the community college failure and high school dropout, Ritchie Sinclair.

Fourteen ULTRA FALSE ERRORS OF FACT by the dung beetle doctor. Note the date, only three days after Judge Godfrey’s verbally announced finding. It would not be published by the media, nor written about anywhere, and no transcripts were available. So everything in the letter had only one source in the whole world – one of only four possible people in the courtroom at the time, Ritchie Sinclair and three close collaborators. ALL of the statements – which Browne passes off as fact – are truly breathtaking in their total and utter falseness. It is a scathing and salutary lesson that a Ph.D. which Browne allegedly has, is no guarantee that you have common sense, and also is no protection against being duped by malicious, defamatory, and utterly false claims by a passionate and diabolical propagandist intent on perpetuating his HOAX. FINALLY – Note how this supposed academic refers to the “transcripts of the proceedings” as “are absolutely scathing.” The doctor made this up – totally. Court transcripts take months to get. Three days after the judge’s finding was orally presented, there DO NOT EXIST anywhere the transcripts Browne calls scathing. Like everything else Browne has ever said on the Morrisseau file this too is utter fantasy, made up by himself or fed him by his longtime friend, and collaborator, the community college failure and high school dropout, Ritchie Sinclair.

The Enforcer Goes To Court – In 2010 Sinclair started to appear in court to testify – often in tandem with arch-Conspiracy Theorist Donald Robinson, the originator of the HOAX, whom Sinclair referred to, in court testimony as “My Mentor,” with both advancing the same ludicrous claims about fakes and forgers, but with increasingly disastrous results.

By 2014, Sinclair had had his court testimony, his so-called Morrisseau expertise, even his honesty and his credibility on all levels, utterly impugned and dismissed by a succession of judges (Godfrey 2011, Lacavera 2013, Martial 2013, Sanderson 2013). He often shared the ignominy with Donald Robinson, whom judges found just as unbelievable and declared his testimony as hopelessly tainted with obvious self-interest.

The Enforcer Pay-off – Sinclair’s various enforcer activities have been credited by members of Canada‘s fine art community, with destroying some $100 million worth of the art valuations of genuine Norval Morrisseau paintings, and with degrading and devaluing, overall, the art of all Canadian Aboriginal artists.

Means, Motive, & Opportunity – Sinclair said and did what he did, because he could.

Means

  • Sinclair, who failed to develop his artistic skills to a level where he could earn a successful living with them, became a master at cyber manipulation, and cyber stalking, learning how to control the data on the Norval Morrisseau Wikipedia site to reflect his own invented views. And learning, after a disastrous outing with his traceable “meat-grinder” email, to hide his anonymous postings better and disguise his ISP addresses by using untraceable proxy servers.
  • The uncontrollable internet has provided a truly awful field of dreams for the most vile forms of self-expression by malevolent voices to a degree unknown in history.
  • The print media in the 21st century which is undergoing a meltdown of epic proportions has looked more and more unquestioningly to getting free content of all kinds to replace that once provided by thinking and researching journalists – now fired by the thousands, as a cost cutting measure.
  • The result is that mainstream media journalists have fallen to become the most despised profession, clawing for a position next to lawyers, politicians, and stockbrokers, at the bottom rung of disgraced and untrustworthy professions.

Motive

  • Sinclair has a wildly narcissistic drive for public attention or notoriety.

“I believe the reason I met Norval was because I was meant to. Not because of his greatness but because of our mutual greatness…” (CIUT FM radio interview with David Peterson, Sep. 28, 2008)

  • Sinclair was maniacally angry against the Canadian fine art community for not recognizing his “imitation Indian” art (by a white man), as the work of a genius, and of equal validity as that produced by Aboriginal artists of the stature of Norval Morrisseau.
  • To revenge himself against buyers and collectors of Morrisseau art who spurn Sinclair’s “inferior counterfeit imitation Woodland art,” and for not recognizing that Sinclair is Norval’s designated inheritor and “our mutual greatness.”
  • To ingratiate himself with arch-Conspiracy Theorist Donald Robinson, whom he calls “My Mentor,” and to make himself as indispensable to Robinson’s sales team as Norval had been.

When Sinclair raged into Joseph McLeod’s Gallery in October, 2008, he was angry that Robinson had failed to recognize his self-declared expertise on Morrisseau, and had not appointed him to the Norval Morrisseau Heritage Committee which was supposed to verify paintings that were genuine, for posterity.

“He came into my gallery and I did not know him. I think I might have seen him two or three times. And he was irate because he had not been asked by Kinsman Robinson to be part of the Norval Morrisseau Heritage Society. And I was shocked. I had no idea that he had any interest in this kind of thing, I didn’t know what his background was, and I didn’t know who he was. And I explained to him that it was not, I don’t think, the choice of Kinsman Robinson to decide who was going to be on the board, and that I guess, to summarize, he was out of his realm. They were asking for the daughter of Marshall McLuhan, who had written two or three books on the subject matter, classic, early books. They were asking, uh, the curator of the National Gallery, they were asking academics from Carleton University so my suggestion was, I didn’t have the slightest idea where he placed himself to think that they would ask him to be on the Heritage Society.” (Joseph McLeod testimony p 31, Otavnik v Sinclair March 18, 2010)

Opportunity

Robinson had been vigorously courting Sinclair since 2008, flattering him by asking him to do a video interview in his Kinsman Robinson Galleries to be posted on the KRG website. The KRG staff had fed Sinclair – who had previously never appeared on the radar in any way on any of this – all Donald Robinson’s wild allegations, of “thousands of forgeries by umpteen forgers.”

In October 2008, Sinclair must have considered his options: life as a 51 year-old, “inferior, counterfeit imitation Woodland artist” or one as “Chief Enforcer” for the Conspiracy Theorist cartel of white businessmen who had inherited Norval’s empty wheelchair, and who had been vigorously using Norval’s Power of Attorney (since 1990).

Sinclair’s life changed in an instant on the day he agreed to join the KRG team, while in the basement underneath sat KR1 – KR384, the dead artist’s cache of paintings worth from $40 to 50 million dollars.

What financial deal was worked out in Sinclair’s new job is unknown.

What is known is that KRG publicly posted a link to Sinclair’s malicious and fraudulent website on the Kinsman Robinson Galleries website, where it spread its false and malevolent allegations until art dealer Joe Otavnik*** filed a lawsuit and got KRG to remove the offensive link, as well as a Sinclair promotional video which KRG had made to flatter Sinclair and posted on its corporate website.

(*** Canadians owe Joseph Otavnik, a debt of gratitude, in that he was the first person to take a public stand against the HOAX and the fraud which alleged that his Morrisseaus were among the so-called fakes. Otavnik sued Vadas (and Morrisseau) for libel and defamation, challenging them to bring Norval to court to prove Otavnik’s paintings were fakes. Vadas and Morrisseau, refused to appear in court, but paid Otavnik $11,000 in an out-of-court settlement for their libel and defamation.)

Otavnik is probably the first person in history to challenge an artist to go to court and prove paintings of his which he owned were fakes. For obvious reasons the artist and his business manager chose to duck the wrath of a judge, and pay off the complainant.)

What financial compensation Otavnik received from KRG when he sued, for agreeing to drop the lawsuit against KRG for its malicious, libelous, and defamatory posting, is also not known.

The Final Gasp by the Conspiracy Theorists – By 2014 Sinclair had propelled himself to becoming the face and the voice of the Conspiracy Theorists on the national media, trying to get traction in the gullible media for the preposterous claims he was making that had ALL, already been totally discredited by Canada’s top forensic scientists, and court after court after court. But not by CTV’s weather man, Sinclair’s final hope.

Stardreamer Bio – Not bad for a non-Aboriginal guy who:
– had never completed a single post high-school course in anything
– had never completed any art course of any kind in any art school, or community college

After dropping out of high school, Sinclair, at the age of 23, began an entry level course in commercial art in a community college, out of which he dropped as well.

“Brian Shiller – And were you given some designation as a result of that course?
Ritchie Sinclair: No; nor did I ever use such a thing such a designation.
Brian Shiller: And what did that course qualify you to do?
Ritchie Sinclair: Qualified me to do typeset; set-up; advertising; letter-set; very basic things that nobody uses any more.”
(Court Trans/Hatfield v Artworld: Feb 23, 2012 p124)

These are the “artistic” talents Sinclair was presumably, able to show off on his CV, when he showed up to display his attractive qualities, to make himself look appealing enough for Norval Morrisseau, Canada’s most famous Aboriginal artist, to want to “hire” him.

Sinclair also testified the Morrisseau group, at the Volpe crime family’s Nexus Gallery, had wanted to make use of him as a “driver” but he had no license so could not do that either.

So Sinclair had no art qualifications, had never before even heard of Morrisseau, or seen a painting of his, and couldn’t even drive at age 23.

Just what the hell use could he possibly be to Canada’s top Aboriginal artist?

– had never even once been noted in any academic literature, press review, or gallery catalogue of any kind, as relating to Norval Morrisseau in any way in the previous 29 years (1979-2008), since he had first claimed to have painted with Norval

– Sinclair’s name is utterly and totally missing everywhere in the life history of Canada’s top Aboriginal artist, Norval Morrisseau

– had never produced even a single photo or video showing him painting with Norval

– had never once, ever before, in those same 29 years, spotted or reported a single fake Morrisseau of any kind, to anyone anywhere (review his Sep 28, 2008 radio interview)

“If you can’t dazzle them with brilliance, baffle them with bullshit.” WC Fields

Right from the beginning Ritchie Sinclair, was nothing if not a totally opportunistic, self-invented, and self-promotional Morrisseau imposter and impersonator.

A legend in his own mind and that of the weather man at CTV…

But a truly malevolent and destructive blight on the cultural heritage of Canada and the art of Norval Morrisseau.

AND THEN IT’S DÉJA VU ALL OVER AGAIN

McDermott v Maslak McLeod & Joe McLeod

On October 17, 2013 crooner John McDermott – he can sing but he can’t read – filed a lawsuit against Joseph McLeod alleging he sold him fake Morrisseaus, and naming the source of the fakes as Gary Lamont, claiming he was the orchestrator of a vast forgery operation operating out of Thunder Bay. A claim that, absolutely, has only one possible source: Ritchie Sinclair.

Gary and Ritchie – Remember them? Norval left Ritchie (and Toronto) for Gary Lamont and Thunder Bay where he rented a house in 1982. Norval painted madly and started selling, in 1984, to Ken Whent who, with some partners was going to donate the paintings to museums for tax credits.

Referring back to his massive acquisitions of some 216 Morrisseau paintings directly from Norval and Gary Lamont, between 1984 and 1986, Ken Whent remembered:

“Obviously when we were dealing with Gary and Norval, they were both in the office together.  That was the source of our providence (sic). My partner Bob Zelinski was quite meticulous in speaking with Norval to make certain that we were acquiring Norval’s works and not a product of a sham. 

“Each painting was reviewed and acknowledged by Norval.

“We were not certain what we would do with the paintings because there were so many and obviously Norval was low on funds.  One of the partners at the time was of the opinion that we were taking advantage of Norval.  In response Norval said that we were helping him out because he had some significant bills to be paid and needed the money to continue on in life.” (email Ken Whent to Ugo Matulic, Feb 13, 2012)

Canada v Whent – In 1995 these hundreds of Morrisseau and Gary Lamont-sourced paintings would become the subject of a tax court case, because Revenue Canada protested they had been given outrageously high valuations at $900,000.

Revenue Canada said the tax credit should reflect what the Whent group paid, $130,000 not an outrageously inflated gallery price of some $900,000.

The Honourable Justice Murray Alexander Mogan was given the task to sort out the huge discrepancy.

Donald Robinson was hired by lawyer Ken Whent to make a fair and honest independent evaluation of the 216 paintings, based on the fair market value of gallery prices in 1984, 1985, and 1986.

Rather than striking a middle ground, or detecting a single fake to reject, Robinson appraised all 216 Gary Lamont originating paintings, as genuine originals and worth even more, an astonishing $1,227,550.

Justice Mogan howled with protest and drew special attention to Robinson’s deceptions. Citing his own research, Justice Mogan excoriated Robinson, saying that there were no gallery sales at all in those years and that Norval was then selling his paintings on the streets of Thunder Bay for next to nothing.

Clearly Justice Mogan did not trust Robinson, when he noted, acidly:

“Any fully informed owner of a retail art gallery would know or should have known in 1984, 1985 and 1986 that the artist’s new works were being sold by his friends and relatives on the streets of Thunder Bay at bargain prices. That knowledge would affect the prices which the owner of a retail art gallery could charge for new works in those years. Therefore, the cornerstone of the taxpayer’s independent appraisal was… seriously damaged.” (Judgment July 12, 1996, Ken A. Whent v the Queen)

Justice Mogan: Gottcha…

“When asked to appraise the 216 paintings in these appeals for the years 1984, 1985 and 1986 (before he started to sell Morrisseau’s works) Mr. Robinson was hypnotized by his own 1990 price list. When preparing that 1990 price list, he did not have any Morrisseau sales from his own gallery to rely on for the years prior to 1987. Nor did he have sales from any other retail gallery to rely on… Notwithstanding those facts, Mr. Robinson used his 1990 price list as the basic tool to appraise fair market value in the years 1984, 1985 and 1986.” (Judgment July 12, 1996, Ken A. Whent v the Queen)

In bald terms Robinson used the opportunity given him by the Tax Court – to act as a principled arms-length expert – and chose instead to depart totally and crassly from that public responsibility, to impose latter day Kinsman Robinson Galleries valuations on the market to support and inflate the prices he and his son Paul were charging in their gallery. (Judgment July 12, 1996, Ken A. Whent v the Queen)

Justice Mogan clearly found Robinson’s values (at $5683 per painting) preposterous, to be polite, noting pointedly, “I will place very little relevance upon Mr. Robinson’s appraised value…” (Remember the paintings had a 1985 “street value” of $30 or $40 if you could find Norval.)

Justice Mogan excoriated Robinson also for his willful behaviour in choosing to ignore factual information he should have taken into consideration as an honest broker, but chose to reject for personal interest.

”Mr. Robinson ignored the fact that Morrisseau had no private gallery sponsor in those years. He also ignored Morrisseau’s regrettable but down-and-out lifestyle in those years. This is surprising…”

Then he upbraided Robinson as an honest broker.

“Mr. Robinson’s close association with Morrisseau is… a liability in the sense that he has a hopeless conflict of interest in trying to be objective about the quality or value of Morrisseau’s works when he is currently the exclusive distributor for Morrisseau’s new works in Ontario. All of the expert witnesses were cross-examined in varying degrees about the quality of certain paintings purchased by the Appellants but Mr. Robinson, in particular, had great difficulty in saying anything truly critical of a particular painting.” (Judgment July 12, 1996, Ken A. Whent v the Queen)

In typical restrained legalese he excoriated Robinson for fabricating prices and gallery valuations that never existed, and for being totally self-serving in inflating the values that he wanted to impose on the market place for paintings his gallery was selling.

NOTE: It is utterly clear, that long before there was any talk of Morrisseau fakes or forgeries, Donald Robinson was already faking and fabricating valuations and being called on to the carpet for inventing provenance that never was, values that never were, and in being in an over-arching campaign to boost valuations of paintings he was selling based on any untruth that was handy. 

In the end Justice Mogan trashed and rejected Robinson’s appraisal totally, and chose to rely on other more credible evaluators that he regarded as more honest, including Joseph McLeod.

At the time Joseph McLeod was acknowledged – even by Robinson – as the senior and most reputable Morrisseau expert in the world. McLeod had evaluated the paintings at $510,310, at far below half of Robinson’s bloated self-promoting valuations.

Justice Mogan ruled the paintings were worth $660,000, exactly half of what Robinson claimed.

NOTE: Justice Mogan would be the first of a long line of respected deputy judges, judges, and justices, in Small Claims Courts, the Ontario Court of Justice, and the Ontario Superior Court of Justice, who would “reject,” repeatedly, Donald Robinson, his testimony, his “expert reports,” his credentials, his expertise, his claims, in fact questioned his very honesty, in being a credible witness, let alone a credible Morrisseau expert in authentication and valuations.

Sinclair Strikes Again – In 2013, Gary Lamont who had been at Norval’s side, while the artist  provided authentication and provenance, for all 216 paintings to the Whent law firm, was named in a Statement of Claim filed by lawyer Jonathan Sommer (in McDermott v McLeod) as the initiator and orchestrator of a vast forgery ring selling countless Morrisseau fakes.

No one knows where the Sommer allegations came from, or where Sommer got his evidence, or if he even has anything credible.

Sommer revealed in a newspaper article that he would reveal his “theory” of the alleged Thunder Bay forgery ring, in court…

Well folks, a theory, is not evidence, recognized by any court. Not until proven/substantiated with independently verifiable evidence will his theory hold water to any judge.

The preposterous claim included no evidence whatsoever to substantiate these wild allegations, which seemingly doesn’t matter to this lawyer, since he will get paid his fees whether he produces credible evidence or not, or win his case or not. (Sommer had already run up estimated billings of some $56,000 in his losing Hatfield v Artworld case where he disastrously lost both at trial and in the Appeal where he pointed out some 35 errors supposedly committed by the judge.)

But the Sommer McDermott claim, however, definitely echoes a wild outburst made by Ritchie Sinclair – when he was Sommer’s only witness – in court during the Hatfield v Artworld case, during which Sinclair yelled out the names of Morrisseau relatives and friends Sinclair claimed were forgers and operators of a forgery ring.

Sinclair loudly and emphatically told Judge Martial that Gary Lamont was “definitely” a forger and fraud ring operator. (Court Trans/Hatfield v Artworld: Jun 4, 2012 p197). Judge Martial, and in turn Justice Sanderson, in the Appeal, would entirely dismiss all of Sinclair’s claims, testimony, and expertise. Neither would believe a word he said.

Sinclair has for years defamed Gary Lamont as a forger on his website. And Lamont was one of only five art dealers which were major competitors of Kinsman Robinson Galleries, targeted by Gabor Vadas with the notorious and discredited Affidavits of Forgery that started to appear in 2003-2005 bearing the severely Dementia-debilitated Norval’s name and were delivered to the relevant dealers immediately.

But Lamont was not given his accusatory Affidavit of Forgery, by Vadas until AFTER Lamont’s good friend Norval had died.

Damning Corroborative Evidence: In fact Lamont has reported, that at this very time – in early 2005 – when Norval was supposedly busy picking out forgeries and making out affidavits listing hundreds of alleged fakes, Lamont had visited his old friend Norval in his terminal care facility, and was distressed to discover that Norval couldn’t even recognize his old buddy, drinking companion, landlord, and his longtime art dealer anymore.

The Missing Photo Record – And while Sinclair has no photos at all showing him in a working relationships of any kind to his “pretend” relationship with Norval Morrisseau, Gary Lamont has published many of them, proving that he – unlike Sinclair – WAS in a long, and close relationship with Norval in the artist’s prime.

In fact Norval abandoning Toronto and Sinclair, and going off with Lamont to Thunder Bay may have irked Sinclair and could be a Motive for the attacks he has launched against him over the past 30 years.

It will be a fine day in court when Robinson appears in court as a witness accusing Lamont of being a mass marketeer of forgeries.

It will be rich to watch when brutally crossed by Brian Shiller and asked to explain how the man the Sinclair/Sommer team accuses of being a longtime mass market purveyor of Morrisseau forgeries, sold the Whent law firm 216 genuine Morrisseaus, with not a fake among them, as Robinson’s appraisal for the Tax Court proved/verified/upheld.

And as Justice Mogan has written for the ages, Robinson, alone of the experts could not find a single fault of any kind in any of the 216 Gary Lamont-sourced paintings.

“All of the expert witnesses were cross-examined in varying degrees about the quality of certain paintings purchased by the Appellants but Mr. Robinson, in particular, had great difficulty in saying anything truly critical of a particular painting.”

And each one from the man he now will face in court accusing him of having been a mass marketeer of forgeries for decades.

And with that canard demolished, as a non-starter, how can Robinson possibly claim that the same Lamont, a man in the catbird’s seat, for years, with the artist, would even contemplate making or selling a single fake, when he had all the originals he ever wanted at his disposal at a moment’s notice?

Will Robinson’s argument be that the 216 paintings were fakes that simply slipped by him at a time he was not as smart as he is today? Which is exactly how he excused buying those 31 original paintings 15 years later, saying he was only 10% as smart – in authenticating Morrisseaus – in those days as he currently is.

My Prediction: Robinson will twist in the wind as Shiller guts him, and the whole case will fall apart in another landmark Sommer disaster.

Because it all rests on the say so of one man who has zero credibility, but venom aplenty to spread, on the Morrisseau file: Ritchie Sinclair, who has for years viciously targeted Lamont, to whom Norval fled, after leaving Toronto and Ritchie Sinclair far behind in 1982.

Hell hath no fury…

All the allegations are just another absurd zinger, we’re expected to believe from Sinclair, Robinson, and Sommer’s promotion of the Greatest Fraud and Hoax in Canadian history.

And McDermott will be singing into his dotage, in Kapuskasing, and Wawa, held up by his walker, to pay off the huge legal bills he’ll have to pay to Sommer, and the damages, and legal bills, to Brian Shiller… Because he can sing, but he can’t read…

THE NEGLIGENCE & LACK OF DUE DILIGENCE BY THE MAINSTREAM MEDIA Part 2

Throughout the years of the HOAX, because of the continued laziness and negligence, by mainstream media journalists, and their refusal to do simple basic background research that would clearly prove that Sinclair’s web site is a total HOAX in its own right, they have given this absurdity a national credibility it would never ever have had, otherwise.

On April 8, 2013 the Ottawa Citizen published what can only be called a crass job ad for a lawyer, Jonathan Sommer, entitling the article “Art lovers beware: Norval Morrisseau fakes are still on the market, says lawyer.”

A lawyer who, in an epic judicial rebuff, had just massively lost the longest and most involved Small Claims Court trial in Canadian fine art history, in which Judge Paul J Martial had utterly dismissed, and repeatedly “rejected” the Morrisseau expertise, the credibility, the testimony, the expert reports, and the claims of Sommer’s only two witnesses – Ritchie Sinclair and Donald Robinson – and ruled that both the painting and the signature – which the duo had hugely maligned as both fake – were absolutely authentic.

The witless Ottawa Citizen then quoted Sommer who, in a classic case of “sour grapes,” made dismissive comments about the judge, the massively negative findings of the judge, and the Small Claims Court process. In his Appeal he accused Judge Martial of ignoring his witnesses (Sinclair & Robinson), making dozens of incompetent rulings, and wrong decisions, and demanded, on that basis to be given a new trial.

THE MEDIA COMPLICITY IN ADVANCING THE HOAX

It is noteworthy, that The Ottawa Citizen article, with its “lawyer job ad headline,” and Sommer’s judicially dissing comments about the judge and the process, and which was for months available on various web sites linked back to the paper, has for some reason, totally disappeared and is no longer available on the internet or the Citizen’s own archives.

On Feb 3, 2014, the National Post – a sister publication of the Citizen – published another distorted article whose false allegations were amplified by also posting a link to Ritchie Sinclair’s malicious and libelous website.

The neophyte and gullible journalist, Tristin Hopper, was soon pushed to change the title of the piece to a more aggressive sounding claim, and was also put upon to remove “self-proclaimed” from in front of “Morrisseau protégé Ritchie Sinclair.” Changing a truth to a fiction at someone’s behest. Wonder who?

The National Post, which had initiated and spread the HOAX as a reality, in 2001, when it compliantly and unquestioningly spread the story invented by art dealer Donald Robinson to increase the value of his Morrisseau paintings, and devalue everybody else’s, has now established a new low in journalism.

A novice journalist, who spends most of his life Tweeting a blizzard of inanities on every topic under the sun, is now doing the bidding on a Canadian fine art feature story, emailed to him by a high school dropout with no credentials in art, and motivated by a destructive mission of malice against those who refuse to acknowledge his self-proclaimed greatness as a Canadian artist.

Mainstream media journalists seem to be utterly unable to break out of their “pack mentality” and congenital stupidity in how they have handled the HOAX file since it was established in the public consciousness as a possibility – read probability – by Murray Whyte in his notoriously unsubstantiated and unverified posting in the National Post on May 18, 2001, all merely copying and spewing out anything Donald Robinson claimed as the truth.

It was the self-same Murray Whyte, now 13 years wiser, who, writing an art column for the Toronto Star on February 5, 2014, recognized the failings in his earlier published article and gamely wrote a paragraph noting my blog as a source for Star readers, and one that challenged Robinson/Sinclair’s claims as being totally debunked and discredited by court after court and forensic scientist after forensic scientist.

But the “fresh air” coverage exposing the truth in the story, and a semblance of genuine journalistic balance at the Star, lasted only a very few hours, before the paragraph referencing the work of independent investigative journalist and professional historian, John Goldi and his ground-breaking blog, theMorrisseauHoaxExposedBlog.com, and its link were suddenly, without explanation, removed in toto from the paper. Emails to the Toronto Star editor and the journalist were not returned.

The Star refused utterly to practice responsible journalism, and actually removed far more honest, true, and independent information from its article, which would have given it, at least, a semblance of journalistic balance, than what it ended up publishing.

This continuing witless calumny by mainstream media journalists promoted the fraud because of their utter failure to practice due diligence in subjecting Sinclair’s claims to a rigorous examination and review in view of the huge mountain of documentary evidence that has been published showing Sinclair’s – and Robinson’s – claims are fraudulent, malicious, defamatory, and run absolutely counter to ALL the findings by a succession of Canadian courts and judges, and the overwhelming findings of top, highly educated and specialized, Canadian forensic scientists in over 70 examinations where they found paintings Sinclair called “inferior fakes,” to be totally genuine Morrisseaus, with DNA certainty.

A collage prepared by Ugo Matulic which summarizes most of the genuine Morrisseau paintings that have been authenticated by three of Canada's top forensic experts, to have been signed by Norval, with DNA certainty, and by no one else. All remain posted as fakes on Ritchie Sinclair's libelous and defamatory web site in March 2014.

A collage prepared by Ugo Matulic which shows many of the genuine Morrisseau paintings that have been authenticated by three of Canada’s top forensic experts, to have been signed by Norval, with DNA certainty, and by no one else. All remain posted as fakes and forgeries on Ritchie Sinclair’s malicious. libelous, and defamatory web site in March 2014.

Above are many forensically authenticated paintings that CTV slanged publicly when it allowed discredited Indian impersonator to defame on Canada AM, and announce that the very “telltale” marks that it claimed were sure signs of fakes, are in fact the DNA that allowed forensic scientists to prove that they are authentic – and Sinclair’s claims and CTV’s, are NOT.

The boundaries of idiocy by the mainstream media just seem to escalate endlessly. In February 2014 – we kid you not – the CTV weather man and sports reporter for Canada AM, gave a national television stage for the wild rantings – all false and fraudulent – of Ritchie Sinclair.

Without in any way practicing due diligence in researching the facts alleged by Sinclair, CTV just publicized his wild comments on national TV, and promoted the man and his malicious statements and website, setting him up as some kind of Morrisseau expert for Canadians from coast to coast.

Unbelievable!!!

CTV weatherman and sports guy Jeff Hutcheson and Ritchie Sinclair tell millions of Canadians, on CTV's Canada AM what to look for in a Morrisseau painting to tell if it's a fake or not. In doing so, the witless duo are slanging literally thousands of genuine Morrisseau originals by a fraudulent standard they have dreamed up. Hundreds of Canadian Morrisseau colelctors should sue CTV.

CTV’s clueless weatherman and sports guy, Jeff Hutcheson, and Indian imposter and discredited Morrisseau expert, Ritchie Sinclair, tell millions of Canadians, on CTV’s Canada AM what to look for in a Morrisseau painting to tell if it’s a fake or not. In doing so, the witless duo are slanging literally thousands of genuine Morrisseau originals by a fraudulent standard they have dreamed up, and is the total opposite of evidence and facts established by scores of forensic findings, and multiple court rulings. Hundreds of Canadian Morrisseau collectors should sue CTV.

My wife and I have been documentary and educational filmmakers for the past 35 years. Whenever we have produced television programs we had to meet the stringent legal requirements set by the broadcaster’s legal department for every statement we made and published, paid for out of our licensing fee.

CTV did no such preliminary vetting at all by its legal department before giving Sinclair a huge public platform to vent his malicious and defamatory opinions, that were not supported by any proof of any kind from anywhere.

CTV clearly has set itself up for a slew of lawsuits from Morrisseau collectors whose art is exactly the same kind as Sinclair – and Canada AM – were showing on national TV, as exactly the kind of Morrisseaus that Sinclair falsely claims are fakes with the supposed telltale signs of fakes.

In fact both the Martial and the Sanderson Court recognized that the evidence is incontrovertible that exactly the signature that Sinclair and CTV paraded to the world as a sign of a fake, was the standard signature used by Norval Morrisseau. In fact over 70 different examinations by forensic scientists and handwriting experts, have ruled that these signatures – including the one shown by CTV – were done by Norval Morrisseau, with DNA certainty, and by no one else.

And in fact the Appeal Court also upheld the Martial Court ruling that both the front and the back of the painting, which Sinclair and CTV on national television, publicly slanged as fake, were genuine.

When I warned CTV and gave proof, that Sinclair had deliberately used the public platform given to him by CTV, to spread lies in which a small number of people have a huge vested self-interest, and that CTV had posted a malicious and factually false television interview with Sinclair, it removed the video from its archives.

But the damage has been done, and copies of the video have been widely copied and published by Sinclair as more obsessive self-promotion and his malicious campaign to slang Canadian judges, courts, and genuine Morrisseau paintings.

Thanks to CTV his malice persists and spreads like a virus.

And there are two more similarly set-up lawsuits currently being wildly publicized by Ritchie Sinclair through several gullible pseudo-journalists, working for CTV, for the National Post, and for the Ottawa Citizen.

Naturally, they have done no research before they publicized Sinclair’s wild and unsubstantiated claims. Sinclair is providing all of the gullible media with his wild stories with no substantiated evidence, and they are eagerly, and unquestioningly, spewing it out to the public.

And by giving Sinclair a public platform to spread his invented information, they are irresponsibly, through their negligence, their failure to due diligence as is required by their own profession of journalism, and their apparent willful ignorance, destroying millions of dollars worth of Canadian art assets.

Clearly CTV and Canada AM have made themselves hugely vulnerable to multiple lawsuits from collectors with the courts, judges, and multiple findings by top Canadian forensic scientists on their side.

It is time for Morrisseau collectors, dealers, and gallery owners, as well as Canadian museums and public institutions to start launching their own lawsuits against the media for negligently and willfully promoting a small group of self-serving people who are purposely devaluing the Norval Morrisseau art assets of Canadians.

It is estimated that the loss amounts to some $100 million in Morrisseau’s art valuations.

If you don’t want to pay a lawyer’s fees, you can still go to Small Claims Court where you can sue for up to $25,000 a painting.

If your painting is falsely labeled as a fake on Ritchie Sinclair’s website, you can sue the media for negligently promoting his libelous, malicious, and defamatory website.

And help put an end of the biggest HOAX in Canadian history.

Posted in Art Cartel, BDPs - Black Drybrush Signed Painting, Canadian Cultural Vandals, Court Cases, Cyber Terrorism, Forensic Expert Findings, Martial Court 2011 - 2013, Perjury or Dementia, Ritchie Sinclair | Leave a comment

Judges Summary to 2014

For the Good Guys 11 Judges; For the Bad Guys 1 Hanging Judge

For the Good Guys 11 Judges; For the Bad Guys 1 Hanging Judge

Posted in BDPs - Black Drybrush Signed Painting, Canadian Cultural Heroes, Court Cases, Forensic Expert Findings, Martial Court 2011 - 2013 | Leave a comment

The Fearful Cost of Mainstream Media Incompetence

From 2003-2005, Vadas and Milrad were involved in attacking business competitors of Toronto's Kinsman Robinson Galleries, with seven different Affidavits of Forgery they had fabricated. These have since been proven to be utterly shot through with countless errors as well as including - you won't believe this - with many forensically authenticated genuine Morrisseau paintings. In February 2007, Vadas and Milrad fed the same kind of fraudulent information to Val Ross, convincing both her and her employer, that Michael Moniz was a fraud artist and seller of fakes. The gullible journalist, failed to practice due diligence and rushed into print with her libelous and defamatory - second-hand  Vadas and Milrad allegations. When Moniz got proof from forensic scientists that the paintings were real, Vadas and Milrad ran for cover. The Globe lawyers told their client to pay up and not risk the wrath of a judge for the Globe's libel and defamation.

From 2003-2005, Vadas and Milrad were involved in attacking business competitors of Toronto’s Kinsman Robinson Galleries with seven different Affidavits of Forgery they had fabricated. These have since been proven to be utterly shot through with countless compromising errors as well as including – you won’t believe this – a significant number of forensically authenticated genuine Morrisseau paintings.
In February 2007, Vadas and Milrad fed the same kind of fraudulent information to Val Ross, convincing both her and her employer, the Globe and Mail, that Michael Moniz was a fraud artist and seller of fakes. The gullible journalist, failed to practice due diligence and rushed into print with her libelous and defamatory, second-hand Vadas and Milrad allegations. When Moniz got proof from a forensic scientist that the paintings were real, Vadas and Milrad ran for cover. The Globe lawyers told their client to pay Moniz off, and not risk the wrath of a judge who would scorch the Globe for its clearly libelous and defamatory allegations against Moniz and his genuine Morrisseaus. The lawyers also recommended they bribe Moniz with $25,000 and silence him with one of the infamous “Globe Gag Orders.”

globe_ross600b

See: 1- DEMENTIA           2 – POWER OF ATTORNEY          3 – THE HEIST 

4 – NMHS DESTROYS      5 – AFFIDAVITS OF FORGERY 

By far the longest and firmest handshake I have ever received in my life, was when I first met and first talked to Toronto Morrisseau art dealer Michael Moniz, just a few weeks before he died.

He was emotional, looked me straight in the eye and said, “I don’t need to say why.”

I had started theMorrisseauHoaxExposedBlog.com some months before.

Then he was dead, dying alone in his apartment where he collapsed, and was found a day later, a clear victim of the Greatest Art Fraud in Canadian History and those promoting it.

It was the only funeral I have attended in over 35 years.

I thought Canada and Canadians should be represented in honour of Michael’s commitment to a cultural fight he truly fought on behalf of all Canadians, and to recognize all it cost him.

When

Joseph Otavnik, who will go down in history as the first Canadian to take a stand against the Greatest Art Fraud in Canadian History, saying farewell to another genuine Canadian cultural hero, Michael Moniz. Michael was the first person to take a principled stand against the journalistic incompetence of Canada’s largest mainstream media combine that maliciously and fallaciously libeled him and slanged his Morrisseau art as fakes. He won his lawsuit – one little guy against Canada’s only national newspaper – but was silenced with $25,000 and a Globe Gag Order to hide the truth of the fraud from Canadians and to cover up the Globe’s journalistic incompetence; but the toll of it all was fearful: it cost him his business, his marriage, and finally his life…

Coming tomorrow – the complete story of the unending saga of the incompetence of Canada’s mainstream media journalists, in failing to follow every single protocol of journalistic responsibility, and in being guilty of unforgivable laziness and in failing to practice even a modicum of due diligence in researching, before rushing into print with unsubstantiated drivel, so becoming witless, gullible, and compliant promoters of the Greatest Fraud in Canadian Art History.

Posted in Canadian Cultural Heroes, Canadian Cultural Vandals, Media | Leave a comment

KRG “Creative Provenance” – Part 2

With Apologies…
“The HOAX of Provenance – Part 2” has been expanded into an 80 page special report which, because of a number of developing stories, has been delayed to encompass new information. It will be published shortly.

“Chain of Title” – Provenance is the life history of an object, written down, noting the succession of owners through whose hands it has passed. An exhaustive, accurate, written documentary record of the sequential house, boat, or car ownership like this, is known as chain of title.”

“Provenance” – In the fine art world “provenance” is claimed to be the names and dates of all the owners in turn, who owned a painting, since it left the artist’s hands. Thereby ensuring – it is claimed – no faker, forger, or fixer got in between, somewhere, so undermining the work’s value as an untarnished original creation by the artist.

“Guarantee of Provenance” – Kinsman Robinson Galleries claims it is the only art gallery which can guarantee the provenance of every Morrisseau it has ever sold, being able to prove, and guarantee to their clients, an unbroken chain of title right back to the artist. How good do you think is such a claim?

It was not Norval, but Donald Robinson who first announced to the world, his discovery of so-called "thousands of fakes by umpteen forgers" so launching the Conspiracy Theory that turned out to be the Biggest HOAX in Canadian history.

It was not Norval, but Donald Robinson who first announced to the world, his discovery of so-called “thousands of fakes by umpteen forgers” so launching the Conspiracy Theory that turned out to be the Biggest HOAX in Canadian history.

“Promise of Provenance” – On Jan. 26, 2000 Donald Robinson was the under bidder on “Shaman Envelopes Soma 1976,” at Randy Potter Auctions where he told me personally, “Oh it’s real alright. Trust me! I’m the guy who wrote the book on Morrisseau.” Claiming he was the world’s top Morrisseau expert, his exclusive dealer, after some fifteen years experience assessing and handling his art.

A year later the “Trust me guy” totally reversed himself, saying Morrisseau never signed the backs of paintings like SOMA, that all such paintings were fakes – some 4,000 of them. (In 2013, Robinson’s claim notwithstanding, SOMA became the first Morrisseau painting in history to be accorded “beyond DNA” authenticity, of 100% by a Canadian forensic scientist. See below)

So what’s a “promise of provenance” worth from a so-called “world’s top expert” when he totally reverses himself on authentication and validation, and does it repeatedly. How much trust can you place in paintings he sells you? By my count Robinson has made 363 specific fallacious authentications, on which he has totally reversed himself as the mood apparently takes him. This is the Guinness Book of World Records for utterly wrong calls by a so-called fine art expert in history, a full 362 more wrong calls than the previous record holder, the Netherlands’ famed Vermeer scholar Abraham Bredius with one (1) bad call.

“Myth of Provenance” – Common sense alone, tells you, 99 times out of 100, the “guarantee of provenance” is too preposterous a possibility to even pretend to have any credibility with regard to the paternity of the overwhelming number of historical memorabilia, any fine art sculptures, or paintings. And everyone in the art world knows what a virtual total impossibility this is to document.

Petocahhanawawin or Poundmaker, is simply the most fabulous portrait of a Canadian Indian chief ever painted (pastel on paper), one of only four "copies" known to exist and each made, with slight differences by Edmund Morris before he died in 1913.  Today "his Indian portraits are now considered priceless." The three other copies are 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.

Petocahhanawawin or Poundmaker, is simply the most fabulous portrait of a Canadian Indian chief ever painted (pastel on paper), one of only four “copies” known to exist and each made, with slight differences by Edmund Morris before he died in 1913. Today “his Indian portraits are now considered priceless.” The three other copies are 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.

A Curator’s Confession – As the longtime acquisitions curator and director of research for the Canadian Anglo-Boer War Museum, for which I acquired some 4,500 fine art works and historical memorabilia items, I can certify that of all these items – most of which are 100 years old or more – there is no “provenance” that came at all, of any kind, not by documentation, nor by word of mouth, with 99.9% of them. They had to be authenticated by researching each one individually, with “on board” DNA, and by cross-referencing their credibility with other verified standards.

Nor did any of them come with the ultimate fine art ludicracy, the so-called “chain of title,” which Jonathan Sommer – displaying his utter lack of knowledge of fine art and antiques – so farcically tried to apply to Morrisseau art in his losing court presentations before Judges Martial and Sanderson.

“Fuck off!” with your Provenance  “Provenance is a laugh, the fact that it came from so and so, and so and so gave it to the prince of so and so. Fuck off! That can all be faked up. Same thing with iconography. All of that stuff is superfluous and of no importance.” (Thomas P Hoving quoted, The Forger’s Spell, Dolnick, p242)

Tom Hoving was a world expert on frauds and fakes in art and “probably the most influential and innovative museum official of the postwar period.” (obit Michael Kimmelman in NY Times; Hoving was New York’s Museum of Modern Art Director 1967-77.) Hoving had no use for any art expert who wanted to talk of “provenance” and would dismiss them as little more than a scam artist.

“Provenance as a Weapon” – In fact, provenance is a preposterous conceit and fraud that is diabolically bandied about by some – like Kinsman Robinson Galleries – in the fine art community, because they have found it a useful weapon with which to hoodwink the gullible public and flay their business competitors. They use the “provenance weapon” to convince neophyte buyers that KRG is more likely to be selling “genuine Morrisseaus” than their business competitors. And that KRG can guarantee provenance while their competition can’t.

The implied inference is that if you buy from non-KRG galleries you have a very good chance of ending up with a fake. (Remember that KRG is the entire and sole inventor of the myth of the Morrisseau Conspiracy Theory of “thousands of fakes by umpteen forgers.”)

Donald Robinson's self-serving claim in this screen grab from his KRG corporate post of 2008, to justify that not only is a paper trail for Morrisseau mandatory but it must be from Kinsman Robinson Galleries, you know, the Principal Morrisseau Dealer, and the only Morrisseau outlet getting its paintings directly from the artist. Lacking this kind of “providence” all the others are fakes… Make that about 4,000 all belonging to other dealers. Nice…

Donald Robinson’s self-serving claim in this screen grab from his KRG corporate post of 2008, to justify that not only is a paper trail for Morrisseau mandatory but it must be from Kinsman Robinson Galleries, you know, the Principal Morrisseau Dealer, and the only Morrisseau outlet getting its paintings directly from the artist. Lacking this kind of “providence” all the others are fakes… Make that about 4,000 all belonging to other dealers. Nice…

“White Man’s Paper No fucking good” – The poster child for using provenance as a weapon is Donald Robinson who in 2008 blogged, “Provenance is everything in the art world.”

When he – as well as everyone else in the business – very well knew that was a lie – a totally unobtainable reality – with most international art, with Canadian heritage fine art, but especially so with Morrisseau art.

(A Morrisseau reality, since Norval gave no receipts and left no paper trail, whatsoever, for the overwhelming majority of his paintings. As he dismissively told Pollock in 1962 “white man’s paper’s no fucking good.” And he contemptuously was not going to provide any himself.)

Here’s a case history of how the “provenance” art scam works in practice. A patron who bought a paintings from the long-established and highly reputable Gallery on the Lake, “read that Kinsman Robinson Galleries were the only source for original Morrisseau paintings,” and so wanted his money back, if the gallery couldn’t provide detailed “provenance,” a list of all the previous owners back to the artist, for his painting.

If the gallery could not provide such documentation – and of course Robinson knew it could not, because nobody can, in the secondary market Morrisseau art world where over 9,000 of Norval’s works reside -KRG repeatedly informs its clients and the mainstream media, then the work fails this totally bogus, so-called ultimate authenticity test. Failing to obtain “chain of title” provenance documentation, for a work, is Robinson’s repeated claim, means it’s probably a forgery, since as he quite falsely alleges, “provenance is everything in the art world.”

The client is one of many who demanded his money back. One art dealer has estimated that the “provenance scam” has scared so many gullible neophyte art collectors that it has destroyed the art valuations of genuine Morrisseaus to the tune of $100 million.

There’s got to be something more reliable for provenance, than malicious gallery gossip.

There is; it’s called “Norval’s DNA.”

krg_window_somacombo5

DNA to Die For - James Herge is Canada's finest living artist. He - like Norval with his showy BDPs - splashed his DNA all over the back of his original canvases. Both would be a nightmare for any forger to duplicate. Now which one would you rather forge, a Hergel that sells for $8,000 or a Morrisseau which Norval was selling for $20 or $30 bucks?

Provenance DNA to Die For – James Hergel is Canada’s finest living artist. He – like Norval with his showy 1970s BDPs – splashed his DNA all over the back of his original canvases. Both would be a nightmare for any forger to duplicate. Now which one would you rather have as a guarantee of Provenance, this on the back of your painting, or a blank back backed up by Donald Robinson’s word?

hergel_micihipicoten_pines

Canada’s Finest Living Artist – James Edward Hergel “Michipicoten Pines”

Galleries and their labels, come and go with greater frequency than “Hookers on Davie.” So you have to decide on what you want on your paintings: Norval and James’ DNA on the back, or a blank back and a gallery label from the Scollard, the Lane, or the Domkjar Burton Gallery.

Ooops! Sorry, they’re all long gone, and so are their staff members. Leaving you only with a sticker as a memory. But not as a guarantee of authenticity of the painting, mind you, but only as a fading label of another failed enterprise and someone’s business dreams turned to dust.

Note how a KRG label is much easier to copy and duplicate.

A Gallery label is as useful a guarantee of authenticity as is a Wal-Mart stock sticker on a toilet plunger. Both are typed up by who knows which clerk or secretary. And neither guarantees anything you can rely on about the article to which they’re attached.

 

 

 

 

 

 

 

 

Frankly, for my money I much prefer the genuine “Certificate of Authenticity” provided by Mafioso gallery operator Albert Volpe to people who bought his Morrisseaus. Sorry but his gallery too, along with his assurance of provenance, is long gone. But he did leave a much better quality gallery label behind than that chintzy minimal thing provided by KRG.

It looks to me like the Mafioso’s guarantee of provenance is much more reliable than that from Kinsman Robinson Galleries. Albert’s label is bigger, more ornate, has a nicer border, is much more detailed, has a registry number, has a high quality gold seal specially attached, and is – now if that is not the ultimate trump card as proof of authenticity – actually signed by the hand of Albert Volpe himself. What do you think?

Albert at least personally stood behind the authenticity of work he sold – for the Ages. Where is Donald Robinson’s signature promising authenticity for all those blank backed “Morrisseaus/Burrowsseaus” he sold?

A label from c 1979, when the Volpes, fronting for a money-laundering operation for the mafia, were paying Norval with "drugs and young boys" and a "house in the country," according to Jack Pollock. Ritchie Sinclair who was hired through them says the Volpes were very nice to him.

A label from c 1979, when the Volpes, fronting for a money-laundering operation for the Mafia, were paying Norval with “drugs and young boys” and a “house in the country,” according to Jack Pollock. A very young Ritchie Sinclair who was hired through them says the Volpes were very nice to him.

Finally – Seriously, now, for your money, is a blank back on a painting, and a gallery label, in any way a substitute or guarantee of any kind or any thing, compared the artist’s DNA on the back?

To us it is only a stock sticker, and in fact a distraction at best. Give us something to take to the bank, or a forensic expert, like the artist’s signature. Don’t you get caught with a blank stare from your bank manager, or your forensic scientist, when you eagerly show them off the blank back on your “Burrowsseau.”

doc_krg_valuation_plis2

Finally what’s this Kinsman Robinson Galleries “Fair Market Valuation” worth?

Jonas Plis paid KRG several hundred dollars to assess his paintings. Paul Robinson even signed it, certifying both black dry brush paintings (BDPs) as authentic Morrisseaus, even though his Dad had loudly declared in the mainstream media six full months before, that all such BDP paintings, and all similar paintings from the same source were absolute fakes. NIAOB.

So who’s lying – the Father or the Son?

And what did Jonas Plis end up getting for his hundreds of dollars?

And what does that say about the “provenance” of these two paintings, the value of KRG documentation, and the integrity of Kinsman Robinson Galleries and its principals?

For my money, I’ll take Norval’s signature any day of the week over the signatures of Albert Volpe, Donald Robinson, or Paul Robinson, and any of their chintzy gallery labels, loudly pasted all over the blank backs of their “Morrisseaus.”

Lots of other people have the same kinds of “guarantee of provenance” provided by Kinsman Robinson Galleries, probably hundreds over the years, all for BDPs like SOMA above and the two Plis paintings.

Playing the “Dumb Dad” Card – To help you sort out who’s more inept at Morrisseau art authentication, the Father or the Son, Pop Robinson can offer guidance. Donald Robinson – doing a little promo work for his son who now runs Kinsman Robinson Galleries – told Judge Martial, his son was smarter than he was, that he was on to the so-called fakes first, before the Donald caught on to “thousands of fakes by umpteen forgers,” and that he, the Father, to his eternal regret, persisted in believing in them despite the suspicious warnings repeatedly given him by his son Paul to stay away from them.

Q (Brian Shiller). So you were confident then that the paintings were genuine Morrisseau paintings?

A. (Donald Robinson). Yes. I should say that my son, Paul, after about half-way through when those purchases were made, perhaps five or six at a time at various auctions, my son Paul at the gallery, who now runs the gallery, he told me that I should not buy any more and he was suspicious of them, and I argued with him and bought a few more, to my great regret.

Q. Okay, so your son had suspicions…

A. He did.

Q. …you didn’t. So Paul Robinson…

A. Paul.

Q. …is your son.
(Court Trans/Hatfield v Child: Feb 23, 2012 p20)

So, how believable is any of that, considering Paul’s brash signature above, certifying as authentic on October 30, 2001, the very type of fakes his Dad had denounced six months earlier in the National Post on May 18, 2001?

And then it gets worse – In fact it was Paul Robinson who first certified these BDP paintings as great things to buy and turned his father on to them after a client brought in Potter BDP paintings to be authenticated.

After a customer brought in two paintings for authentication, Paul Robinson signed the form and sent his Dad to join the mad rush to buy the mother lode of original Morrisseau's being sold at Randy Potter Auctions. Five weeks later, on Sep 29, 1999, Donald Robinson went there and bought five.

After a customer brought in two paintings for authentication, Paul Robinson signed the form and sent his Dad to join the mad rush to buy the mother lode of original Morrisseaus being sold at Randy Potter Auctions. Five weeks later, on Sept 29, 1999, Donald Robinson went there and bought five.

On Aug. 18, 1999, Paul Robinson authenticated two BDPs for Matt Fountain, and alerted his father about the source for these paintings. Donald Robinson immediately personally started attending five (5) successive Randy Potter auctions, trying to buy some 90 (90) Potter Morrisseaus, and happily ending up with 31 (31).

So Pop Robinson was utterly wrong, about what he told Judge Martial.

In fact what he underlined instead was that his son – if you can believe this is possible? – was even worse at authenticating Morrisseau BDPs, by Donald Robinson’s own personal standard…

Paul Robinson tried to run interference for his father at the Matulic Discovery. Matulic refused to settle for a proxy for the man who had started and perpetuated the "greatest fraud in Canadian art history." Only weeks later, KRG abandoned their million dollar SLAPP suit without a single pre-condition. A stunning, total victory for Matulic and investigative journalists everywhere.

Paul Robinson could never have guessed that documents he signed in private would be published and unmask him as a worse authenticator of Morrisseaus even than his father. Or, if he knew better, willing to sign anything to make a buck, as long as he could cover it up. And his Dad told Judge Martial his son did know better…

These two documents make it absolutely, incontrovertibly clear that, in fact, Paul Robinson first discovered the so-called Wanker fakes, was first turned on by them, turned his father on to them, and was still madly signing off on them as authentic – for hundreds of dollars a pop – many months after his father had denounced them all as lousy, tawdry, and totally disreputable forgeries in the national media.

What the documents prove is that the son is, if anything, less reliable about Morrisseau art and provenance issues than his father.

So how good are Kinsman Robinson Galleries documents and promises about provenance, especially when you consider that the backs of ALL their Morrisseaus are blank? There’s no Morrisseau DNA there, at all.

All you are left with are the Father and the Son, and their personal assurances…

“If you can’t dazzle them with brilliance, baffle them with bullshit.” WC Fields

Posted in Art Cartel, Art Galleries, BDPs - Black Drybrush Signed Painting, Canadian Cultural Vandals, Provenance | Leave a comment

Madam Justice Mary Anne Sanderson

Update: Dec. 21, 2013

In her own words: Madam Justice Sanderson Speaks…

A Fabulous Merry Christmas Greeting
for Norval & All Canadians
from Madam Justice Mary Anne Sanderson

Ritchie Sinclair whom Norval has featured with numerous rather unflattering characterizations.

Credibility Utterly Shot – Ritchie Sinclair, totally dismissed, now by three judges (Martial, Lacavera, Sanderson) in one year, as being believable on any level about anything, and especially for having any expertise or anything worthwhile to say related to Norval  Morrisseau, is already casting around for another hapless victim. His many false and malicious assurances cost an elderly retired schoolteacher, some $60,000 of her paltry pension, most of it going to Mr. Sinclair’s legal associate, Jonathan Sommer. In a separate case, Judge Lacavera, after a five day trial over three years, launched by a Sinclair complaint to the Toronto Police for multiple acts of Criminal Harassment against Joe Otavnik, totally dismissed the suit as riven with numerous unbelievable statements and actions of Sinclair. Judge Lacavera basically called Sinclair a liar. Brian Shiller in the Hatfield case also reminded Madam Justice Sanderson that the evidence clearly showed that  Judge Martial had lots of justification to have called Sinclair a liar in that case, but refrained from doing so.

Why didn’t Donald Robinson tell Norval he himself had bought $54,000 of the exactly the same kind of BDP paintings, signed the same way as Jim White’s, and from the same place, and had been selling many of them successfully all over the place…?

Donald Robinson looking glum after hearing that the fourth judge in a row had now rejected just about everything he ever said about Morrisseau evaluations and about “thousands of fakes by umpteen forgers.”

In a stunning, and incredibly detailed and thoughtful ruling, Madam Justice Sanderson, totally backed up the landmark ruling of Deputy Judge Paul J Martial in the Hatfield v Child case, and dismissed entirely the Appeal of Jonathan Sommer for Ms. Hatfield. Madam Justice Sanderson supported entirely, the right of Judge Martial to dismiss in their entirety, the expertise, the expert reports, and the testimony of both Sommer’s witnesses, Donald Robinson of Toronto’s Kinsman Robinson Galleries and its outreach worker Ritchie Sinclair.

Having sat through the entire three-and-a-half hour Appeal, and seen the unconvincing arguments put forward by Sommer for his case and his client, I published over a week ago that she would make this ruling.

Despondent this Christmas because she has no money left to buy her adopted son a Christmas present. She spent all she had on her lawyer.

Despondent this Christmas because she has no money left to buy her adopted son a Christmas present. Ms. Hatfield spent all she had on her lawyer, on a wild goose chase…

So Ms. Hatfield has lost almost $60,000 for listening to bad advice she got on a Morrisseau internet dating site run by some malevolent and ignorant cyber terrorist mischief makers.

This makes it four judicial rulings in a row – Mogan 1996, Godfrey 2011, Martial 2013, and Sanderson 2013 – which have soundly rebuffed Donald Robinson’s expertise, expert reports, and credibility of his testimony as to the existence of any Morrisseau fakes that he and his business associate Ritchie Sinclair have promoted.

Much more to come here…

miller_sinclair_comment_may10_2013

Telling Comments Sinclair made to the Citizen, after having lost the (Martial) case in which he was one of only two witnesses.

McLeod's grown children had to run interference between Sinclair and their Dad, who would later have heart surgery.

Joe McLeod’s grown children had to run interference at different times between Sinclair and their Dad, who would later have heart surgery.

Sinclair’s reference to the “black dry-brush” is where he made numerous allegations to Toronto police causing them to press criminal charges v Joe Otavnik. In that case heard before Judge Lacavera over some two years, His Honour, totally discounted Sinclair’s allegations of Criminal Harassment against Joe Otavnik, and completely “acquitted Otavnik on all counts.”

In judicially circumspect legal language, Judge Lacavera impugned both the Crown, Stefania Fericean, and Sinclair’s lawyer, Zak Muscovitch, for proceeding with the case v Otavnik without previously examining with due diligence the allegations made by Sinclair.

Judge Lacavera also basically said – my interpretation – that Sinclair was lying to police and to him. Which is why he totally dismissed the “two charges” as bogus.

This finding mirrored what happened two years earlier when Judge Godfrey “dismissed” similar allegations Sinclair made against Otavnik. And told him to pay his own costs.

In fact Sinclair was, himself, charged by Toronto Police, in a different matter with multiple acts (some 6) of Criminal Harassment, against 82 year-old Joe McLeod.

In his Hatfield Appeal Lawyer Jonathan Sommer wrongly told Madam Justice Sanderson that Sinclair – his witness – was “acquitted” – his word – of those serious criminal charges, suggesting that McLeod, whom he had already impugned as associated with forgeries, was also a liar.

In fact both allegations were totally base falsehoods. I was in the courtroom where the police criminal harassment case against Sinclair was conducted and Sommer was not. Sinclair was absolutely not “acquitted,” a word which Sommer, who went to law school, ought to know the meaning of.

Or is he just mindlessly used to repeating what Sinclair – whom no judge has yet believed – told him to say?

In fact I have seen Sommer taking legal directions, from Sinclair, multiple times, in both the Martial and the Sanderson courtrooms.

One such loud Sinclair interruption of the proceedings occurred in the Sanderson court, when Sinclair loudly snorted his objection to  something Sommer had told Judge Sanderson. In response to Sinclair’s outburst, Sommer quickly spun around to face Sinclair, wide-eyed and questioning. He handed back a paper with a question to Sinclair and Hatfield, who were both sitting immediately adjacent to my seat in the public gallery. Sinclair directed Hatfield what to write and Sinclair handed the paper with his comments back to Sommer. Sommer, read it, then stood up and told Madam Justice Sanderson he had misspoken and wanted to correct himself.

Though a number of lawyers on the Morrisseau file have played fast and loose with the truth, all the judges I have seen have been unanimously free from being bamboozled about the scam – as Brian Shiller called it before Justice Sanderson – to victimize gullible proxies into spending thousands on lawyers to promote a HOAX.

sommer_fees

Posted in BDPs - Black Drybrush Signed Painting, Canadian Cultural Heroes, Court Cases, Forensic Expert Findings, Martial Court 2011 - 2013, Perjury or Dementia, Ritchie Sinclair | Leave a comment

From Morrisseau to “Burrowsseau”

Use your ZOOM button for a clear magnified view…

Update: Tues, Dec.17, 2013 – PM

timeline_mas_burrowsseaus_final_3

Posted in Art Cartel, BDPs - Black Drybrush Signed Painting, Norval Morrisseau - the Man, Norval, Dementia, Alzheimer's, etc., Perjury or Dementia | Leave a comment