“I wouldn’t hang that shit in my house!”***

***A wealthy, elderly female, Eaton family collector who was bequeathed a substantial collection of Canadian First Nations art, including genuine works by Norval Morrisseau, all of which she dumped at auctions.

UPDATE: Sep. 29, 2013

CT Proxy #1 who became a willing tool of the white men around his wheelchair and had to pay thousands to Joe Otavnik for not recognizing a painting he had done, and calling it a fake.

Sad Sack – Norval looking disconsolate because, for most of his life no one considered his art worth buying, so he was often forced to give it away for peanuts or less… And for suffering the ultimate indignity – art thieves refused to steal it and forgers refused to copy it because wealthy collectors considered even his originals “shit.” So, exactly like the Dutch Master Vermeer, he died totally broke.

Morrisseaus Not Worth Stealing - Two top books on international art crime by Edward Dolnick do not even mention Morrisseau once, and show, big time, why international art thieves have never stolen a single Morrisseau and would never take one even if one was handy. Art thieves, claims Dolnick are not stupid; they steal art that is worth millions, often tens of millions. Not art the artist himself sold on the street for decades for peanuts, or less… for ten, twenty or thirty bucks.

“Elementary, My Dear Watson” - It stands to reason, that if no one – in the entire world – wants to steal the work of an artist like Morrisseau, why, by all that is rational, would anyone possibly want to forge the works of a painter whose originals are not considered worth stealing by savvy international art thieves?

So it follows then, My Dear Watson: how can there be any possible market for bad copies of original works which many wealthy collectors – like the Eaton lady – consider “shit,” and want to dump it rather than acquire it?

Morrisseaus Not Worth Forging  – More damningly, Dolnick also makes abundantly clear why no mention has ever been made in any books on art forgeries – not in his book either – of even a single supposed forgery, or attempt of forgery, of the work of Norval Morrisseau.

And this even though a laughable Conspiracy Theory by a misguided art dealer – a motivated seller – and his business associates have claimed – without a single shred of independently verifiable evidence – that there are thousands of Morrisseau forgeries out there, created by a diabolical syndicate of lunatic forgers. Of the works of Canada’s top Aboriginal artist.

After reading Dolnick you are left with no way out, as a Conspiracy Theorist Fanatic, of maintaining any claims about so-called “thousands of forgeries by umpteen forgers.” Because according to all the tenets followed by ALL international art forgers for hundreds of years, it’s nothing but idiotic lunacy for anyone to even consider forging Morrisseaus. Let alone establish a “factory” to set up an assembly line to make thousands of his fakes… Or to claim that someone has set up a “syndicate” (claims lawyer Aaron Milrad) or a “group” (claims motivated seller Donald Robinson) to pursue such a lunatic endeavour.

The lunatic forgers are, supposedly, like Santa’s elves madly grinding out fake paintings – and bad ones at that according to Donald Robinson – by the hundreds, and thousands, when the artist, in fact, was notorious for giving away his ORIGINALS for sex, a bottle, groceries, room and board, a taxi ride, or ten, twenty of thirty dollars a pop… for decades…

One questions – at the very least – the possible motivation of people making such outrageous claims about a so-called “forgery factory” of the art of an artist who behaves like that?

The Gold Standard on Forgeries: Richard McClintock was instantly nailed after trying to sell only two - that's two (2) real forgeries of top Quebec artists. Donald Robinson, who says he knows of 4,000 Morrisseau forgeries, hasn't been able to nail even a single one to the Royal Canadian Mounted Police, to a court, or a judge, or, anyone else not a member of his family...

The Gold Standard on Forgeries: Richard McClintock was instantly nailed after trying to sell only two – that’s two (2) real forgeries of top Quebec artists. Donald Robinson, who says he knows of 4,000 Morrisseau forgeries, hasn’t been able to nail even a single one to the Royal Canadian Mounted Police, to a court, or a judge, or, anyone else not a member of his “family”…

Consider too that the only documented case of art forgery of Canadian art we have heard of (Quebec v Richard McClintock 2009) he forged only the work of artists in high demand in Quebec…

So, get it, yet, My Dear Watson?  Art scarcity = ups the ante and demand = opportunity for forgers.

And don’t forget My Dear Watson! McClintock, was nailed by an art dealer who immediately cried wolf, had him arrested by the police, taken to court, found guilty by a judge, and punished by the justice system, after trying to palm off just 2 (that’s right folks, only two) forgeries…

Oh, and another thing, My Dear Watson, remember that McClintock was a very good artist, while Donald Robinson claims the so-called Morrisseau forgers are very bad artists and produce very bad Morrisseau art. So it should be a done deal, right? Finding a Morrisseau forger, and nailing him.

Yet, in spite of Donald Robinson’s tiresome bombast – parotted endlessly by Paul Robinson and John MacGregor Newman of the family owned and operated Kinsman Robinson Galleries of Toronto – on the KRG blog, to the mainstream media, and in court after court, he has spectacularly failed to identify and prove the existence of even 1 (that’s right folks, not even one) forgery or forger, in over 12 years of trying…

It wise to remember too, Watson, that Donald Robinson, his business associate Ritchie Sinclair, and the group of white men clustered around the Dementia-plagued Norval Morrisseau’s wheelchair in his final years, though they claimed there are thousands of forgeries out there, at all the finest art dealers and galleries in Canada, they have failed totally and absolutely in proving even a single Morrisseau (that’s right folks; not even one) which they allege to be fake, as a forgery in any court in Canada in over 12 years. Or to the satisfaction of any accredited forensic scientist and handwriting analysis expert.

Hell, and this is the result even when they had the choice of which fake to put before a judge and experts.

In fact every single scientific examination of their so-called fakes, by three of Canada’s top forensic scientists and handwriting analysis experts, has totally discounted their each and every claim, proving in over 70 (that’s seventy) individual findings, that the paintings are ALL signed, titled and dated by Norval – with DNA certainty – without a single dissenting finding among the trio, of even one work.

They found further that there are not even any artefacts present (hidden telltale signs or dribblings forgers inevitably leave behind) that would suggest a forgery, so ruling, further, that no one else could possibly have signed them.

Batting 1000 to 0 (THAT’S ZERO, FOLKS!)

Canada’s Top Forensic Scientists and Handwriting Analysis Experts 1000
vs
Kinsman Robinson Galleries & its business associates
the Norval Morrisseau Heritage Society 0 (Zero!!!)

singla_lind_davies_batting2

Consider too, that as late as 1999-2008, hundreds of GENUINE ORIGINAL MORRISSEAUS were made available at an auction and bought up by scores of fine art collectors – including 31 by a slavering Donald Robinson himself – for merely hundreds of dollars each…

And he was on site, in person – not daring to send a gallery staffer, either his son Paul Robinson or his Associate Director, John MacGregor Newman with their inferior Morrisseau knowledge, to make an expert judgment and evaluation, and let them gamble with his hard-earned money. HE was the only one expert enough!

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.

Fiasco at the Kinsman Robinson Galleries – Years later it became clear why Donald Robinson refused to let his staff judge and buy the Morrisseaus being sold at Potter’s: they just couldn’t tell a real one from a fake… Here, inside the KRG, Ritchie Sinclair, a longtime business associate of the Robinsons, in one of his Davy Crockett outfits, reminds staffers of a huge fiasco they made in misidentifying Morrisseaus, and instructs them (that’s Paul Robinson left, and John MacGregor Newman) on why they should never have published this picture and four others – he says they were all fakes, inferior counterfeits – in the book KRG published, “Travels to the House of Invention” in 1997. Raising the disturbing question, of course, of how could Norval Morrisseau have made such a huge mistake when he had personally picked the pictures for his own book? Unless he had advanced Dementia… and Donald Robinson had done it for him, and goofed up, big time…? Obviously heedful of Sinclair’s embarrassing warnings, the Robinsons removed All the suspect pictures Sinclair had called forgeries, holus bolus, from the slightly amended book when Donald Robinson re-issued it as “Return to the House of Invention” in 2005. Sinclair still posts them all as “fakes” in 2013, but, as a courtesy to his business associates, has removed any and all links or connection with “Travels” and “Return,” Norval Morrisseau, Donald Robinson, Paul Robinson, John MacGregor Newman, and the Kinsman Robinson Galleries. Hiding stuff is usual, and transparency is not a strong suit for Conspiracy Theorists.

Kids Do Love Dress-up So Much…- That’s the author right, at 14, dressed in his Davy Crockett outfit during the Fess Parker craze in 1956, just before joining his public school class in a parade at the fall fair in Florence, Ontario. Mom sewed the costumes from burlap bags; I made the rifle from parts lying around the farm.

So Donald Robinson took the long drive to Pickering, Ontario, numerous times, so he could PERSONALLY check each and every painting in detail, front and back. He then offered the winning bid 31 different times on 31 different Morrisseaus, for 31 different paintings, paying out some $54,000 for the privilege of getting GENUINE MORRISSEAUS SO CHEAPLY.

And this when Norval had not been able to paint for years, his death was awaited at every moment and his prices should have skyrocketed…

The mind boggles that in this price climate, anyone in their right senses would possibly invent a Conspiracy Theory (born 2001 by midwife Donald Robinson) of “thousands of forgeries by umpteen forgers,” claiming this was the very period when the production of so-called fakes started.

Only in a cultural backwater like Canada could such a preposterous art HOAX find traction, as will become clear after you read Edward Dolnick’s books.

Books You Should Read

Posted in Art Galleries, Books1, Canadian Cultural Vandals, Forensic Expert Findings, Media | Leave a comment

Probing Perjury 9

sign_honest_truth_orComing Soon…

Our continuing series on Probing Perjury in Morrisseau court cases.

robinson_sinclair_kneelOnly minutes after Judge MD Godfrey granted a recess in Sinclair v Otavnik, on Nov. 16, 2010, I came out and looked down the hall outside the court and saw this scene: an artist’s recreation showing me sitting in the same chair in which Donald Robinson was sitting. At his knees, crouching, was Ritchie Sinclair. The two were in earnest conversation. I watched only for a minute since I could not hear.

I went a few steps away to where there were chairs in the lobby in front of the elevators.robinson_sinclair_elevator

Within only a few minutes a group of loudly talking and laughing men came up behind me and stood at the elevators. I looked up to see Donald Robinson, Ritchie Sinclair, and Garth Cole – who Ritchie Sinclair told the Court was his “roommate” – all laughing and joking away.

Donald Robinson who is usually grim-looking and stone-faced at the best of times, was grinning away exactly like in the photo. If anything, even more so, which to me, who has seen him in court – from the public galleries – more times than any other person, was highly unusual. In fact of the group he was the most jovial. Cole was quietly smiling; Sinclair was animatedly the same.

They were very close to me and stood there for a minute jovially carrying on while they waited for the elevator. I looked them straight in the face, with a quizzical look…

After all, I had just watched for several hours as an aggressive and petulant Sinclair passionately slanged Otavnik in front of the judge, with all sorts of outlandish charges and claims.

Only minutes later he was giggling away with the others as if they were bosom buddies and sharing some huge joke.

I was perplexed. I wondered what could possibly account for the merry camaraderie and laughing good humour of the group? I soon found out, ten minutes later, when Judge Godfrey reconvened the court… and said to Ritchie Sinclair.

“Mr. Sinclair you may now present your next witness, Donald Robinson, as you announced to the Court, you would, just before recess…”

Posted in Art Cartel, Court Cases, Perjury or Dementia | Leave a comment

A Photo is Worth…

Photos that keep right on talking… and talking some more…

Posted in Art Auctions, Art Galleries, Court Cases, Forensic Expert Findings, Media, Wanker | Leave a comment

Banned at Joyner’s & Waddington’s…

Stark testimony that banning bidders from auctions is a bad business move couldn't be any clearer. The only time we've ever seen a set like this sold in Canada or the US, and it went for a bid of only $11,520. Our bid of $24,500, for this once in a lifetime set of prized ceramics was banned by Joyner Waddingtons.

Stark testimony that banning bidders from auctions is a bad business move couldn’t be any clearer. Consignors lose out big time, from dealing with auction houses that ban bidders. The only time we’ve ever seen a Carruthers-Gould set of Tobies like this sold in Canada or the US, and it went for a bid of only $11,520. Our planned bid of $24,500, for this once in a lifetime set of prized ceramics of the World War 1 commanders, was banned by Joyner Waddingtons. In fact, on this deal the consignor – who got only some $9,216 from the sale – lost considerably more additional cash he could have had – some $15,000 – than he ended up with, thanks to the Joyner’s Waddingtons policy. One thing’s for certain: on the eve of the 100th anniversary of the start of World War I, this is not the place to sell the most valuable set of Tobies ever crafted by anyone.

SLAPP me silly…
$Million$ SLAPP Suit Abandoned: Matulic Totally Triumphant over KRG…
“Scared absolutely shitless…”
FORENSICS UPDATE…
FANNY UPDATE…

(Note: back click on our internal links to return to “base”)

On May 1, 2013, I received a lawyer’s letter informing me that, effective immediately, I, the journalist, would be permanently banned from the property of Joyner/Waddington’s in Toronto, Ontario. Oh, and also banned was my wife… and presumably my Labrador, Fanny, as well.

A journalist and his family are targetted and banned in Toronto, for exposing "the greatest fraud in Canadian art history."

A journalist and his family are targetted and banned in Toronto, for exposing “the greatest fraud in Canadian art history.”

Joyner Canadian Fine Art and Waddington’s are two fine art and memorabilia auction houses, hundreds of whose auctions I have religiously attended since the 1990s.

Now I, and my relatives, are permanently banned from both auction houses, because I wrote and published an article which made a number of observations regarding a Morrisseau painting “Nature as One,” Lot 126, being sold on Nov. 25, 2011, at a Joyner fine art auction, a happening I personally researched, witnessed, documented, and have verified, as correct in all particulars.

My article (See: the Bad & the Beautiful) noted that:

Dumped, Debased, & Devalued "Nature as One" damaged by being unceremonioulsy dumped by Joyner's. Shown as still on display, for sale, minutes before the final preview closed.

Wrongfully Dumped, Debased, & Devalued – A genuine Morrisseau, “Nature as One 1977,” damaged by wild, unsubstantiated rumours leading to it being unceremoniously dumped by Joyner’s. Shown as still on display, for sale, minutes before the final preview closed. It is a typical Morrisseau BDP (black paint signature faint), of the thousands that Donald Robinson claims Norval never, ever signed. Not so, thundered Judge Paul J Martial, in his judgment of Mar 25, 2013. “The Court finds that there is overwhelming evidence that Norval Morrisseau signed paintings in black brush paint.” But Judge Martial was merely echoing the results of over 70 scientific findings – and counting – by three of Canada’s top forensic document examiners and handwriting analysis experts, who have verified, in every single case, where Donald Robinson and the Norval Morrisseau Heritage Society claim the signatures are forged, they are, instead, genuine signatures of Norval Morrisseau, with DNA certainty, and that no one else could have done them.

Sudden Dump – Joyner had delisted a genuine Morrisseau painting, “Nature as One,” without warning, literally at the last second before the start of a fine art auction on Nov. 25, 2011.

Months to Examine – Joyner fine art experts had long before, accepted the painting as a genuine Morrisseau, as further vetted by a respectable Maslak McLeod gallery label. Joyner fine art experts had had the painting for many weeks, even months, to professionally examine it, and declare it a possible fake, and had not done so.

Lack of Due Diligence – Lydia Abbott, whose photo is posted alongside her credit as Joyner’s “Senior Canadian Fine Art Specialist,” had apparently (my call) not done professional due diligence, in a timely manner, in suddenly and unceremoniously dumping it with literally only seconds to go.

A month before the auction, we had phoned Joyner’s requesting the contact who was responsible for the Morrisseau painting “Nature as One.” We were informed it was Lydia Abbott who is listed as the Senior Canadian Fine Art Specialist on the corporate website.

We contacted her and she emailed us photos of the front and back of the painting.

Weeks later, at the close of the last day of preview it was still offered for sale.

After over 160 years has it come to this...? Brutally censuring jouranlists who suggest fine art auctioneers should strive for a higher level of fiduciary trust than just "yard sale" ethics. And that they owe Canadians a higher level of due diligence when handling Great Canadian Art Tresures that pass through their hands.

After over 160 years has it come to this…? Brutally censuring a journalist – and for good measure his relatives as well – just because he dared to suggest that fine art auctioneers should take the high road and strive for a better standard of fiduciary care, above that of slap-dash “yard sale” hucksters, or of hustling used car salesmen. And that they really owe Canadians a higher level of due diligence when handling Great Canadian Art Treasures that pass through their hands. Apparently Joyner Waddington’s begged to differ… Big time. Ignoring a mountain of incontrovertible evidence, from the documentary record, the scientific literature, and numerous court findings, they chose to take the side of the utterly discredited Conspiracy Theorists, and dump, damage, and devalue a genuine Morrisseau painting, and then to “shoot the messenger and his family…”

No Notification – The owner of the painting had not been told before the auction, and was – understandably – upset about having her painting, dumped, defamed, and devalued, by Joyner’s in this manner.

Panic Move – Joyner’s was responding, in panic, it appeared to me, possibly because of a threatening phone call from a Conspiracy Theorist, who slanged the painting at the last possible moment. I have documented these guerrilla art terrorist attacks on business competitors of Toronto’s Kinsman Robinson Galleries elsewhere. (See: the Case of the Missing Pictures)

Desecrate as a Fake – Rather than Joyner’s doing due diligence, standing by their painting, and behind their consigning client, and/or hiring a forensic expert to assess the painting, they just dumped it, irresponsibly (my call), as a “fake,” which was certainly the talk I overheard among staff (during the preview on Nov. 23) and bidders on the auction floor on November 25, 2011.

Damage Canadian Heritage – In acting this way, Joyner’s was damaging Canadian heritage, by falsely, without cause, or independently verifiable proof of any kind, slanging a genuine painting and damaging it – and thereby the art of Norval Morrisseau – for a generation, as a worthless fake. I have a long and distinguished career promoting Canadian heritage. (One of Canada’s Top Visual Artists)

Responsibility for Fallacious Defamation – I believe Joyner’s had a responsibility for the fact that Conspiracy Theorists were now publicly slanging the painting, which its fine art experts “dumped,” as a forgery because Joyner’s and Waddington’s “say so.”

Joseph McLeod was praised by Judge Paul J Martial, for his credibility as a witness, in court, about Norval Morrisseau's art, so confirming his status as the world's most reliable Morrisseau expert since he first connected with the artist, his work, and his family in 1960.

Joseph McLeod was praised by Judge Paul J Martial, for his credibility as a witness, in court, about Norval Morrisseau’s art, so confirming his status as the world’s most reliable Morrisseau expert since he first connected with the artist, his work, and his family in 1960.

Collateral Damage – By its action, Joyner’s also recklessly defamed longtime Morrisseau expert and dealer Joseph McLeod of Maslak McLeod Gallery since the dumped painting was listed in the Joyner catalogue as originating and having been authenticated by him. (When you slang a work of art you are also slanging the gallery and its principals who authenticated it and the corporate label that represents them.)

For years, Kinsman Robinson Galleries, and its business associate, Ritchie Sinclair, have directed their venomous attacks (physical and verbal; in public, on websites, and in court) against Joseph McLeod since they perceive him as KRG’s main Morrisseau business competitor. Joseph McLeod has been dealing with Norval’s paintings and has kept contact with the Morrisseau family since 1960. This was, of course, decades before Robinson or Sinclair had ever even heard of Morrisseau.

Ouchh… In 2013, Judge Paul Martial went out of his way to say (in Hatfield v Artworld of Sherway) that he regarded McLeod as a trustworthy witness, in the same breath as he was dismissive and said he “rejected” – repeatedly – all of Donald Robinson’s Morrisseau and related fine art testimony, as completely biased by a “hopeless conflict of interest.” He totally dismissed Ritchie Sinclair’s testimony as well.

Not so Mum… When we enquired, shortly after the auction, why Joyner’s had so suddenly dumped “Nature as One,” its experts refused to disclose the information. But, said one staff member, “This will fix that damn Joe McLeod.” This was just more proof that Joyner’s experts had succumbed to propaganda from either Kinsman Robinson Galleries staff or Ritchie Sinclair, or both.

SLAPP Suit (Strategic Litigation Against Public Participation) Warning:

SLAPP suits, initiated to try to shut up investigative journalists with threats of expensive lawsuits, thereby hoping to prevent them from searching out what is going on behind the scenes of events that are clearly in the “public interest,” are banned in Quebec. Ontario is also aggressively moving in this direction.

SLAPP suits – clearly specious in origin, and designed to intimidate public affairs commentators – have been notoriously launched or threatened against investigative journalists seeking to expose “the biggest fraud in Canadian art history,” involving so-called Morrisseau forgeries, and those businessmen and Conspiracy Theorists promoting them. Investigative journalists, utterly certain of their evidence, and the clear public interest importance of the issue, have utterly refused, in any way, to knuckle under to any of these threats from predatory lawyers.

On June 4, 2013 Ontario’s Attorney General John Gerretsen introduced a bill designed to curb “strategic litigation against public participation” (SLAPP) suits. This is being done for two reasons: to prevent the court process from being tied up with nuisance lawsuits, and stop the courts from being used to intimidate journalists or bloggers in an effort to limit debate on a controversial issue.

Gerretsen said the majority of SLAPP suits are filed as defamation claims of libel and have so little merit that they are often withdrawn before going to trial. (See: Morris v Johnson; and Kinsman Robinson Galleries v Matulic.)

Mayo Moran, Dean of the U of T’s Faculty of Law welcomed the legislation banning SLAPP suits, as they damage a “robust debate on issues of public importance.”

David Sterns, the Ontario Bar Association’s public affairs chair, welcomed the legislation to help expedite court hearings for “legitimate claims” and not tie up the courts with specious suits.

“Public confidence depends on the ability of our justice system to operate efficiently and to enhance democratic principles. Both of these goals are threatened by the bad-faith litigation that this new legislation is designed to curb.” (Toronto, Star June 4, 2013.)

SLAPP’d Down – On Oct. 22, 2012, former Aurora mayor Phyllis Morris, who had launched a Six Million Dollar SLAPP suit against three different website bloggers, was found by a court (in Morris v Johnson) to have made legal threats in an attempt to silence her critics. Even though she had finally abandoned the suit, about a year later, the judge ordered her to pay the main blogger’s legal costs of $21,275. 

Specious & Unfounded Allegations – Some weeks after I published the details regarding the distressing auction handling of “Nature as One 1977,” I received a typical “way-over-the-top” lawyer’s letter – read threatening SLAPP suit – from Joyner’s and Waddington’s, which ranted that I was guilty of the following:

Libel & Slander – The accusation was that I, a professional historian for some 46 years,(Curator’s Choice of 264 Heritage Items) and an award-winning investigative journalist, (Scared Absolutely Shitless as an Investigative Journalist) was writing libelous and slanderous articles about their clients. (A totally ridiculous charge, from a lawyer who didn’t even know that slander does not apply to the written word, and, of course, without offering any credible proof of any kind to back up the unsubstantiated allegations.)

Sexism – I was accused of being guilty of sexism, in picking on Lydia Abbott, and was ordered to remove her picture and references to her from my blog, as she was “hurt” by my comments.

I confess to having taken for granted that if Ms. Abbott was listed on the Joyner corporate website as “Senior Canadian Fine Art Specialist,” she had some professional responsibilities there. Including, obviously, when Joyner’s suddenly “dump” a genuine painting by Canada’s top Aboriginal artist, without cause, and without explanation, and quite effectively defame it, and totally devalue it, by doing so.

The Joyner dumped painting was immediately posted to Ritchie Sinclair’s notorious website as a fake, with “provenance” of the defamation referenced to Joyner’s and Waddington’s.

Is it a stretch to assume Ms. Abbott was responsible or involved?

Journalist Banned for Life – That, as a result, I – the journalist and author – would be banned permanently from Joyner’s and Waddington’s property, auctions, etc.

“Wife of” Journalist Banned for Life – That my wife – for some unknown sexist reason – would also be similarly banned. Even though it is made utterly clear that I am the sole author of this blog. You know, the typical sexist “wife of,” guilt by association, seems to be the call on this one…

Fanny Colwill Calvert, a great Canadian original.

Fanny Colwill Calvert, a great Canadian original.

And, no doubt, any of my progeny, in this world or the next.

Fanny Banned for Life – And presumably also any family pets, which includes “Fanny” my lovable Yellow Lab. (Isn’t it strange how dogs take after their masters?)

Will Colwill, noted early Canadian architect.

Will Colwill, noted early Canadian architect.

Fanny, is named in memory of an unsung genuine Canadian original heroine, a truly intrepid single mom, Fanny Colwill Calvert, an early Canadian painter from Guelph, Ontario, whose son, Will Colwill, was the architect who built the Carnegie public library there and in Galt, where Fanny (the artist not my dog) personally carved the capitals on the columns.

I’ve bought many of her paintings at Waddington’s, over the years, in order to help promote and publicize her and her son’s important roles in Canadian heritage. (See: Fanny Colwill Calvert)

Fanny's son Will built the Galt Library, and Fanny herself carved the capitals.

Fanny’s son Will built the Galt Library, and Fanny herself carved the capitals.

galt_c

Fanny's son Will Colwill was the architect of the Guelph Carnegie Library, among others, featured here in rare Canadian souvenir ware.

Fanny’s son Will Colwill was the architect and builder of the Guelph Carnegie Library, featured here in rare Canadian souvenir ware, among others.

Now Fanny is banned at Waddington’s… And Joyner’s…

I bought the last Carruthers-Gould Wilkinson jug at Joyner Waddington's in 2003. These fabulous and rare tobies (averaging 300 copies only) are offered by retailers for $3,000 to $5,000 each, though sell for less at auctions.

I bought the last Carruthers-Gould Wilkinson jug at Joyner Waddington’s in 2003. These fabulous and rare tobies (averaging 300 copies only) are offered by retailers for $3,000 to $5,000 each, though sell for less at auctions.

Banned from Bidding – I bought the last Carruthers Gould Wilkinson jug sold at Joyner Waddington’s in June 2003. (See: Carruthers Gould WWI Generals)

Since my Joyner’s and Waddington’s accounts were shut down, I will not be able to put in a bid on the 11 Wilkinson jugs being offered for sale, at the Waddington’s Decorative Art Sale on June 19, 2013, the very first time a complete set of these rare jugs have ever been auctioned in Canada.

I don’t dare show up; I might risk getting shot by their security guards. (I knew Joyner’s doesn’t fool around. I remember several years ago it had several commandos bristling with high-power automatic rifles – I kid you not – circulating through their preview crowd.)

But investigative journalists are a courageous lot. They are more worried that the targets would be family: my wife or my dog…

(For several nights, I had nightmare visions of John Wayne’s dog Sam, with a lance through his body, killed by Indians intent on giving a “message” to “Hondo,” in a movie which I remember seeing in a theatre in 1953.)

Shooting the Messenger – Talk about shooting the messenger… and his relatives… and their clients, to boot…

Shooting the Client – Joyner’s and Waddington’s are doing a huge disservice to all the people who consign fine art with them, by banning longtime and loyal buying clients, their wives, and relatives.

We have spent well in excess of $100,000 for art and memorabilia at these two auction houses, over the years. Our under bidding has also boosted their sales by literally many hundreds of thousands of dollars more. Is this a smart way to treat a client who has, over the years, added a million dollars to the Joyner Waddington’s bottom line?

(In fact, top auction houses knowingly treasure their under bidders as every bit as valuable as the winning bidders. Without them the winning bidders wouldn’t be forced to pay top dollar.)

Numerous paintings (by Heming, Jefferys, and JD Kelly) which we bought at Joyner's and Waddington's have been featured at major art museum exhibitions, alongside works from the National Gallery of Canada. Our Hemings were featured in a new book on the artist, and will be displayed again next year at the Confederation Centre for the Arts, in Charlottetown, PEI.

Numerous paintings (by Arthur Heming, CW Jefferys, and JD Kelly) which we bought at Joyner’s and Waddington’s, have been featured at major art museum exhibitions, alongside works from the National Gallery of Canada, including at Museum London, (Ontario.) Our Hemings then went on tour to the US to the Florence Griswold Museum, in Old Lyme, Connecticut. They were showcased in a new book on the artist, and will also be exhibited again next year at the Confederation Centre of the Arts, in Charlottetown, PEI, in a major retrospective.

(See: Our Collections on Tour)

Donald Robinson whose wild Conspiracy Theories have been totally discredited in numerous judicial proceedings, and by some 70 different findings, by Canada's top forensic scientists, receives a warm welcome at Joyner Canadian Fine Art.

Donald Robinson whose wild Conspiracy Theories have been totally discredited in numerous judicial proceedings, and by some 70 different findings, by Canada’s top forensic scientists, receives a warm welcome at Joyner Canadian Fine Art.

Joyner’s Welcomes Discredited Conspiracy Theorists – Even though Donald Robinson’s notorious and multiple allegations of so-called Morrisseau fakes, were totally and utterly discredited, in every particular, by Judge Paul Martial in his damning 39 page judgment, regarding so-called Morrisseau fakes in the Hatfield v Child case, released on Mar 25, 2013, we assume Mr. Robinson is still welcome as a high-spending buyer, at Joyner’s and Waddington’s, where we have been banned.

Judges back me up… And this despite the fact that all my “allegations” about the “greatest fine art fraud in Canadian art history,” have been supported, totally, in every single particular, by Judge Martial’s finding, and that of every other judge before him and since.

Scientists back me up… And I have some seventy separate findings, by three of Canada’s top forensic experts and handwriting analysis experts, proving that some 70 paintings, all alleged to be forgeries by Donald Robinson, are in fact, with DNA certainty, authentically signed by Norval Morrisseau. Without a single dissenting finding…

STUNNING! Kinsman Robinson’s Million Dollar SLAPP Suit Dismissed – Barely a week after Judge Martial announced his devastating judgment that totally discredited Donald Robinson, and his testimony, his expertise, his expert report and his credibility as an unbiased and objective Morrisseau expert, KRG requested an out-of-court settlement for a million dollar SLAPP lawsuit which KRG, Paul Robinson, and Donald Robinson had launched in 2010, against blogger Ugo Matulic, alleging libel. They conceded without demanding any penalties or prohibitions against him whatsoever, whether past, present, or future.

SLAPP suit Target Ugo Matulic of Calgary, Alberta, outside Toronto's Kinsman Robinson Galleries, is famous in Canadian history as the first person ever taken to court by the Morrisseau Conspiracy Theorists. Though they have had 13 years to take  "thousands of forgeries and umpteen forgers" to court they have never done it, even once, knowing full well they have no believable evidence, of any kind, that will hold up in any court. Instead the Principal Conspiracy Theorist, the Junior Morrisseau Conspiracy Theorist, who work inside this gallery - alongside the Principal Blogging Conspiracy Theorist - have targeted Morrisseau researchers and investigative journalists, to try to shut them up, and stop them from exposing what has been called "the greatest fraud in Canadian art history." Matulic has amassed what can only be called a stunning collection of compromising documentary evidence that catalogues the history of the biggest hoax, as well as the biggest act of cultural genocide, in Canadian history.

KRG SLAPP Suit Target Ugo Matulic of Calgary, Alberta, celebrates his total judicial triumph (May, 2013) and vindication, outside Toronto’s Kinsman Robinson Galleries, whose principals sued him for One Million Dollars for “defamation” in 2010. Ugo is famous in Canadian history as the first person ever taken to court by the Morrisseau Conspiracy Theorists. Though they have had 13 years to take “thousands of forgeries and umpteen forgers” to court they have never done it, even once, knowing full well they have no believable evidence, of any kind, that will hold up in any court. Instead the Principal Conspiracy Theorist, the Junior Morrisseau Conspiracy Theorist, who work inside this gallery – alongside the Principal Blogging Conspiracy Theorist – have targeted Morrisseau researchers and investigative journalists, to try to shut them up, and stop them from exposing what has been called “the greatest fraud in Canadian art history.” Matulic has amassed what can only be called a stunning collection of compromising documentary evidence that catalogues (my call) the history of the biggest hoax, as well as the biggest act of cultural genocide, in Canadian history.

Chloe Snider, the KRG lawyer. When Snider and her clients suddenly announced, on Day 1 of Discovery (in KRG & Robinson v Matulic), that they would not make Donald Robinson available the next day, and would, in effect, be substituting the son for the father, it appeared to the Defendant of the SLAPP suit, Ugo Matulic, that he was being manipulated by them, and being victimized by the Discovery process, with the Robinsons and Snider trying to protect Donald Robinson from a blistering “cross-examination” by Ugo and his lawyer, Antonin Pribetic, during his Discovery Day 2 with the Plaintiffs. An incensed Matulic refused to deal with someone who would just claim he didn’t know what his father was doing. Matulic and Pribetic immediately aborted the Discovery process, absolutely refusing to meet further with Snider and the Robinsons. Matulic immediately went home to Calgary. It was clear that Matulic and his counsel intended to play “hard ball” to the end of this unmeritorious and entirely specious SLAPP suit, when they demanded Donald Robinson be produced at a new Discovery date in May. Matulic and Pribetic made it clear that KRG had only two choices left: produce the father and the documents at Discovery, or settle without preconditions. The Plaintiffs were clearly caught between a rock and a hard Matulic. There was no way left to protect Donald Robinson from being examined, and keep KRG documents out of the hands of the prying eyes of Matulic and his lawyer. And subsequently those of other investigative journalists who wanted a peek. Within a couple of weeks KRG and Snider, after considering the looming alternatives, saw no choice but to agree to settle with Matulic without preconditions of any kind and dismiss their 1 Million Dollar SLAPP suit against him.

They had originally demanded one million dollars for the damage they claimed was caused by his alleged libel, demanded he shut down his blog, demanded he delete posts mentioning KRG and its staff members, and demanded he refrain from mentioning the names of KRG or its principals, ever again, in any way.

Matulic totally and utterly refused to give in on a single demand made by KRG lawyers.

For some five years Matulic had worked tirelessly to promote genuine works by Norval Morrisseau. He has repeatedly accused Kinsman Robinson Galleries and their Conspiracy Theorist business associates, of a “conspiracy” to fix prices by defaming, and devaluing genuine Morrisseau paintings that were in the hands of their business competitors. To support his damning allegations he has amassed the largest Morrisseau-related archive of documents compiled by anyone, in this world or the next.

KRG, still reeling from the huge body blow dealt by Judge Martial to the believability of its chief Morrisseau expert, started, in total desperation, to cut and run from a lawsuit they had been pursuing for over two years.

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 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.

Running for Cover – KRG chose not to make Donald Robinson available for the second day of Discovery of the KRG v Matulic case, when they would have been forced to produce documents that they have carefully kept hidden away from public scrutiny since they began spreading false stories of “thousands of fakes by umpteen forgers” in 2001, aided by a compliant press.

When, late in the day of Discovery Day 1 Matulic was suddenly told that a proxy (Robinson’s son Paul) would appear, next day, on Donald Robinson’s behalf, on the Plaintiff’s Discovery day, “due to (Donald Robinson’s) health issues and lack of preparation,” Matulic angrily aborted, demanding that Donald Robinson had to appear.

Snider, for the Plaintiffs, agreed to pay half of Matulic’s $200 Discovery cancellation fee, but did not offer to pay towards his flying and accommodation expenses after making him take a trip to Toronto from Calgary, take a leave of absence from his work, and attend a judicial proceeding that was completely useless to him, and for which he exacted not a single benefit for himself or his defence. And then to be subjected to what both Matulic and his lawyer considered was clearly a last minute evasive tactic by the Plaintiff.

An understandably vexed Matulic demanded Discovery be rescheduled for May, 2013, and insisted this time, that the Plaintiffs provide Donald Robinson in attendance to answer questions, and for him to bring a large pile of documents that Matulic listed and demanded he produce and provide, as was his right to request by law.

Matulic Wins a Totally Stunning Legal Victory -

Matulic's lawyer, Antonin Pribetic, backed up by his client's massive archive of compromising documents, was looking forward to "cross-examining" Donald Robinson on Day 2, of the Plaintiff's Discovery, only to find out that Chloe Snider was pulling a fast one, by first, tactically replacing the Principal Morrisseau Dealer (who was suddendly "sick") with his son. Pribetic played "hard ball," refused to accept the "publicity shy" son as a spokesman for his "over-the-top" publicly vocal father. With Doomsday rapidly approaching, where Donald Robinson would have to disclose numerous private KRG documents which he didn't want publicized, and submit to pointed questioning about his Conspiracy Theory, and how it is "libel" and "defamation" to  report it in the media, Snider informed the Robinsons that they were "done" if they refused to comply. Rather than disclose documents and have its principals exposed to public questioning, KRG chose to fold like a cheap suit. NIAOB...

Matulic’s lawyer, Antonin Pribetic – who is himself a blogger – backed up by his client’s massive archive of compromising documents, was looking forward to “cross-examining” Donald Robinson on Day 2, of the Plaintiff’s Discovery, only to find out that the Robinsons were apparently trying hard to prevent this. Stunningly, Matulic was amazed and disturbed to find out that neither Paul nor Donald Robinson chose to appear and face him on Day 1 of Discovery, when he was cross-examined by the KRG lawyer Chloe Snider for seven hours. When he was told at the last minute that the following day Donald Robinson would not appear to face rebuttal questioning, it appeared that the Robinsons were tactically replacing the Principal Morrisseau Dealer (who was suddenly “sick”) with his son. Matulic and Pribetic refused to accept the “publicity shy” son as a spokesman for his “over-the-top” publicly vocal father. With Doomsday rapidly approaching, where Donald Robinson would have to disclose numerous private KRG documents which he didn’t want publicized, and submit to pointed questioning about his Conspiracy Theory, and how it is “libel” and “defamation” to report it in the media, it appeared that Snider and her clients were “done,” if they refused to comply with legal requirements for Discovery. Rather than disclose documents and have its principals exposed to public questioning, KRG chose to fold like a cheap suit, and settle without preconditions, prohibitions, or penalties of any kind to Matulic in their Million Dollar Libel and Defamation SLAPP suit. NIAOB…

Weeks before the rescheduled Discovery date, KRG lawyers contacted Matulic, asking for a complete out-of-court settlement without any penalties, admissions, or undertakings of any kind by Matulic. He would not admit libel, nor wrongdoing of any kind, on any level. He would not remove any materials or posts from his blog. He would not cease publication of anything on any topic.

Kinsman Robinson Galleries had abandoned every claim and demand which it had listed in its 2010 Plaintiff’s Claim, including a million dollars – later amended to $12,000, and finally settled at $1. (That Dear Diary, is one buck and no admissions or prohibitions.)

All of Matulic’s past posts would be accepted as they had originally been written. Standing intact for the ages, would be everything he wrote, over the years, saying Kinsman Robinson Galleries personnel were involved in a “conspiracy” to fix prices and control the market with their bogus allegations about so-called “Morrisseau fakes.” Something Joe McLeod had said on CBC television years ago, and was believed by almost all fine art dealers and Morrisseau collectors in Canada, and the world.

Matulic would be totally free to write as before, about Donald Robinson, Paul Robinson, John MacGregor Newman, and Kinsman Robinson Galleries, as their activities relate to his exposing the Hoax of the so-called “fakes” they allege.

For the second time in two months, Paul Robinson, Donald Robinson, and Kinsman Robinson Galleries have suffered a stunning, and an absolutely total judicial defeat, for their allegations about so-called Morrisseau “forgeries,” and in trying to use the Canadian legal system and the compliant mainstream media, to perpetuate “the greatest art fraud in Canadian history.”

It was the very first time in history that Donald Robinson, Paul Robinson, and KRG had ever taken anyone to court regarding “thousands of fakes by umpteen forgers” in 13 years since they launched these totally unsubstantiated allegations. And tellingly and damningly, they had targeted a journalist with a SLAPP suit, and not a forger, a forgery, or a seller of forgeries…

And then, when confronted with the massive documentation that utterly discredited their allegations on every level, in every particular, and in every way, folded, like a cheap suit, rather than produce their evidence for public examination, or worse, dare put it in front of another judge…

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 hidden from public view and the scrutiny of Canadian forensic scientists.

But the out-of-court settlement did have one negative result for Matulic and many others involved in exposing the Hoax. In agreeing to settle, before Discovery, it meant that Matulic gave up his legal opportunity to demand that the Plaintiff, KRG, divulge to the public, many vital, but secret, documents KRG claims as “proof” that so-called “forgeries” exist. As a result, KRG and its “outreach workers” at the Norval Morrisseau Heritage Society, would continue to be able to hide their so-called “proof” from the Canadian public and from Canadian forensic document examiners as we have been pushing for. Especially the notorious Wanker 16. (See: Hiding the Wanker 16)

In fact I am absolutely certain this court-mandated enforced disclosure was a Doomsday Scenario that KRG principals and the NMHS, feared worse than death – having to disclose secret documents they have successfully hidden from public view for thirteen years. It would have been the last nail in the coffin of the Conspiracy Theory they have promoted, against all the evidence, since 2001.

UPDATE: In May, 2013, the latest set of forensic reports, by one of Canada’s top handwriting analysis experts was released, proving with DNA certainty, that a new set of seven paintings – previously dismissed as forgeries by Donald Robinson and members of the Norval Morrisseau Heritage Society, were authentically signed by the artist. And compoundingly, “that there are no elements disclosed within these signatures which would contradict authenticity.”

Forensics are still pending on Norval Morrisseau's "Blue Heron 1967" painted on birchbark, and so minimally initialled.

Forensics are still pending on Norval Morrisseau’s “Blue Heron 1967″ painted on birchbark, and so minimally initialled. An steadily increasing baseline compendium of genuine Morrisseau signatures, titling, dates, and writing will soon resolve the mystery.

DOUBLE WHAMMY! – Note: Forensics in court are always referred to as extremely high “probabilities.” Meaning that if a signature is “80% certain,” it amounts to a forensic scientist’s “absolute certainty.”

But Conspiracy Theorists diss the scientists by saying their own expert – Donald Robinson – is 100% certain the forgeries are fake, so pretending to having a higher standard of verification than Canada’s top internationally credited and certified scientist, Dr. Atul K Singla, M.A. (Forensics), Ph.D. (Forensics.) (Donald Robinson, you may recall, is the so-called “expert witness” whose so-called expertise was utterly “rejected,” multiple times, by Judge Martial in Hatfield v Child.)

Which to amateur observers could be possible, since the scientists apparently can’t account for 20%, which so might be seen as possible anomalies left by a forger that discredits the signature. NOT SO, say Canada’s top forensic scientists, who address this very fact in every verification they have ever made, with terminology similar to what is quoted here. 

INCONCLUSIVE - With only two letters in a signature to go on,  responsible forensic scientists don't want to guess. This NM "signature," was ruled "inconclusive" because of a lack of sufficient authenticated "capital letter" signatures. That baseline data is currently being assembled. This signature might then be re-evaluated for a definitive scientific finding, one way or the other.
INCONCLUSIVE - With only two letters in a signature to go on, responsible forensic scientists don’t want to guess. This NM “signature,” was ruled “inconclusive” because of a lack of a sufficient number of authenticated printed “capital letter” signatures of Norval’s to compare to. That baseline data is currently being assembled. Some time within the next year, this signature will definitely be re-evaluated for a definitive scientific finding, one way or the other.

In the case of all seven new paintings that were analyzed, the scientist addressed the possible misinterpretation of the so-called 20% anomalies when he stated “that there are no elements disclosed within these signatures which would contradict authenticity.”

The anomalies result, then, not from betraying DNA from a so-called forger’s mistakes, but from degraded, faint, or minimal writing, which is commonly encountered with Norval’s signatures because he did them with “drybrush” technique, where he pinched off most of the paint before signing and writing on the back of his paintings.

In fact, in this lot of forensics, one painting was not certified by the scientist, NOT because he thought it looked like a fake to him, or had fake elements, but because the signature was too minimal, and the comparative data, on known Norval Morrisseau printed letters, too lacking, for anyone to make scientific conclusions on anything. As a result, a growing database of authentic printed letters by Norval is now being assembled to give scientists a better comparative tool to work with, in future, for signatures of this type.

Forensic Summary: So not only is the evidence for seven different authentic signatures, totally overwhelming, but the supplementary finding is just as important: the  scientist found no evidence, of any kind, among any of the seven signatures, of an attempt to tamper with, or fake, or forge a signature.

Hey, wouldn’t a Stupid Forger, like the so-called Morrisseau forger clearly is, copying pictures Norval was selling for $20 or $30 on the street, slip up at least once, among seven signatures, and leave his forgery DNA behind…?

It gets worse: in over seventy independent findings by three of Canada’s top handwriting analysis experts, not once, have any of them, found any evidence of a forged signature. Not even once.

And we promise: many more forensics are coming…

singla_lind_davies

Though Donald Robinson has found no friends, or supporters of any kind, anywhere in the Canadian judicial system, he apparently has them at Joyner’s and Waddington’s. Now why should that be?

Could it be because he paid $59,000.00 for a Morrisseau from Joyner’s in 2010? (which he then offered for resale at KRG for $350,000.00) (See: Animal Unity)

(Note: of the $59,000 paid to Joyner’s, over $20,000 goes directly into the pockets of the auction house for services rendered, NOT to the consignor/owner of the painting.)

Joyner’s is, no doubt, eager to show its welcoming appreciation to him, while they slam the door in our face.

So we are punished for exposing the evidence that makes utterly clear that a Hoax, long promoted as a reality by Donald Robinson – and totally debunked by every court and out-of-court settlement in history – has totally destroyed many millions of dollars of Canadian Aboriginal art valuations. Especially paintings by Norval Morrisseau, Canada’s top Aboriginal artist.

I happen to believe that auction houses should strive to be something more than just the local household “dump,” or mass marketeers of cultural cast-offs that people no longer want; that they should learn to see themselves as having an important stewardship role, and start to practice “due diligence” when handling cultural treasures that are an important part of the national fabric, and help give us our identity as Canadians.

I believe Joyner Canadian Fine Art and Waddington’s should send a letter of apology to Joe McLeod for their actions, which – whether intentional or not – have wrongly impugned his personal reputation and that of his gallery. And send a cc to the lady in Nova Scotia whose painting was wrongfully dumped, defamed, and devalued. It will show good faith and go some distance to undo the damage their actions have caused.

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

I believe Joyner and Waddington’s owe Norval an apology for unceremoniously “trashing” his art, and should promise not to do it again…

I believe Joyner and Waddington’s should publicly apologize to the consignors they have so grievously wronged, and to their clients for the damage their impetuous action has done to Canada’s art heritage, and promise, that in future, they will research art work properly, and not just respond thoughtlessly and hastily, to any old wild rumour, conveyed by persons with personal motives driven by greed and/or malice, and dump it, as if it were some cracked household dinnerware set, in a panic at the last moment.

And not become passively compliant dupes in advancing a bankrupt Conspiracy Theory of so-called Morrisseau “fakes” that has been totally and utterly discredited in numerous Canadian court actions, by Canada’s top forensic document examiners and handwriting analysis experts, and by knowledgable Morrisseau collectors around the world.

(Even though the small print in their consignor agreements allows them to do whatever they want – including “dumping” without explanation at a moment’s notice – with every artwork that trusting consignors give them.)

And maybe tell Fanny that she is welcome again at Joyner’s and Waddington’s.

Posted in Art Auctions, Art Cartel, BDPs - Black Drybrush Signed Painting, Canadian Cultural Vandals, Court Cases, Martial Court 2011 - 2013 | Leave a comment

Judge Paul Martial 2: on Norval Morrisseau’s Case

By the time this photo was taken Norval Morrisseau had the most destroyed mind and body of any leading personality in Canadian history...

By the time this photo was taken Norval Morrisseau had the most destroyed mind and body of any leading personality in Canadian history…

UPDATED: The five day Hatfield v Child trial exposed the damning evidence – big-time – that at the very time (2005) Conspiracy Theorists claimed Norval Morrisseau was mentally alert and supposedly surfing the net for so-called “fakes” and issuing his multiple Affidavits of Forgery for hundreds of paintings – including one for “Wheel of Life 1979” – he was in the advanced stages of Dementia, couldn’t say a decipherable word, and couldn’t even recognize his own son during a visit to a terminal care facility where Norval had been housed for years.

(NOTE: If you skip to a topic below, use the “Return Click” on your mouse to come back.)

Dementia – Alzheimer’s – Stroke
Wolf Says Norval Lost his Memory 2001
Myths About the Drunken Indian
NFB Film 1974
Red Lake Party 1962
Strokes & Parkinson’s
Case of the Hidden Indian
Norval Losing Sexual Ability 1970s
Norval’s “Fakes” in “Travels to the House of Invention” 1997
Norval’s “Fakes” Removed by Robinson in “Return to the House of Invention” 2005
Norval in Terminal Care Facility 2001
Norval “Talking” in 2001-2002
Norval’s Vegetative State in LeBlank Video Apr 2002
Norval’s Power of Attorney 2003
Norval Can’t Talk for CBC Documentary 2004
Norval Can’t Recognize Own Son Apr. 2005
Norval Can’t Remember 21 Painting Deal Mar. 2005
Norval’s Disastrous Affidavits of Forgery Issued 2004-2005
Norval the Internet Surfer 2005
Norval’s Affidavits Target Reputable Businesses not Fake Paintings 2004-5
Norval’s Affidavits Discredited by Scientists
Norval AKA “Lazarus” Supposedly Founds the NMHS 2005
Norval Drools & Memory Gone 2006
Donald “No Show” Robinson 2006
Judge Martial Trusts Wolf 2013
Memory Problems 2003 – 2007

Margaret Hatfield had personal experience with the Dementia of her  own mother during 2009, but chose to ignore all the testimony and evidence that Norval was even in worse mental condition.

Margaret Hatfield had personal experience with the Dementia of her own mother during 2009, when she died. She said it was “painful” and “went on for years,” but instead of exercising “due diligence,” she chose to practice “willful ignorance,” and disbelieve all the powerful testimony and evidence that Norval was even in worse mental condition than probably her mother was.

Norval had been dead for two years when Ms. Margaret Hatfield apparently discovered – through an “internet dating” service provided by a Conspiracy Theorist – that her painting “Wheel of Life 1979,” which she had bought at Artworld of Sherway (Toronto) in 2005, was a listed as a supposed “fake” on an Affidavit of Forgery, bearing the signature of Norval Morrisseau.

Ms. Hatfield opened the trial by choosing to speak in support of the mental acuity of a man she had never met.

In a trial where a judge would mildly chide her for not doing “due diligence” – and she agreed – with regard to her painting, it soon became evident that she had been equally remiss in not checking into the background credentials of her supposed “experts.” All had the tainted outlook of passionate association with a dreamed up “Conspiracy Theory” for which none had any credible independent evidence.

She also did not do “due diligence” into researching on the well-known mental and physical decline of the artist whose painting she bought. But none of that stopped Ms. Hatfield from pontificating in her teacherly manner about the mental health and ability of her artist.

Ms. Hatfield chose to go to the Bible to prove “Wheel of Life 1979″ was a fake. She asked the court, rhetorically, “Would a father turn against his own child (a stand-in for the painting) and call it a fake?”

Ignoring, for one thing, all the historical proof that Norval Morrisseau was, probably, the worst Deadbeat Dad in Canadian history. (see The Biblical Proof)

And furthermore, she deliberately ignored – she could hardly have failed to see the pictures of Norval’s head drooping and his tongue hanging out from as early as 1999 – and other documented proof, that by then, Norval had, probably, the most destroyed body and mind of any leading Canadian personality in Canadian history.

Ms. Hatfield had even less excuse than anyone else for purposefully ignoring the obvious and disastrous mental decline of the painter on whose mental health she propounded with Biblical fervor in court.

Her own mother had been, for years, a tragic victim of Alzheimer’s, and like Morrisseau, was clearly and hugely, also, a victim, of Dementia.

I am absolutely certain she could give a heart-wrenching account of the progressive mental decline of her beloved mother, over many years, how she became totally incapable of looking after herself, and how she drifted off, into an unreachable void of mental collapse, and how for years she could no longer even recognize her own daughter and loving caregiver.

And yet…

Dementia – Alzheimer’s – Stroke – Ms. Hatfield had personal and intimate knowledge about the horrific damage wrought on a loved one suffering from the debilitating diseases that can tragically attack older people.

During this stressful time in her life, entirely imposed on her by diabolical Conspiracy Theorists who drew her into their web, and scared the bejeesus out of her by claiming she had wasted $10,000 on a fake Morrisseau, she also buried her mother who died after a lengthy bout with Alzheimer’s.

“We buried her May the 19th of 2009. She was at the – in the end stages of Alzheimer’s. It was very painful. This had gone on for years. So I was tending to Mom…” (Court Trans/Hatfield v Child: May 31, 2011 p 15)

Judge Martial heard from many witnesses about Norval’s parallel descent into his own private hell as his body betrayed him in old age, as he had betrayed it, in his youth.

It is common knowledge that he had various health issues, had a stroke, suffered from alcoholism and substance abuse, and in his later years had Alzheimer’s disease.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p1)

 NOTE: “Alzheimer’s is the most common form of Dementia, a general term for memory loss and other intellectual abilities serious enough to interfere with daily life. Alzheimer’s disease accounts for 50 to 80 percent of Dementia cases.” (Alz.org Alzheimer’s Association)

It is statistically an overwhelmingly probability that Norval had Alzheimer’s, which the majority of Dementia patients have. And Norval certainly fit the bill for that in spades…

Dementia is not a specific disease but an overall term describing a variety of debilitating mental conditions that are related to Parkinson’s, stroke, alcohol and substance abuse, all of which are hugely related and relevant to Norval Morrisseau.

A patient is suffering from clinical Dementia if there is significant impairment in two of the following core mental functions:
- memory
– communications and language
– ability to focus and pay attention
– reasoning and judgment
– visual perception

In fact the testimonial evidence in court, sworn affidavits, witness observations, and video evidence (both media and privately published), are overwhelming, that Norval was an extreme victim of Dementia in, not just the clinically requisite two, but ALL of those categories.

And considering Norval’s decades of a no-holds-barred lifestyle involving over-the-top drug and alcohol abuse, his debilitated mental condition would have been no surprise to any doctor or to anyone else who knew his history or encountered him and observed him up close and personal.

Norval's younger brother Wolf, was considered a credible and trustworthy witness, by Judge Martial who quoted more of his testimony than that of anyone else.

Norval’s younger brother Wolf, was considered a credible and trustworthy witness, by Judge Martial who quoted more of his testimony than that of anyone else.

Wolf Morrisseau’s Tragic Family Testimony – Norval’s brother, Wolf, testified about the extreme toll that alcohol took on Norval and his family.

“A. Well, he was quite decadent; he enjoyed the luxuries of life. He didn’t really care about what anybody said or did; he just did what he thought was right. His alcoholism was quite detrimental to him and his health.
Q. Can you explain a little bit about that?
A. Well, being from an alcoholic family – my mom, my dad, all my aunties and uncles, they’re all dead because of alcohol – he drank to excess and what his demons were while he, if anybody that was listening to him when he was drunk, I couldn’t listen to him because it was too hard on me.” (Court Trans/Hatfield v Child: Feb 24, 2012 p108)

Wolf testified, that by 2001-2, his brother Norval confessed to him that his mind had gone, he couldn’t remember his paintings, and that he had only minutes of lucidity, before he would “fade away.”

“… he basically said that he is no longer in any condition to have a viable understanding of what he had done because he had Parkinson’s; it was taking so much from him. He would become lucid and then all of a sudden he would begin to fade away… His lucidity lasted for about 20 minutes, 30 minutes at the most.” (Court Trans/Hatfield v Child: Feb 24, 2012 p116)

Alcoholic (Alcohol-related) Dementia – Norval had been an ultra extreme alcoholic for decades, which made him the poster child candidate for “Alcohol-related Dementia” caused by long-term excessive drinking, resulting in neurological and brain cell damage. It’s a common cause of mental dysfunction. Other related symptoms include:
– impaired planning, thinking, judgment – see Affidavits
– memory loss & impairment – see Hoffstein, Affidavits
– arm & leg motor damage & impairment – see LeBlanc video
– language impairment – see CBC
– apathy – see LeBlanc video
– failure to recognize or identify objects – see Christian, Travels
(Alcohol Dementia – Wikipedia)

“There are very few qualitative differences between alcohol dementia and Alzheimer’s disease and it is therefore difficult to distinguish between the two. Some of these warning signs may include memory loss, difficulty performing familiar tasks, poor or impaired judgment and problems with language. However the biggest indicator is friends or family members reporting changes in personality…”

The onset and the severity of this type of dementia is directly correlated to the amount of alcohol that a person consumes over his or her lifetime.” (Alcohol Dementia – Wikipedia)

The Myths About the “Drunken Indian” – One of the biggest misconceptions white men have about Indians as big drinkers is that it is because they are depressed and are drowning their sorrows because of the Third World conditions under which so many are living in Canada.

It was a loud argument I had with the Minister for Health – a personal friend – in the NWT in the 1970s. He, a former Toronto urbanite and graduate of Kingston’s Royal Military College, had never lived at all in any Aboriginal community, and customarily spouted the typical white man’s gibberish about Indian drinking that had no basis in fact or reality.

Indians, he propounded, had a lot of good reasons to drink, mainly to drown their sorrows in gallons of booze to forget the abject poverty and backwoods conditions in which they were forced to live.

Life in Remote Aboriginal Villages – I lived for four years in an isolated and remote Indian community routinely referred to by judges, lawyers, police, government administrators, and my white colleagues and friends, as “the worst community in the whole of the Northwest Territories.” Yet every single person that lived there was adamant that it was the best place in the world and, given the choice, they would never have chosen to live anywhere else on earth.

So contrary to the white myth, about Indian alcoholism, It was not a place that would drive any of them to drink.

Those who lived there were wild in their praise for their community, which to white men was supposedly as good a reason as any, to get stinko drunk.

I, who lived for six years in various remote northern Canadian Aboriginal villages, and as a dutiful school principal attended countless parties where the parents of students I taught were overly intoxicated, came to see what a total fiction the myth about Indian drinking was.

Those Indians who drank, did so first because of history: it was learned behaviour from the leaders of white society with whom they first came into contact: the fur traders and store managers of the Hudson’s Bay Company.

Many native people soon learned that partying and drinking went hand in hand for those who were successful leaders of white society.

(Try and find a single scene in the multiple Emmy award-winning “Mad Men,” in which sophisticated urban men in suits, at the top of their profession, are not either drinking or pouring a drink for themselves or each other, both at work and at home.)

In fact, the biggest booze hounds in remote pioneer Canadian fur trade posts were the Bay men who found the stuff worked wonders with Indian girls. In fact the pattern persisted into the 1970s in the Canadian north.

The worst social gaucherie I ever encountered in many years of living in remote Canadian Aboriginal villages, was done by an inebriated white Bay man, the manager of a Co-op store who was at a multi-cultural party in our (the principal’s) house. In a moment of degenerate abandon, like a fireman with his hose, he sprayed the walls, the counter, the towels, and the toothbrushes of our bathroom with his piss.

The social atrocity was pointed out to me by my Aboriginal teaching assistant – whose children still bring their own kids to visit us in Toronto nearly forty years later – who took me down to the bathroom to see the carnage.

I still recall with emotion, her earnest voice as she said in disgust, “No Indian ever did that!”

She was right.

Drinking I came to see, in Aboriginal communities, had nothing to do with being a tool to escape poverty or depression. Drinking – like in Mad Men – was a status symbol and a desirable social activity.

In fact, in my experience, the biggest drinkers and biggest bootleggers in the three different Aboriginal villages where I lived were, invariably, the top leaders in the community, with the steadiest jobs and the biggest pay cheques.

With their income they could afford to host the biggest and wildest parties in town. Where booze was the main attraction, was free and shared, and no invitations were necessary, because when you’re “parading your success and status” the more observers the better.

Likewise the biggest “parties” occurred when a raft of government cheques hit town, or pay cheques from fire-fighting, or other seasonal work.

In fact the most wretchedly poor in the communities – supposedly the ones with the most reason to drink, so the white man’s reasoning went – were not the biggest boozers, but often the most sober. Hell they couldn’t afford to get drunk.

I never heard of an Aboriginal person who sat and drank alone, as is common, in fact and fiction, by white people as they nurse themselves through a personal depression with booze, alone at the bar, or in a hotel room.

Giving the lie to all the myths of Aboriginal drinking that white men were trying to jam down people’s throats, including Norval’s.

White men who meant the best for Norval always tried to get him to straighten out his “alcohol problem” as they incessantly called it. Pollock did it; journalists did it; even his early mentors, who should have known better, like Dr. Weinstein misdiagnosed it and denounced it.

White men just could not realize that Norval “needed” booze to create his art, and Norval “wanted” booze as badge of his success. By denouncing his boozing, white men were trying to rob him first, of his creative power as an artist, of secondly, of his right to flaunt his success among the people who counted in his universe.

Norval summed up the reality about alcohol to Stevens, who quoted him in his book.

“See, sometimes I think I have been studying this problem for a long time – my drinking problem. The only thing I could ever suggest is that it is a status symbol. The white man wants two Cadillac’s in his garage; he wants a big house, a big barn. And the Indian wants a big quart! That’s my status symbol! You know that! With that I’m happy and if the white man doesn’t like me that way – the hell with him. All I want is my own self.” (Stevens, Picasso p64)

And the more there was to drink, the higher the status, to prove that one had “arrived.”

My idea of a sociable drink is a forty ponder (ounzer – ed) of rye.” (Norval quoted by Roy Thomas to James Stevens, Picasso of the North, p93)

Norval’s success as an artist drove his drinking into overdrive, with devastating consequences to his mental and physical health and ultimately, by the late 1980s, his art. 

The NFB Film – In fact the film the National Film Board shot on Norval in the mid-1970s clearly shows Norval was quite inebriated during the filming, and that the editor had a nightmare time cutting his interview shots to try to hide the fact.

Clearly the NFB producer, coming to make a film of Norval, arrived to find him constantly drunk. He had two choices: go home without filming, or shoot something and hope the editor back home would snip out clips that wouldn’t betray behaviour his audience would find disgraceful.

To many people he succeeded. To me, as a professional editor for some 40 years, it’s easy to see his problem shots and that the cutting was done, not for filming pacing and story telling, but only to hide the embarrassment of an inebriated subject.

 The Party in Red Lake – After the huge success of Norval’s first showing in Toronto at the Pollock Gallery in 1962, Norval took his huge wad of cash back to Red Lake to show off his success to the locals and threw a huge party floating in booze.

 “Later I got news from Susan Ross that Norval had been handing all this money around and the entire native community was drunk. Two Indians had got so drunk they had lain down In the middle of a road in the fog and had been run over and killed.” (Dear M – Jack Pollock p41)

The carnage booze left in its wake, in Canadian Aboriginal villages, is real enough. As school principal I went to many funerals resulting from alcohol abuse leading to: drownings, shootings, knifings, freezing, accidents. I dug numerous graves, I was a pall bearer, I attended wakes, I ferried the coffin containing one of my students to the cemetery with my skidoo and sled. It was a teenager, Ruthie, who was shot at a drunken party in Yellowknife, when a white man went nuts and shot four Indians to death.

In the six years I lived in remote Aboriginal communities in the Canadian north I attended more funerals of people I knew well, than in all the rest of my life (67 years.) Many were my students. 

When I returned years later to another remote community in which I taught for a year I visited the graveyard. Lots of my grade 5 and 6 students were there. Who never made it to voting age.

For the next thirty years Norval drank excessively and partied as often as he had money. As Norval told anyone who would listen: “to get drunk is the most beautiful thing there is.” (Globe 2007) 

But, progressively, his body and mind began to break down and betray him.

No wonder that by the end of the 1980s friends reported he was also losing his power as an artist. 

Said Lloyd Comber c 1987, “I noticed that his art wasn’t as good as it used to be.” (Stevens, Picasso p193)

And it explains why many Morrisseau experts and collectors refuse to buy art from Norval Morrisseau’s “wheelchair invalid period” from the 1990s on. 

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

Clearly, white men would say, well, Norval had picked the wrong status symbol to flaunt his success.

But Norval wouldn’t have agreed.  

Even in old age Norval refused to reform, telling Mcleans journalist John Geddes in the summer of 2003, when, he with his typical white man’s misconceptions prodded Norval about his “alcohol problem.” Gabe Vadas was there to “interpret” for Norval since Geddes had a hard time getting Norval to say anything much other than short phrases. But not when Geddes brought up Norval’s so-called “booze problem.”

“About his struggles with alcohol, though, he sucks in breath and gasps out his longest reply: “I’d do it all over again. I’d have a better approach. I’d really get drunk.” (John Geddes, Mcleans, Jan 26, 2004)

But Norval didn’t stop, merely with decades of alcohol excess; Stevens recounts stories of Norval drinking cases of after shave, and perfume, and no doubt cleaning solvents like Lysol, when alcohol was gone or not available.

As a principal charged with safe-guarding school supplies in a remote Aboriginal village, I had to put the biggest lock of all on the ware-house where the school’s cleaning supplies were stored, including cases of Lysol, the cleaning solvent our janitor used. Lysol was the target of all school break-ins over the years by people with the urge to party and with no money to buy real alcohol.

I recall filming the village tribal festivities at Caribou Carnival time on the ice, as two young guys on a skidoo and sled came up. I got a great shot of them approaching and passing, as they waved cheerfully at me.

I learned later, they had used the distraction of the festivities to break into the school ware-house from where they made off with all my cases of Lysol. The stolen booty was apparently in the very sled I filmed as they went by me, cheerfully, on the way to their own Lysol party. Almost 40 years later I see their grinning faces yet; both died young, long before their time…

What accelerator effect would drinking Morning Glory perfume and cleaning solvents have had on Norval’s Alcohol Dementia?

In addition Norval was a huge substance abuser (my white man characterization which Norval would disagree with), over many decades. What contributing debilitating accelerator effect did this have on Norval’s state of mind?

Stroke – Strokes can greatly impair mental functions and affect motor skills of arms, legs, head, and tonque. Norval had strokes in 1994 and 1997, all accelerating the deterioration of brain cells that were already damaged by his lifetime of excessive alcohol and substance abuse much of it learned, as he grew up, from his elders. As Wolf testified, his parents and uncles and aunts had all died of it.

Parkinson’s & Related Dementia – As he aged, Norval was in the final stages of Parkinson’s. According to the medical literature, at least 30% of Parkinson’s patients also suffer parallel associated Dementia.

This would be a compounding condition added to the earlier onset of parallel “alcohol Dementia.”

The Case of the Hidden IndianIt all ll led to the “Hiding of Norval Morrisseau.”

In fact the videos of Norval, that were taken by independent, non-Conspiracy Theorist witnesses at this time – when Norval was kidnapped by his family from out of the control of his white “care-givers” for a few months in 2001-2002 – show Norval to be mentally, little more than a vegetable, and being easily manipulated into signing anything at all, with no mental involvement by him at all.

It all goes a long way towards explaining – big time – a huge mystery of the time: why did the white businessmen surrounding Norval’s wheelchair refuse to produce even a single video of any kind showing Norval Morrisseau talking on any subject, or even painting during the last ten years of his life?

A single look at the LeBlanc video will be all the explanation you will ever need. (See Videos)

The devastating sign-posts of Norval’s Dementia and Parkinson’s are very visible and easy to diagnose. And not very helpful for someone trying to sell new paintings by an aging painter who has so many hugely visible and obvious signs of various debilitating mental and physical conditions.

An artist who can’t talk; an artist who can’t hold a brush without shaking; an artist who can’t reach further than his lap; in short, an artist who can’t paint or communicate. In fact who often appears to be little more than a vegetable.

Note: Gabe Vadas and his wife Michele have been credited by Conspiracy Theorists with “taking care of Norval” in his declining years. The truth is something entirely different. It was Norval’s money from his paintings which, from 1987 to 2007, supported the Vadas family. They had no other means of income – Gabe was a street-person when Norval took him in. Gabe’s houses and boats, his bank accounts, ALL came from Norval’s paintings.

In 2001 the Vadas family dumped Norval in a terminal care facility, and refused access to him by outsiders, journalists, and even Norval’s family. 

Gabe Vadas kissing the man who was his entire "meal ticket" for some 25 years.
Gabe Vadas kissing the man who was his entire “meal ticket” for some 25 years.

Again it was all paid for by the public purse and again by Norval’s money while the Vadas family then ruthlessly exercised Norval’s Power of Attorney to advance their business activities with Norval’s paintings. When Norval died he had nothing; the Vadas’ owned it all: houses, boats, bank accounts, paintings. Norval’s children were disowned totally in Norval’s last will, forcing the children to go to court against the claims of the Vadas family.

Norval’s obvious and numerous physical and mental disabilities can go a long way to explaining why Norval was hidden by his white “care-givers” for years, both from the public and his family, and never produced for video interviews. And never put before journalists without his interpreter and spokesman Gabe Vadas doing the talking and interpreting for him, as he did in the CBC program where the producer could not get Norval to speak a single word for a one-hour documentary of his life.

Virtual Quadriplegic – Ms. Hatfield, in her own testimony, and blatantly ignoring her own experience with Dementia, was now pontificating about a man who at that time, had had inarguably the most abused body and mind of any leading Canadian personality in history.

And was displaying ALL the classical tell-tale symptoms of anyone suffering from extreme Dementia.

Dementia: the Descent into a Private Hell – The debris trail left by Norval Morrisseau’s Dementia is clear and devastatingly obvious to anyone who has bothered to examine the record.

I publish here the first major public compilation of some of the leading evidence that shows Norval Morrisseau’s progressive mental decline. 

A still from the only video taken of Norval in the last ten years of his life, showing him animatedly talking about forgeries.

A still from the only video taken of Norval in the last ten years of his life, showing him animatedly talking about forgeries.

For Years, Incapable of Intelligible Speech – A typical obituary press announcement said what was obvious to all those who had had personal access to Norval Morrisseau in the last ten years of his life: “Norval passed away… after a long battle with Parkinson’s. He had suffered two strokes and spent much of his last years in a wheelchair, incapable of intelligible speech.” Journalist Rick Garrick was quoting Norval’s brother Ronald for many of his facts. (Anishinabek News, Rick Garrick, Dec. 2007)

Had Ms. Hatfield practiced “due diligence” she could have read many other similar articles about a man she claimed was all-seeing, all-knowing, and fully mentally engaged and capable of communicating truthful specifics about her very own painting, “Wheel of Life 1979” which he had presumably painted some 30 years before, in 1979.

Early 1990s – Norval’s Body Shuts Down – In fact Norval’s body had started to shut down years before: in the 1970s he was already complaining to James Stevens of a marked decline in sexual function. This was a devastating worry for a man who had for decades gloried in his sexual excesses with women, preferably men, and often young boys. He told Stevens:

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

Norval had the first of two debilitating strokes in 1994, and Parkinson’s had struck by then as well. He was permanently in a wheel-chair from the same period.

All media video clips after 1995 – all short and heavily edited – show him shaking uncontrollably and staring vacantly ahead, never making eye contact with anyone and never moving his head or limbs.

Clearly his mind was in a parallel decline. The clips are tragic evidence that Norval had “left the building.”

One of five pictures Sinclair says are fakes, and erroneously published by a senile Morrisseau and forgetful Robinson,  in Travels to the House of Invention in 1997.

One of five pictures Sinclair says are fakes, and erroneously published by a senile Morrisseau and forgetful Robinson, in Travels to the House of Invention in 1997.

1997 – Fakes in “Travels to the House of Invention” – Signs of Norval’s Dementia started at least as early as 1997, when he demonstrated his utter failure, at being able to distinguish his authentic from his supposed so-called “fakes.” If we are to believe the say-so of Principal Conspiracy Theorist Ritchie Sinclair.

In the book “Travels to the House of Invention,” published by Donald Robinson that year, which lists Norval as the author, Norval includes large pictures of five paintings that were later hugely denounced as forgeries, by Ritchie Sinclair – he called them “inferior counterfeits”- in 2008.

He still lists them prominently as such in 2013, on his website. And Donald Robinson has never ordered the devastating and compromising pictures and accusations removed. They remain just another in a growing list of powerful statements as to Robinson’s own failure as a Morrisseau authenticator.

(Before it was “discovered” and denounced as a so-called “fake” by Sinclair, Kinsman Robinson Galleries even provided one of the so-called fake pictures as an authentic Morrisseau to Beaver Magazine to banner a feature article it published on Robert Lavack.)

Ritchie Sinclair instructing the staff of Kinsman Robinson Galleries how to spot a fake...

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.

From this you can only draw two conclusions:
– either Sinclair is a liar or has no clue about how to tell real from so-called fake Morrisseaus, or
– that Norval Morrisseau and Donald Robinson were incapable of recognizing a genuine Morrisseau painting from his earlier years.

But, Sinclair, on his website, as a clear and telling courtesy to Donald Robinson – Sinclair’s increasingly close business associate – only publishes the photos individually, as standalone fakes, refusing to give “context” to any of the five images he claims are forgeries.

He does not mention that Robinson, or Morrisseau, or Kinsman Robinson Galleries were involved, and does not mention that the “inferior counterfeits” came from a book, or give its name, or publish a picture of the cover of “Travels.” Hiding complicit or embarrassing information is a common practice with Conspiracy Theorists who constantly avoid and hate transparency, forthrightness, disclosure, and independent verification with a passion.

It is, of course, exactly what makes Conspiracies possible, and Hoaxes abound.

Sinclair’s non-disclosure is a stunning and telling departure for him as a Conspiracy Theorist blogger.

Sinclair did not extend the same courtesy to the Elmwood Spa, when he denounced so-called “forgeries” he accused it of publishing in a book. He named names, the business, identified the book, and even published images of the cover. (see Terror on Elm Street)

It’s pretty conclusive – and early – proof by itself – thanks to Sinclair’s publication – that Norval just made huge mistakes because of advancing Dementia, in misdiagnosing real paintings as fakes, or vice versa. (Of course, Sinclair could have been wrong and Robinson spooked…)

A sober Donald Robinson summarily removed all the so-called "fakes" which Sinclair still posts as such on his website in 2013.

In 2005, a sober Donald Robinson summarily removed all the so-called “fakes,” which Sinclair still posts as such on his website in 2013, from “Return to the House of Invention.” Did he fear they showed that his artist had lost it, mentally?

2005 – Robinson Re-edits the “Fakes” – Further confirming proof, of Sinclair’s allegations, of Norval’s obviously declining mental abilities, comes from Donald Robinson, the publisher of “Travels.” When he chose to republish the book in 2005, though he made only virtually undetectable changes in the text, he removed the entire pictorial chapter that featured the five so-called “forged” pictures.

He did this three years before Sinclair made his accusations of fakes in the KRG book.

So either Norval, in one of his lucid moments, when he looked over the book, pointed out the alleged forgeries, or someone else did. And Robinson took drastic, but secret, action to remove the embarrassing pictures. In fact since nothing else was really changed in the book, it may have been the motivating factor in re-publishing a corrected version of an embarrassing chapter Donald Robinson wanted to forget.

Or cover up.

It was only three years later that Sinclair exposed allegations of the five fakes Donald Robinson had published in “Travels.” And only after he expunged all compromising connections to Norval Morrisseau, Donald Robinson, their book, or the Kinsman Robinson Galleries.

Perhaps Sinclair had heard the confessional details from Robinson himself – Sinclair had been a private dinner guest at the Robinson’s in 1997 during the book launch. They were to form an increasingly multi-level business association, as Conspiracy Theorists, over the coming years, with Sinclair being given unparalleled access to Kinsman Robinson Galleries.

Sinclair has told the world and several judges that “I am a fine artist,” and has said that he is even the equal and the designated successor, of Norval Morrisseau. But tellingly, since they first met in 1997 and in the sixteen years since, Donald Robinson and Kinsman Robinson Galleries have never put on a show for Ritchie Sinclair’s art, or put him in the stable of artists their gallery has represented over the decades. Apparently they believe his talents lie in other directions.

The duo would become “tag-team” partners – with increasingly disastrous consequences for their Conspiracy Theory – in various court appearances after 2010.

Gabor Vadas, whose greed for Norval’s possessions was graphically documented by Barry Ace as early as 1995, and in the CBC “Life & Times,” was, from the late 90s on, eager to use Norval’s Power of Attorney to advance his personal business initiatives.

2001 – Terminal Care Facility – Norval’s descent into Dementia went on rapidly. It is well-known that by 2001, Norval was so far gone, mentally and physically, that Gabe and Michele Vadas placed him in a terminal care facility in Nanaimo.

Michele Vadas found Norval’s mental and physical disabilities too much to handle and institutionalized him in 2001. It allowed her then-husband, Gabe, to invoke his Power of Attorney with a passion.

They obviously felt that they just could no longer bear the strain of looking after a man so bedeviled by Dementia and his other maladies. Which must have gone on for years – we assume – before they reached their breaking point about their ability to cope with an invalid with no effective bodily controls anymore or mental communications skills.

Bloggers who claim to know, praise them both for repeatedly cleaning up for a man whose bodily functions were failing so drastically he was frequently soiling himself.

When Norval’s family heard of his institutional “incarceration” – they regarded it more as abandonment by the Vadas’ – they went to the west coast and kidnapped Norval, in December 2001, and brought him back to Thunder Bay, where they would keep him for some seven months, into the fall of 2002. Then Norval was apparently kidnapped back to Nanaimo, BC, by Vadas.

Dec 2001 – A Norval Friend “Talks & Walks” – In December 2001, an old family friend of Norval’s stopped to talk to him in Thunder Bay, where he was sitting as his family sold paintings in a mall, observing: he could no longer control his body. I left after awhile because I could not understand him.” (Dolly McGuire, in James Stephens, Picasso of the North Country p 207)

Apr 2002 – A Norval Enthusiast “Talks” to Norval – In April 2002, another passionate Morrisseau collector waxed enthusiastic to me about meeting and talking to Norval in Thunder Bay, when he encountered the artist there, again, with his family, selling paintings.

When I – ever the skeptic and probing journalist and historian – stopped him in the midst of his gushing about “talking” to the great artist, to probe the validity of exactly what he was saying, about a man many people claimed couldn’t really “talk” or communicate, he paused for some time, before replying, and then said:

“Well, let me put it to you this way: if a translator was to repeat what Norval had just told me, I wouldn’t have been able to tell whether the translator was lying or not.”

Apr 2002 – The LeBlanc Video – In April 2002, a lengthy, unedited video was taken of Norval – who was, at that time, an escapee from the clutches of the Conspiracy Theorists, and safely in the hands of his family. The video was taken to show that the paintings were authentic because Norval signed them, again before a camera. (See Videos)

In fact what they actually show is that clearly Norval was a virtual vegetable and totally being manipulated to countersign and thumbprint pictures, which are genuine enough and that he had painted in the 1970s.

But, in fact, what the video proves, to me as a historian and long-time film and television cameraman and editor (see csc) that without a doubt, in April 2002, Norval was exhibiting – big time – many of the classic signs of Dementia. He was simply an automaton, sleep-walking through all the paces his family was putting him through: putting his thumb into an ink pad, putting pencils in his hand, and putting paintings for him to countersign, which he had not seen. He does not even appear to look at the paintings or be mentally engaged with them.

Throughout it all, Norval says not a single word, does not make eye contact with anyone, or make a single sign of recognition of either people or paintings. He does not interact with anyone involved in the supposed “authentication” process, in any way other than as a passive prop. His head never moves from its flopped over downcast position. Where Norval’s mind is, during this process, is anyone’s guess.

Clearly, anyone with my observer skills can see for themselves, that anyone could have gotten Norval to sign anything… fake or real…

And remember, this was Norval’s mental and physical condition a full two and three years BEFORE he supposedly started to pick the hundreds of so-called “fakes” from the internet, and began to compile, and sign his notorious and totally questionable Affidavits of Forgery in 2004-2005.

Jun 2003 – Devastating Power of Attorney – In June 2003, there is further clear documentary proof that Norval Morrisseau is so far gone mentally that Gabe Vadas sees no problem in aggressively continuing to use his “Power of Attorney.”

In fact, there is evidence that Norval was so far gone by the late 1990s that Gabe Vadas may have been using it then when he was positioning himself as Norval’s “son,” and Norval’s will was prepared. Certainly Vadas used it by 2001 when he and Michele gave up on Norval and installed him in a terminal care facility in Nanaimo.

Then in 2003, in a letter to an art gallery, accusing its owners of having fakes, Clark R Purves of Purves, Hickford Horne & Curry says, “Please be advised that I am counsel for Norval Morrisseau and his Power of Attorney, Gabe Vadas.” (Letter June 17, 2003 from Clark R Purves)

Purves says this deliberately for only one reason: everyone knows that “Norval has mentally left the building,” who knows how many years before.

It is illegal to invoke a Power of Attorney on behalf of someone else if they are mentally capable of looking after their own interests. Clearly Norval was not, or Vadas was breaking the law. Purves must have satisfied himself and been convinced that it was proper for him to invoke the legality that allowed someone to speak and act on behalf of a mentally incapable patient.

Which means two more things: Purves knew about the mental issues that bedeviled Norval and, secondly, that others knew of the problem also. Which is why Purves brought this out in the open in a big way as the first line in his letter of warning. Let’s face it, a lawyer covers his own ass first, then that of his client.

Purves wanted to flag at the outset that this letter was not coming from a “dumb” and mentally deficient Indian, but from his legal proxies, out of sheer medical necessity. 

2004 – Norval Can’t Utter a Single Word for CBC – In fact by early 2004, Norval’s mental decline had been so precipitous, that the CBC producer shooting “The Life and Times of Norval Morrisseau,” complained that he could not get Norval to speak one word for his one-hour program celebrating his career as Canada’s top Aboriginal artist.

Any voice and video clips of Norval he used all came from much earlier footage, most of it from the 1970s.

Norval’s longtime companion and white care-giver Gabe Vadas did all the on-camera talking for him. It was impossible for it to be any other way. By 2004, Norval had the most destroyed mind and body of any leading Canadian personality in Canadian history.

Which raises a very serious question? If the CBC producer couldn’t get Norval to say a single intelligible word, that he could use, how did Norval communicate his supposed knowledge about hundreds of forgeries listed on the Affidavits that mysteriously appeared bearing his name in the two years following?

Specifically how could he possibly, a whole year of progressively more advancing Dementia later, possibly select “Wheel of Life 1979” as a fake and communicate that from his wheelchair.

Feb 2005 – Norval Can’t Recognize His Own SonIn powerful testimony, quoted in its entirety by Judge Martial in his judgment, longtime fine art dealer and Morrisseau family friend, Jim White, testified how by February 2005, Norval “… could not speak, much less hire a lawyer, much less direct a lawyer to do anything.” It was his opinion after he had taken Norval’s son Christian to meet his father in his terminal care facility and noted how devastating the experience was for him.

The Plaintiff’s counsel, Jonathan Sommer, trying his best to contain the damage, openly scoffed at White (my characterization from seven feet away):

“So you knew that for a fact?”
“Yes I did.”
“Are you a doctor sir?”

(In fact Sommer did not know an important fact about Dementia, that: “there are very few qualitative differences between Alcohol Dementia and Alzheimer’s Disease and it is therefore difficult to distinguish between the two” and that “the biggest indicator is friends or family members reporting changes in personality…” (Alcohol Dementia – Wikipedia))

Like Margaret Hatfield about her mother; like Christian Morrisseau about his dad.

In probably the most passionate retort of the entire five day court proceeding, White shot back angrily, at Sommer’s deliberate attempt to minimize his credibility and testimony.

Jim White, fought back at a scoffing lawyer and barked that Norval coulnd't even recongize his own son when he took him on a visit.

Jim White, stung to the quick by a scoffing lawyer, who wasn’t even there, barked that Norval’s Dementia was so advanced, when he took him on a visit, that he coulnd’t even recognize his own son .

Stung to the quick, White literally barked (my characterization) at the lawyer:

“I’m the man who took Norval’s son to see him and who was refused admittance because Gab. (sic) Vadas said, no one gets to see him. Not the family, not anyone. He did get to see him. Pictures were taken. Norval is sitting in the wheelchair with his tongue hanging out. He’s sitting with his son. His son is holding his hand and crying because his father cannot even recognize him. That’s why.” (Court Trans/Hatfield v Child: June 4, 2012 p180) all quoted by Judge Martial (Judgment by Judge Paul J Martial: Mar 25, 2013 p33)

It was a telling part of the transcript out of hundreds of pages that Judge Martial chose to include, in their entirety, to illustrate his short 34 page judgment.

Ms. Hatfield, only seven feet in front of me, sat silently at this exchange, twitching noticeably. She must have hugely understood Christian’s tragic encounter with his father. She had experienced exactly the same thing with her own mother, who died at the very moment she became dragged in the Morrisseau forgery Hoax by the Conspiracy Theorists. She had tended her mother through years of advancing Dementia which must have made her unable to recognize her own loving care-giving daughter.

But for some reason Ms. Hatfield just wouldn’t connect the dots between the tragic parallel mental decline of her own mother and that of Norval Morrisseau.

She tried to pretend that Norval, who, like her mother, was in the final stages of Dementia, was in a completely mentally fit condition to discover “Wheel of Life 1979” as a fake on the internet, and add it to his Affidavit of Forgery.

Or her “advisors” wouldn’t let her think otherwise, for their own reasons, both business and personal, and to propagate their myth of a giant Conspiracy Theory.

Why so feverishly?

That’s easy: the only, and entire case, charging that “Wheel of Life 1979″ was a so-called “forgery” depended entirely on Norval Morrisseau being of sound mind in 2005, when his notorious Affidavits of Forgery were fabricated and sent out.

At a time when the overwhelming evidence from many sources – both direct and circumstantial – was that Norval was little more than semi-comatose, being virtually incapable of mental function, and totally dependent on his “care-givers.” And, in fact, being manipulated, for business reasons by his white business partners and handlers.

Mar 2005 – Stunning Memory Loss – On March 15, 2005, a lawyer claiming to act for Norval Morrisseau sent a warning to a long-time and highly reputable fine art dealer, saying the gallery was committing fraud and violating Norval’s copyright on their corporate website which purports to sell copies of our client ‘s original artwork pursuant to a copyright agreement with our client… Our client denies entering into such agreement or in anyway transferring or authorizing the use of his copyright.” (Letter, Mar. 15, 2005, from Eric N Hoffstein, Fraser Milner Casgrain LLP )

Hoffstein threatened to launch a legal action within 10 days to stop the alleged fraud. 

The fine art dealer produced a letter from 1988, with multiple signatures by Norval, proving he had agreed to give the gallery the right to buy the originals and make copies for sale, in perpetuity, of 21 paintings. Appended were 21 images, each one of which Norval had also previously initialed in the document.

This was not Norval’s mental failure of remembering only a single painting. Norval had, apparently, a total memory collapse of a huge agreement involving no fewer than 21 of his own paintings. 

Clearly, Norval couldn’t remember the transaction and a document that he had signed 22 times.

Such a bulk deal was unprecedented, and would have been memorable to anyone except someone bedeviled by Dementia. Norval had signed away the copyright to duplicate and sell copies of 21 of his paintings, in perpetuity, for a total of $1,000. 

A totally astonishing deal!

What artist would possibly forget such a totally dumb deal? Norval clearly had done it, when he was desperate for money, and now had no recollection of it at all.

Furthermore, the deal had only been concluded, relatively recently, in 1988. And still Norval couldn’t recall, either the agreement attached to 21 specific paintings, each of which he had personally and prominently initialed.

So much for the man Donald Robinson claimed had “total recall” of 10,000 paintings over a 50 year career. Yet by early 2005, Norval couldn’t even remember an amazing bulk lot deal of some 21 paintings from 1988.

He was not just forgetful about one painting, but of giving away the copyright as well, for 21 of them for next to nothing… 

And we are expected to believe that the same year (2005) he had better recall of “Wheel of Life 1979” as a so-called forgery from ten years earlier?

2004 – 2005 Bogus Affidavits – And stunningly, this was the very time 2004-2005, that those notorious and much flaunted Affidavits of Forgery bearing Norval’s name, started being sent to the leading business competitors of Toronto’s Kinsman Robinson Galleries.

Donald Robinson and the other white businessmen clumped around Norval’s wheelchair claimed that Norval personally researched the thousands of low resolution jpegs of paintings from internet postings and gallery sales catalogues.  And that the hundreds of supposed fakes, culled down from thousands were handpicked by Norval and added to the Affidavits.

These are, to my mind, as a professional historian, among the most disreputable documents in Canadian history, and are either the product of a mind in the later stages of Dementia, or fabricated by third parties who were not very bright and made many huge and inexcusable mistakes and extreme contradictions in each and every one of some seven different documents involved.

Just two of the many incredulous men who can't believe Norval was in condition to compose the Affidavits of Forgery he's trying to foist off on them.

Just two of the many incredulous fine art dealers who can’t believe Norval was in a condition to compose the Affidavits of Forgery he’s trying to foist off on them.

Repeatedly, the same paintings regarded as authentic in one Affidavit, are called “forgeries” in another, or vice versa. Or paintings provided to the media as authentic, are later called fakes in the Affidavits. Or paintings that were said to be in a gallery when they were not. Or are ascribed to one owner when he never had anything to do with them.

They are utterly worthless as historical documents purporting to offer proof of forgeries or authenticity.

Let alone, being useful as court submissions to prove anything other than the private interests of the people who were behind drawing them up.

But they were clearly, utterly effective as aggressive business documents in a campaign to destabilize the Morrisseau secondary market, and damage the sales of Morrisseau paintings belonging to the main business competitors of Kinsman Robinson Galleries, to whom they were issued.

Joseph McLeod, who had been dealing with Morrisseau paintings since 1960, and remains a Morrisseau family friend to this day, was only one targeted dealer who attacked the so-called Affidavits of Forgery as incompetent, inaccurate, invalid, confusing, and just outright wrong on many levels.

82 year old Joe McLoed called it "elder abuse," the wringer that the Conspiracy Theorists were putting a Dementia-plaqued Norval through. Few disagreed...

82 year old Joe McLoed called it “elder abuse,” the wringer that the Conspiracy Theorists were putting a Dementia-plaqued Norval through. Few disagreed…

In stark contrast to Donald Robinson, whose testimony was repeatedly “rejected” by Judge Martial, McLeod was notably singled out as a credible and informed witness: “He demonstrated a superior depth of knowledge of Morrisseau,” (Judgment by Judge Paul J Martial: Mar 25, 2013 p25) After he recounted his experience with trying to deal with clearly spurious documents, McLeod summed up the situation with:

“It was a mess.” Judge Martial chose to quote McLeod’s testimony at length. (Court Trans/Hatfield v Child: June 4, 2012 p54) quoted by Judge Martial (Judgment by Judge Paul J Martial: Mar 25, 2013 p28)

He quoted three key points made by McLeod:
– the Affidavits were a disaster of mega proportions
– it was “economically unsound” for a forger to copy Morrisseau whose “paintings were not selling,” who had “run out of customers who would buy” in the 1970s and after
– the signature on one Affidavit at least was not Norval’s but forged

The disastrous Affidavits offer more stunning proof, if any was needed, of Norval’s terrifying descent into Dementia. He had clearly “lost it,” and could no longer tell his originals from so-called “fakes.”

If indeed he was even involved – at this stage of Dementia – in the decisions, and giving directions to lawyers. For all anyone knows, these could all have been cooked up by the white men around Norval’s wheelchair, who, for years, had been aggressively wielding his Power of Attorney.

Or other, even lesser lights, were cooking the documents as part of an aggressive business initiative to attack business competitors. Or both.

2004 – Norval the Internet Surfer in 2005 - The image, Conspiracy Theorists like Donald Robinson would have us believe, is supposedly one of Norval in his wheelchair, studiously surfing the internet, late at night, banging away with his mouse, seeking forgeries among the thousands of his images that were posted there.

And then assembling them in his ACCESS database, breaking them down and grouping them by alleged culprit, and then directing Gabe Vadas to issue his Affidavits of Forgery, to people who just happen to be many of the main business competitors of Toronto’s Kinsman Robinson Galleries.

It is telling that those who received these Affidavits of Forgery never got original documents, just Xerox copies, with one page bearing a signature of Norval Morrisseau, to which were added others with dozens of small, low resolution screen grabs, on separate pages.

Said one forensic scientist, that to him the Affidavits looked like spurious “cut and paste” assemblies by someone, and did not resemble what genuinely sworn documents are supposed to look like.

Reality Check – Clearly, I’m joshing. Everyone knows that someone else was behind these bogus Affidavits. Someone else was doing the late-night surfing for fakes, picking the images they would target, and possibly, perhaps, putting – we assume – low resolution images in front of a semi-comatose wheelchair invalid, before grabbing Norval’s hand, putting a pencil in it, and making him sign, so acknowledging as fakes hundreds of tiny low resolution screen images he couldn’t even see properly. Let alone understand.

NOTE: It is well documented in Jack Pollock’s writing that Norval had only contempt for documents white men considered sacred, like invoices, legal documents, or treaties. When Pollock tried to give him an official receipt for paintings he was taking on consignment, Norval spat out “White man’s paper’s no f*cking good.” (Pollock, Dear M, p39)

To Norval’s mind a phony Affidavit of Forgery was no worse – had as much validity – as any other documents white men had been in the habit of fabricating in the past to victimize Indians. Norval had no ethical or moral reason whatsoever, not to sign a fraudulent document, especially if he would make some money from doing so.

White men had fabricated treaties that victimized Indians and fraudulently dispossessed them of their rights and land; a few phony Affidavits would have been regarded by Norval as marginal “pay-back” at best. Or playing by the white man’s rules; hell he was being advised by them… (see “Unfinished Business: Treaties with the First Nations”)

If you can’t picture the scene of Norval in his wheelchair at work behind his computer, or signing Affidavits, you may use the Ryan LeBlanc video to give you an idea. But instead of paintings, imagine some letter paper size pages put on his lap instead.

Just remember though, Norval, three full years further down the road (we’re now in 2004/05) would have been in a much more comatose condition than in the LeBlanc video (early 2002). Dementia is a ruthlessly progressive condition; and Norval was a poster child candidate.

2004 – The Affidavits Target Genuine Works not Fakes – The evidence is pretty clear that the Affidavits were never intended to attack forgeries at all. But specific businesses and genuine Morrisseau paintings.

My favourite memory of the Straight Arrow in a typical pose.

My favourite memory of the Straight Arrow in a typical pose.

Specifically, the Affidavits were all aimed at the main business competitors of the Kinsman Robinson Galleries, like auctioneer Randy Potter, an observation made by Judge Martial as well.

“It was his (Robinson’s) opinion that Randy Potter sold some two thousand, (2,000) fake paintings… The Court finds it obvious that Potter would be seen as a significant competitor.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p6)

“It was also clear that his (Robinson’s) personal views and business interests conflicted with his professional opinion since it was in his interest along with Mr. Vadas to maintain the price of Morrisseau paintings which would not otherwise be the case if the market was flooded with paintings sourced from Potter auctions.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p38)

2004 – The Affidavits Target Businesses Not Fakes – One of Robinson’s other business competitors, Gallery Sunami, was targeted with an Affidavit of Forgery for only five (5) paintings.

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.

One of seven genuine Morrisseaus that Donald Robinson, and Norval Morrisseau and his business managers knew we owned and considered “fakes.” But none of them ever sent us an Affidavit of Forgery, because as collectors we were not perceived as business competitors to Kinsman Robinson Galleries. This painting was certified with DNA certainty as having been signed by Norval and by no one else, by a top Canadian forensic scientist and handwriting analysis expert.

We own seven (7) Morrisseaus, and Donald Robinson very well knew it; he had been the under bidder at Randy Potter Auction in January 2000, on at least two of them. If Gallery Sunami got a cease and desist threat and Affidavit of Forgery for only five supposed “fakes,” then we should certainly have received one for seven supposed fakes.

They have been prominent on our educational website for years.

But we did not get one, for a simple reason. We are collectors; we are not a perceived fine art retail business competitor of Donald Robinson or the Kinsman Robinson Galleries, and so were not considered as a threat to the KRG business like the others were.

In spite of their name, the Affidavits’ of Forgery were clearly targeting business operations, not forgeries at all, or those collectors who had supposed forgeries.

It was done strictly to defame and undermine competitive Morrisseau fine art businesses.

2005 – 2013 – Every Single Affidavit Discredited by Scientists – The validity and truthfulness of the Norval Morrisseau Affidavits of Forgery are further hugely discredited because, by 2013, three of Canada’s top forensic scientists and handwriting analysis experts have been involved in proving that every single Affidavit contains paintings that one of them has certified, with DNA certainty, to have been signed by the artist himself, and no one else.

 singla_lind_davies

In other words, apparently Norval has completely forgotten that he actually signed and painted numerous paintings, which he has later put on an Affidavit of Forgery.

This is devastating further evidence, either about Norval’s chronic Dementia, and/or about the manipulation involving genuine Morrisseau paintings by the white businessmen gathered around his wheel-chair, or both.

NOTE: In Aug. 2010, Dr. Atul K Singla, who has an M.A. and Ph.D. in forensics, specifically examined “Wheel of Life 1979,” and declared it as authentically signed, with DNA certainty, by Norval Morrisseau and by no one else. He testified to that effect in Hatfield v Child.

Many witnesses and affidavits testified that Norval signed paintings like this, and forensic scientists confirmed it in every case sent to them for analysis.

Many witnesses and affidavits testified that Norval signed paintings like this, and forensic scientists confirmed it in every case sent to them for analysis.

Wrote Judge Martial, Based upon his testimony and his detailed forensic report referenced at exhibit 42, the Court finds as a fact that the painted black dry brush signature on the back of the painting Wheel of Life is that of Norval Morrisseau.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p32)

All just more devastating proof that when Norval called “Wheel” a fake, and put it on his Affidavit of Forgery, he was showing more telltale signs of ruthlessly advancing Dementia, than good judgment on any level. 

It’s damning proof again, of what Wolf Morrisseau testified Norval had confessed to him many years before:

“… he basically said that he is no longer in any condition to have a viable understanding of what he had done because he had Parkinson’s; it was taking so much from him. (Court Trans/Hatfield v Child: Feb 24, 2012 p116)

So in his mentally deteriorated condition, it would have been easy for Norval to fall prey to suggestions to sign this, that, and the other, of things he couldn’t recall, by the aggressive white businessmen surrounding his wheelchair. Joe McLeod told Judge Martial, it was all “elder abuse.”

Norval posing, showing advanced signs of Dementia, and Parkinson's, in Aug. 1999, a full five years before he supposedly organized the setting up of the Norval Morrisseau Heritage Society.

Norval posing, showing advanced signs of Dementia, and Parkinson’s, in Aug. 1999, a full five years before he supposedly organized the setting up of the Norval Morrisseau Heritage Society.

2005 – NMHS Founder & Director – The crowning calumny of the Conspiracy Theorists was unveiled in 2005, when the same Dementia-devastated Norval Morrisseau rises like Lazarus from the grave, and is propped up to perform one more Herculean intellectual task for the Conspiracy Theorists of white businessmen surrounding his wheelchair.

The Conspiracy Theorists credit him with setting up the Norval Morrisseau Heritage Society, in 2005, picking its officers, designing its mission statement, organizing its agenda, selecting the so-called “fake” paintings these puppeteering academics were to use to tell the fakes apart from his authentic works.

Why? Because Norval has – let’s face it, the proof is overwhelming – for years, been a liability as a marketing tool. He had refused to die in a timely fashion; he could not do media interviews; they couldn’t produce him in public; he couldn’t talk, or write, or paint. They needed a more useful proxy to take his place, that could help promote the Conspiracy Theory and help lend credibility and promote sales.

The brainstorming produced the perfect solution: the Norval Morrisseau Heritage Society made up of compliant and gullible academics.

A brilliant business move actually.

If you want to see how Norval would have looked, as he rose from his wheelchair, as he “took charge” to do this, look at the LeBlanc video from early 2002, where Norval is supposedly busy supervising the authentication of his works.

Just remember, though, you have to add four (4) full years of progressive Dementia to Norval as you see him in the video, to picture him as he looked when he supposedly directed and set up the NMHS and picked its officers. (As claimed by the NMHS, and Donald Robinson.)

Cultural genocide on display. Wanker 16 paintings on a bonfire at an NMHS kaffeeklatsch with the 900 pount gorilla in the room, hanging in the background...

Norval is supposed to have hand-picked these academics himself. Since 2005, they have been little more than “outreach workers” for Donald Robinson and the Kinsman Robinson Galleries, in a campaign to devalue and possibly destroy, countless Morrisseau paintings that have been ruled – by three top forensic scientists – and now a judge as well – as authentically signed works by Norval Morrisseau. The NMHS members have been willing, gullible, misguided, and complicit participants, in what I consider cultural genocide of the highest order, in helping KRG destroy, hide, or prevent, public and scientific access to the Wanker 16 paintings – the Conspiracy Theorists’ supposed proof of forgery.

Now, do you believe that Norval Morrisseau is even marginally capable of being in any way involved in setting up the NMHS, let alone taking an executive role? Or is he just a helpless proxy and rubber stamp being used by his white business handlers and their willing academic dupes.

In fact I believe the evidence is overwhelming, that it was not Norval at all, but Donald Robinson, the “Master of the House of Invention,” who orchestrated the setting up of the Norval Morrisseau Heritage Society as an adjunct to his business operations.

In fact, Donald Robinson gave the NMHS the benchmark standard they were directed to use for detecting all forgeries, by giving its members the notorious “Wanker 16,” for denouncing and rejecting fakes. The Wanker 16, you may remember are a group only because they are all that remained of the 31 paintings Robinson bought at Randy Potter Auctions, and failed to sell. (see Wanker 16)

In other words, he transformed them into a creative tool to recycle unprofitable Morrisseau painting inventory the Kinsman Robinson Galleries had left over. If they couldn’t bring in direct dollars they might become promotional tools to create a “ripple effect” of profitability down the road by tarnishing similar Morrisseau product in the fine art galleries of his business competitors.

The hopelessly Dementia-debilitated Norval, trundled out for shameless photo ops by his white business managers, in this case by his longtime white business manager, Bryant Ross. These exploitive photos always undline the true mental and physical state of Norval Morrisseau. Why did thise photo-opportunistc businessmen never produce a photo of Norval painting one of his large canvases, or a video of him being interviewed in the last 15 years of his life?

The hopelessly Dementia-debilitated Norval, trundled out for another shameless photo op by one of his white business associates, in this case by his longtime business manager, Bryant Ross. I consider these exploitive photos, as elder abuse, and to me, always underline the true mental and physical collapse of Norval Morrisseau. These posed business promo photos raise many truly disturbing questions including: Why did these photo-opportunistic businessmen never produce a single photo of Norval painting one of his large canvases, or a single video of him being interviewed, in the last 15 years of his life? At a time they were selling hundreds of new paintings they said they got “direct from the artist.” As Ross himself brazenly claimed on his Coghlan Art website.

In fact Bryant Ross, of Coghlan Art Gallery (Aldergrove, BC), a founding member of the Conspiracy Theorists, copied this ingenious way to deal with unsalable Morrisseau paintings in his inventory. After years of trying to sell one BDP painting “Water Spirits 1979,” on ebay, at Seahawk Auction (Maple Ridge, BC), and on his Coghlan Art corporate website, where he posted it for sale for a long time for $12,000, he just decided to recycle it and use it to make a statement about forgeries and defaced it in front of TV cameras he brought in for publicity to promote his Conspiracy Theory.

So how believable is that? How credible is Ross, as a Morrisseau expert? As a fine art retailer? As an ethical businessman?

DISCLOSURE: I visited Bryant Ross’ art gallery, in the old hydro building in Aldergrove, BC, in 2005. He told us our Morrisseau paintings (all genuine BDPs which we feature on this blog) were so-called “fakes.” That the Morrisseaus he had for sale, which were laid out on the floor, as he personally toured us through the various floors of his old hydro building, were “direct from the artist.”

We did not, at all, like the looks of any of them. These so-called “Morrisseaus” from his “invalid wheelchair period,” compared poorly with hundreds of others we had seen at Randy Potter Auction, museums, and elsewhere. And all were blank on the back. So there was absolutely no way to have a handwriting analysis expert to be able to confirm the authenticity of what a “motivated businessman” would have you believe. And set your mind at ease about things: you know, did Norval have anything to do with them?

A top forensic scientist said, with DNA certainty, that Norval signed our painting, .

A top forensic scientist said, with DNA certainty, that Norval signed our painting. Can you do that with your Morrisseau?

In fact when Donald Robinson started to claim all BDPs and all Randy Potter paintings were fakes, we allowed an independent forensic scientist to examine the handwriting on the back of two of these so-called “fake” paintings, on two different occasions.

Before you ask, NO, we did not pay for it. Would the Louvre pay to have a forensic scientist certify the authenticity of the Mona Lisa? Someone else, who correctly saw that both were historically significant paintings in helping expose the Hoax, did.

Both came back – no surprise to us at all – as authentically signed by Morrisseau, with DNA certainty.

You can’t do that with any other paintings supposedly painted by Norval Morrisseau and sold by Kinsman Robinson Galleries after 1991.

Donald Robinson, went out of his way, to assure Judge Martial, that ALL were blank on the back, and not a single one of them signed in BDP style.

2006 – Marlow Goring Shocker – Marlow Goring, a fine art framer and retailer for over thirty years, and a one-time drinking buddy of Norval’s back in 1979, testified he got a huge shock when Gabe Vadas brought Norval to his gallery in 2006. Judge Martial quoted his testimony in his judgment.

“A. Yeah, I’ll never forget it. He was strapped into a wheelchair in the back of a cargo van. His head was slumped over like this.
Q. When you say ‘like this’, you have to indicate for the record…
A … it looked like he had no muscle control in his neck and he was slumped in his chair, head off to the right side, and he had crumbs all over his sweater that he was wearing and he was drooling.
Q. Okay, and did you say anything to him?
A. I was shocked. I said, oh my God, I think, was the first thing I said, and I said, hi Norval, how are you. I mean – and there was; no recognition whatsoever. And he would have recognized had he been of, you know, clear mind, I think.” (Court Trans/Hatfield v Child: Jun 4, 2012 p84) quoted by (Judgment by Judge Paul J Martial: Mar 25, 2013 p30) 

Reality Check – This was only a few months after Donald Robinson claims that Norval personally examined Robinson’s infamous Wanker 16 paintings, assured him they were all fakes, and then assumed the executive role in directing the details of setting up of the Norval Morrisseau Heritage Society…

Donald Robinson still claims "Wheel" is a forgery despite the fact it has been authenticated by: two longtime Morrisseau dealers, the brother of the artist, a top Canadian forensic scientist, and now a court judge. Why does he do this?

Donald Robinson still claims “Wheel” is a forgery despite the fact it has been authenticated by: two longtime Morrisseau dealers, the brother of the artist, a top Canadian forensic scientist, and now a court judge. Why does he do this?

Marlow Goring also gave strong statements that he had personally seen Norval sign the backs of multiple paintings in black paint both in Vancouver in 1979, and Ottawa in 1982, at a time when Donald Robinson had nothing whatsoever to do with Norval Morrisseau. Robinson, you may remember, swore Norval never signed the back of his painting with black paint – ever.

A claim Judge Martial totally rejected, saying that there was “overwhelming evidence” that Norval signed his paintings this way. 

It was, again, such a huge divergence in the believability of testimony, that Judge Martial was asked to weigh, that in the end  he saw no choice but to “reject” holus bolus, with finality, the testimony and “expert reports” of Donald Robinson.

Nothing the “Principal Morrisseau Dealer” claimed about Morrisseau, or his art, could be verified with countless other independent authorities or the documentary evidence. 

Judge Martial found the Morrisseau himself, clearly in the clutches of Dementia, Parkinson’s, Alzheimer’s, and assorted complications from Alcohol Dementia, was not reliable either, about his past art or documents published bearing his name.

Donald Robinson was a "No show" for his Dementia-plagued artist, who had made millions for him...

Donald Robinson was a “No show” for his Dementia-plagued artist, who had made millions for him…

2006 – Donald “No Show” Robinson – Can you imagine a long-time fine art dealer who claims, for some 18 years, to have been the “exclusive dealer” for a major artist, not bothering to show up for the most singular landmark exhibition in his artist’s entire life?

Would the artist not get angry, consider it a snub, and dump him? What businessman would possibly risk the obvious?

Yet that is exactly what Donald Robinson appears to have done. He grouchily – my read from 10 feet away in the courtroom – admitted under questioning by Ritchie Sinclair (during Otavnik v Sinclair in 2010) that in fact he had “skipped out” on the Morrisseau show at the National Gallery of Canada honouring Canada’s first Aboriginal artist to be given a retrospective by Canada’s premier art gallery.

“Q. Right. Did you attend that, were you at the 2006 National Gallery show of Norval Morrisseau?
A. No.
Q. I wondered. I didn’t see you.
A. No, I did not attend.” (Court Trans/Otavnik v Sinclair: Nov 16, 2010 p131)

Skipping out on Canada’s top Aboriginal artist, whom he claimed to have been the “exclusive representative” for, for 18 years, and who had made millions for his family-owned and operated business, is nothing less than a snub of gigantic proportions.

What kind of payback is that, for an artist, an elderly ailing and virtual quadriplegic invalid, who had sill, in spite of egregious and obvious infirmaties, repeatedly, gone out his his way for years, to fly across the country and attend virtually every show and exhibition Donald Robinson ever gave for him, to help promote his Kinsman Robinson Galleries business. (Robinson himself testified to Norval’s diligence in this respect.)

Robinson skipping out on Norval was a truly stunning admission that everyone else missed – there were only five people in the public gallery at most. And no one read the court transcripts to discover this last sad chapter in Norval’s life as an artist.

“Norval has left the building…” - But aside from being an obvious social snub of Canada’s top Aboriginal artist, and seemingly, a gross business gaffe of major proportions, the “skipping out” is completely understandable, to all those who had intimate knowledge of Norval’s mental condition at the time.

As all the previous case history shows Norval was never “in” Ottawa at all – only his body was, being shunted around by Gabe Vadas, like a slab of meat on a trolley for the requisite photo ops to promote his business. Vadas had been using Norval’s Power of Attorney for years.

Norval had clearly “left the building” years ago, and Robinson very well knew it. And knew as well that Norval would never know if his Principal Morrisseau Dealer was there to celebrate his artist’s crowning achievement or not.

And that Norval was far beyond being capable of exacting any kind of punishment against the dealer whom he had dealt with for some 18 years, and made millions of dollars for.

It is no wonder that Judge Martial clearly dealt a major blow to these supposedly Norval-originated Affidavits of Forgery, “bearing Norval’s name” when they were brought up as evidence that “Wheel of Life 1979″ was on one such list, and noted as a supposed “forgery.”

The “Preposterous” Mr. Robinson

By the time this photo was taken Norval Morrisseau had the most destroyed mind and body of any leading personality in Canadian history...

By the time this photo was taken Norval Morrisseau had the most destroyed mind and body of any leading personality in Canadian history…

In summary, this was the condition of the man Donald Robinson claimed to journalist Murray Whyte of the National Post in 2001, supposedly had total recall, pontificating strongly, that Norval could remember every one of the 10,000 paintings he had ever painted in his 50 year career.

And when Whyte challenged him about the possible likelihood of such a claim, Robinson sputtered that it was “Preposterous” for the journalist to suggest Norval was incapable of such papal infallibility.

This, we remind you, is during the same time-frame when Wolf Morrisseau testified, his brother, Norval had only brief minutes of lucidity, and told him he just couldn’t remember what he had painted…

And numerous other observers said Norval was incapable of speaking intelligibly, let alone communicating.

And this was the condition of the man Robinson said orchestrated the setting up of the Norval Morrisseau Heritage Society in 2005, and examined the Wanker 16 with him and confirmed that they were all fakes.

Remember that the Wanker 16 paintings are a group not because they were so-called “fakes” but only because they are inventory that Donald Robinson and the Kinsman Robinson Galleries failed to sell.

These Wanker paintings came to be because Kinsman Robinson Galleries was hiding from Norval and from Gabe Vadas, that it was dabbling in the secondary market with Morrisseau paintings, and that it had bought 31 Morrisseaus for $54,000 from Randy Potter Auctions. (It was where I first encountered him in 2000, when he was the under bidder on two of my Morrisseau paintings.)

These furtive sales – through a western Canadian auction, and privately – were secretly competing with, and undercutting, KRG sales of its direct-from-the-artist paintings. If Gabe and Norval found out, they would have become angry and probably cut off KRG as a distributor.

So all things considered, whom are you going to believe?

Judge Martial had no problem.

Judge Martial Trusts Wolf Morrisseau 

Wolf Morrisseau (with Donna Child) explaining at Artworld of Sherway, in May 2013,  exactly what he told Judge Martial in court, that he was responsible, in the 1970s, for getting his older brother Norval, to start regularly signing the back of his canvases in English with a black drybrush writing.

Wolf Morrisseau (with Donna Child) explaining at Artworld of Sherway, in May 2013, exactly what he told Judge Martial in court, that he was responsible, in the 1970s, for getting his older brother Norval, to start regularly signing the back of his canvases in English with a black drybrush writing. And he had seen him do it, countless hundreds, over a thousand times, himself.

He totally “rejected” the testimony of Donald Robinson, about Randy Potter fakes, and about faked signatures on the back of Norval’s paintings. And “rejected” also Robinson’s “expert report,” and his claim that “Wheel of Life 1979″ was a forgery.

He said Robinson clearly had a business motive that skewed his testimony and gave him and Gabe Vadas motive for manipulating prices by attacking Randy Potter paintings. (see Martial Quote)

On the contrary, Judge Martial said he trusted Wolf Morrisseau’s testimony, in fact, going out of his way to say so, about a witness Jonathan Sommer openly accused of having a habit of commiting perjury, saying: “… that you have a history of lying to the courts; isn’t that right?” (Court Trans/Hatfield v Child: Feb 24, 2012 p120)

Tellingly, in his judgment, Judge Martial specifically chose to go out of his way to target these distracting allegations, aggressively hurled – my call from seven feet away – at Wolf by Jonathan Sommer. In fact, the trail transcript shows, that Sommer spent more time with this distraction, than on asking Wolf about his real knowledge about issues that this trial was supposed to be about.

“Mr. Wilfred (Wolf) David Charles Morrisseau testified in a clear and convincing, straightforward and unassuming manner about his brother. He did not embellish or exaggerate and the Court finds him to be an entirely credible witness… and to be completely impartial, and unbiased…”  (Judgment by Judge Paul J Martial: Mar 25, 2013 p19)

So much so that he quoted from Wolf’s trial transcripts more than from any other witness. He valued his testimony about his brother’s mental condition and signing knowledge.

In fact Judge Martial quoted back to Robinson his own testimony where Robinson allowed there were occasions when Norval couldn’t remember his own paintings, and that he was “unreliable.”

“Mr. Robinson also agreed that Morrisseau could have had memory problems during the years 2003, 2004, 2005, 2006 and certainly in 2007.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p13)

These were compromising chronological way posts on Norval Morrisseau’s tragic descent into deeper and deeper chasms of Dementia that had started many years earlier.

And saying, in effect, that Norval’s supposedly sworn Affidavits of Forgery, bearing Norval’s signature during these awful years of his physical and mental decline are not reliable or trustworthy.

Any more than the man who said they were…

Posted in Art Galleries, BDPs - Black Drybrush Signed Painting, Canadian Cultural Heroes, Court Cases, Forensic Expert Findings, Martial Court 2011 - 2013, Norval Morrisseau - the Man | Leave a comment

Judge Paul J Martial 1: on Margaret Hatfield’s Case

Devasted to have lost some 30,000 to 40,000 in legal fees after being encouraged to act as a proxy by the Conspiracy Theorists.

Devastated to have lost some $40,000 in legal fees after being encouraged to act as a proxy by the Conspiracy Theorists.

# in the most stunning landmark ruling in any Canadian fine art case ever, Judge Paul J Martial handed out the most total and resounding denunciation and rejection of the testimony – supposedly based on the claimed knowledge, expertise, and integrity of a Toronto art dealer – ever meted out to a supposed fine art expert in Canadian history.

(The lawyer of record for the losing Plaintiff, was Jonathan Sommer.)

Judge Paul J Martial had taken ten months to go over the evidence before making his totally decisive ruling sparing no words that, to me, totally demolished the Plaintiff’s case, in every single particular.

In 2010, Margaret Hatfield and her attorney Jonathan Sommer, launched a lawsuit that went on for five days over two years, and asked that Judge Paul J Martial rule in favour of the Plaintiff on numerous claims that were all tied to the claim of forgery for the Morrisseau painting “Wheel of Life 1979.”

In fact, ultimately, Judge Martial ruled against the Plaintiff, and denied all her eleven claims as broken down from his Judgment. (Judgment by Judge Paul J Martial: Mar. 25, 2013 p2)

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.

Margaret Hatfield, because she did not do “due diligence,” and based on gossip she heard somewhere, ended up paying legal fees over $40,000 to try to prove her genuine Morrisseau, for which she paid only $10,000 in 2005, was a forgery.

The Plaintiff had asked the judge to:
1 – agree with the Plaintiff that “Wheel of Life 1979” is a forged Morrisseau

2 – rescind (void) the contract (by which Hatfield bought the painting from Artworld of Sherway) and give her back her purchase price, plus investment loss, for $25,000,

3 – acknowledge misrepresentation (claiming Artworld of Sherway lied)

4 – acknowledge breach of contract (claiming dishonesty by Artworld of Sherway),

5 – grant reimbursement of all costs (incurred by Hatfield to launch and carry on her lawsuit.)

In the alternative Hatfield asked Judge Paul J Martial to:

6 – recognize a deceit (by Artworld of Sherway) and

7 – award damages for the alleged deceit (by Artworld of Sherway)

8 – grant a refund for the purchase price (of $10,350 from Artworld of Sherway)

9 – award loss of investment opportunity (of her $10,350 spent on the painting)

10 – award punitive damages (vs Artworld of Sherway)

11 – “as well as her legal costs of $40,605″ (Ottawa Citizen, May 10, 2013) which Hatfield incurred to carry out her suit.

In short: Judge Martial ultimately found – and Ms.Hatfield admitted – that she had failed to do due diligence, on authenticating her painting. In fact she had relied only on unverified gossip from two fanatic Conspiracy Theorists she had met through an internet “dating service” for disgruntled Morrisseau buyers.

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?

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 over $40,000 in legal fees. Will he help bail her out with a donation?

The Perils of Internet Dating – Ms. Hatfield was like a lamb, led to the slaughter by another amateur art collector, Jonathan Browne of Ottawa, Ontario, who had previously made a disastrous mistake in dumping a wonderful authentic Morrisseau “Grandfather Speaks of Great Ansistral Warrior 1977,” because of gossip from the Conspiracy Theorists at Kinsman Robinson Galleries and members of the Norval Morrisseau Heritage Society. (See Browne v Bugera)

Browne had actually introduced Ms Hatfield, whom he’d met on an “internet date,” when she came upon his “Morrisseau Buyers Beware” website, to some of the same members of the group who had “advised him” so well two years before. He assured her they could do the same for her…

She became Conspiracy Theorist Proxy #4; others say, she became the second victim of elder abuse in this story. (The first, I believe, was Norval himself.)

Prescient - In fact, part way during the trial Ms. Hatfield herself became aware she was losing this case. Not from what the judge was saying – because he rarely spoke, and then only on procedural matters – but from witness testimony, both hers and the Defendant’s. With each passing day I watched her growing agitation, only a few feet in front of me, as her arms and body shaking increased. Understandably; she was bleeding tens of thousands of dollars on a dead-end, and increasingly, even she knew it…

In fact, many months before the judge announced his decision, Hatfield, tellingly, allowed to James Adams of the Globe that she had probably lost the case, and was now also faced with paying the Defence’s legal costs, but that even despite  the tens of thousands she had lost, it had all been for a good cause. So clearly, the judge’s finding was no surprise to her, though the overwhelmingly negativity with which he dismissed her case, no doubt, was.

But it is hard to feel sorry – impossible is a better word – for this first time Morrisseau fine art collector, because she – exactly like Browne before her – refused to do due diligence with independent experts, preferring instead, to swallow, and then repeat, a lot of utter nonsense from a few Conspiracy Theorists, whom they had picked up on the internet… or had just made up.

And for allowing herself to be so easily manipulated by conniving collaborators, and involving herself in the destruction of genuine art by Morrisseau, and by association, that of other Canadian Aboriginal artists.

Preposterous – After all, all by herself, she got things off to a rousing start, on May. 31, 2011, when she testified, in one of the most idiotic statements – and that is saying something – to come out of the Plaintiff’s side:

“… I knew I was looking at something that I could not ignore because here was an artist saying, “I did not paint these paintings” and he is calling out, you know… he’s calling out as saying, “These are not by my hand” and I knew…

“Now why would an artist deny what he had produced? Why would an artist turn against the work of his hand, and… the quote from Isaiah came to my mind at the time, ‘And does a mother forget her baby or a woman the child within her womb? Yes, even if these forget I will not forget. I have carved you in the palm of my hand’ and that is the quotation from that hymn that went through my mind. I thought the artistic process is certainly the equivalent of giving birth. Why would Norval Morrisseau turn against his own work and say, “I did not paint this”? (Court Trans/Hatfield v Child: May 31, 2011 p 13)

In fact, the very well-known historical truth is that Norval was probably – my call – the worst Deadbeat Dad in Canadian History. And I am restrained, considering what else I know. (Much more on this to come.)

doc_nm_press_release_octBut, in short, what is incontrovertible is that two months before he died Norval completely disowned every association with every one of his children in a formal document. At least that was claimed by Norval’s longtime companion and business manager, Gabe Vadas, who publicly stated that he held Norval’s Power of Attorney and was his sole beneficiary.

(In fact Vadas had been exercising his Power of Attorney for years. Which is illegal, of course, if, in fact, the person he is acting for, is of sound mind and body.)

When Norval died his family went on the record in the media to state that their Dad had left them not a painting, not a property, not a bank account, not a cent…

Nothing… zip… nada… In a note supposedly signed with his own dying hand on Oct. 3, 2007.

In fact Norval was such a lousy Deadbeat Dad, that his own Aboriginal family (mostly his children) had to go to court – in effect against their own father – to try to establish some claim on any inheritance rights of any kind against the white businessmen who surrounded his wheelchair in his final years and had been using his Power of Attorney for their own benefit and against them.

So there, Ms. Hatfield! And your Biblical quote… So much for your knowledge of Norval’s life history and his growing mental disabilities from dementia that bedeviled the last 15 years of his life…

In fact Ms. Hatfield should have known of the awful mental destruction of this tragic disability. She testified her own mother had just died, in 2009, after suffering, for many years from Alzheimer’s, which claims by far the biggest proportion of Dementia victims. Probably her mother hadn’t even recognized her own loving and care-giving daughter. 

So to invert Ms. Hatfield’s metaphorical Malaprop, if a Father could so completely disregard the most fundamental moral and ethical standards of our society – that, according to Ms Hatfield, no parent would do – and in fact, like Norval for decades, repeatedly abuse, ignore, abandon, and finally formally disown his own flesh and blood, how can anyone possibly believe his sudden truthful signature on a simple forgery allegation document?

A document that could, with his simple signature, help make him, or his “manager” Gabe Vadas, a ton of money, at a time the artist was utterly vulnerable as a poverty-stricken invalid, and feared being tossed on to the street as an indigent…

Hatfield had only two witnesses to back up her allegations, Principal Conspiracy Theorists, Donald Robinson and Ritchie Sinclair, testifying on her behalf, that all her claims were true.

Ms. Hatfield agreed she had not done “due diligence” – in fact she had utterly refused to do so – with the people who had signed the appraisals supplied with her painting, and relied entirely, and only, on Donald Robinson and Ritchie Sinclair, two people she only met through an “internet dating service.”

Judge Martial noted cryptically:

“On cross-examination, Ms. Hatfield agreed, that she did not investigate further and speak to either of the appraisers either at the time or years later. Essentially she relied on Mr. Don Robinson and Mr. Ritchie Sinclair.” (Judgment by Judge Paul J Martial: Mar. 25, 2013 p3)

Which, as it turned out later in his finding, Judge Martial did not at all, think was a very good idea.

After listening to testimony related to Ms. Hatfield’s case, for five long days, over a period of two years, and evaluating evidence by Robinson – who alone testified for three days – and Sinclair, both of whose testimony was contradicted by numerous witnesses on the Plaintiff’s side, Judge Martial refused to recognize the validity of any of Ms. Hatfield’s claims, or of her two witnesses.

The conclusion is inescapable: Judge Martial refused to recognize merit in even a single one of Ms. Hatfield’s 11 requests, and rejected every single one of the demands entered on her behalf by Jonathan Sommer who was her legal advisor, courtroom advocate, and filled out or amended her legal paper work.

Furthermore, in addressing Ms. Hatfield’s claims, Judge Martial ruled that “on the balance of probabilities that the painting “Wheel of Life” dated February 1979 is an original Norval Morrisseau, and undoubtedly one of his most notorious paintings.” (Judgment by Judge Paul J Martial: Mar. 25, 2013 p37) (Emphasis mine)

The Judge Repeats - For those who missed the utter conclusivity of his finding, like Ottawa Citizen journalist Jacquie Miller, who keeps emphasizing something meaningful in “the balance of probabilities,” but who was never in court, clearly has never read the court transcripts, or evidently not even Judge Martial’s judgement, his Honour reiterated with utter finality:

“The painting “Wheel of Life” is not a forgery.” Judgment by Judge Paul J Martial: Mar. 25, 2013 p37). It was a finding Miller chose not to publish.

And Judge Martial, stated categorically, again: “The Defendants did not misrepresent the authenticity of the painting.” (Judgment by Judge Paul J Martial: Mar. 25, 2013 p37). No “probability” here either Jacquie! His ruling is 100%. 

It is a stunning rebuff of astronomic proportions on every level to a very small group of Conspiracy Theorists who have, for over a decade, spread the self-serving claim of “thousands of forgeries out there.” Its chief proponents are Donald Robinson and his business associate, Ritchie Sinclair.

Among other things, Judge Martial ruled was that:
– there will be no voiding of the contract,
– there was no deceit or misrepresentation,
– no fraudulent sales transaction of any kind, on any level, and
– that Ms. Hatfield was not entitled to demand a refund for the painting,
– nor compensation for lost investment,
– nor get reimbursed for more than $40,000 she spent on her lawsuit.
– let alone demand punitive damages.

Furthermore he ordered her to pay the Plaintiffs costs of $1,500, as allowed under Small Claims Court Rules.

For Hatfield and her lawyer, Jonathan Sommer, it was as devastating an all-around defeat in a civil court case as it’s possible to get in Canada.

Judge Martial spent only two or three lines addressing Ms. Hatfield’s own testimony on the stand or her claims, pointing out that she had not followed basic due diligence as she should have.

He spent 95% of his comments regarding her case in discussing and evaluating the testimony of her two witnesses, mostly that of Donald Robinson.

And he made a resounding finding that Ms. Hatfield owns a genuine Morrisseau, and whether she likes it or not, she is stuck with it.

“The painting “Wheel of Life” is not a forgery. The Defendants did not misrepresent the authenticity of the painting.” (Judgment by Judge Paul J Martial: Mar. 25, 2013 p37)

Counsel Jonathan Sommer and Ms. Hatfield also produced only two witnesses for his case, both utterly lacking the professional academic credentials that one would have expected them to have in a case of this complexity.

Which is predictably, we assume, ultimately exactly why Judge Martial utterly rebuffed and discredited the testimony and self-professed expertise of her star witness, Donald Robinson, who had spent three days on the stand trying to prove his case for forgery by brandishing an 89 page “expert report” he claimed to have spent six months creating.

“He has no formal training as an expert witness in handwriting analysis and his evidence is rejected.”

“The Court rejects his expert report and his conclusion that the Morellian analysis, style, colour, and provenance all pointed to forgery.” (Judgment by Judge Paul J Martial: Mar. 25, 2013 p36-37)

Judge Martial dismissed the relevance of Ritchie Sinclair with even more dispatch, saying, in a one liner: “Mr. Sinclair’s testimony of numerous forgers paid for with drugs, although dramatic was not supported by the evidence.” (Judgment by Judge Paul J Martial: Mar. 25, 2013 p36-38)

A stunning rebuff, and a rude dismissal of a witness as it’s possible to see, especially of one who filled the courtroom with wild accusations and bluster about Aboriginal artists as forgers, that was looked on with incredulity by the public gallery. And apparently also by Judge Martial.

With both her witnesses committing hara kiri in court, and her lawyer’s case falling patently falling apart, Ms. Hatfield was left to ponder the perils of internet dating, and with having wasted over $40,000 down the drain, or burned up, as a gullible proxy on a fool’s errand for Principal Conspiracy Theorists Donald Robinson and Ritchie Sinclair.

Morrisseau Court Histories - There have now been six (6) court cases where collectors of genuine Morrisseaus took Conspiracy Theorists to court for defaming their paintings and calling them forgeries.

All cases were resolved in favour of the owner of the defamed painting, dismissing, any and all allegations of forgeries out there.

Two of those cases involved Conspiracy Theorists and their proxies, having to pay large amounts of money to people and paintings they defamed as forgeries, when they were, in fact, genuine Morrisseaus. And were forensically proven, with DNA certainty, to have been signed by Norval Morrisseau.

Shot Down in Flames - Judge Martial made the strongest case, to date, by far, to shoot down the whole claim of there being Morrisseau forgeries, let alone the thousands supposedly being “out there” as claimed by Donald Robinson.

He found not a single claim by Hatfield, by Robinson, or by Sinclair, to have any merit of any kind, on any level. He went out of his way to say he “rejected” their testimony or so-called expertise on every level.

In the considered opinion of Judge Martial, without a qualifying word or phrase: there are no forgeries of Norval Morrisseau paintings that have been proven out there.

Judge Martial also found that the artist himself was unreliable as a witness; that his testimony on forgeries is not credible, because his mental state had deteriorated so markedly in his later years. Norval’s unreliability, in authenticating his own work, was something Judge Martial pointed out, even Donald Robinson admitted on the stand.

Leaving just a few other people spreading false information, for whatever reason…

And Judge Martial specifically pointed to egregious “conflicts of interest” behind it all. By self-serving Conspiracy Theorists.

Speaking of Robinson he said: “It was also clear that his personal views and business interests conflicted with his professIonal opinion since it was in his interest along with Mr. Vadas to maintain the price of Morrisseau paintings which would not otherwise be the case if the market was flooded with paintings sourced from Potter auctions.” (Judgment by Judge Paul J Martial: Mar. 25, 2013 p36-38)

And Ms. Hatfield has decided to cast in her lot with the Conspiracy Theorists.

Astounding as it may be, after failing to do even the most basic “due diligence” and simple research for her case, she is quoted in the media as saying that no matter how resounding the defeat, there are still lots of forgeries out there.

Completely overlooking that in the longest trial ever in Canadian history, dealing with a work of art, and five days of testimony, and over $40,000 of her money, Ms. Hatfield and her lawyer failed utterly, in every way, and on every level, to make her case, of her painting being a fake, believable to an independent judge.

Worse, the judge told her, ALL the merit, was on the opposing side, saying there was no case for forgery on any level.

And not just for one painting, but for all the alleged forgeries.

Judge Martial went on to quote numerous witnesses, he called credible, who said it made no sense on any level to claim any forgeries – let alone thousands of them – when Morrisseau, for most of his life, gave away paintings, or traded or exchanged them for $25 or $50, or for a bottle. (As is well-known Norval also gave paintings away for food, sex, or lodging.)

Judge Martial Picks His Targets – Judge Martial also expressly did not concentrate on “Wheel of Life 1979” at all.

He focused entirely, to the exclusion of virtually everything else, by spending most of his report in utterly demolishing the self-proclaimed expertise, the “expert report,” the knowledge, the conclusions, the aims, even the honesty and integrity of Donald Robinson, saying pointedly he rejected virtually everything Robinson said and claimed on the stand.

And deafeningly, that Robinson clearly demonstrated a total conflict of interest that skewed all of Robinson’s testimony.

Judge Martial totally destroyed the case of the man who says he – the Principal Morrisseau Dealer – alone in the world, has the proof of forgeries.

And his latest victim, Conspiracy Theorist Proxy #4, Ms. Hatfield, what has she gained?

She lost over $40,000 in legal costs.

Then she had to pay the Defendant $1,500 more.

She now, no doubt, hates her painting, for which she paid over $10,000 because she has now been convinced by her friends, Sinclair and Robinson, that it’s a fake. And which they continue to demonize, for their own reasons, as “worth nothing” and “zero.”

Total loss to Ms. Hatfield appears to be over $50,000, and counting. (Over $40,000 on her claim, $1,500 for the defence legal costs, over $10,000 for a painting Donald Robinson told her is worth “zero.”)

Not to mention the decline in her health which I witnessed over a two-year period from 10 feet away, as she struggled with the growing knowledge that she was bleeding her paltry pension, big time, into the gutter.

For being a gullible proxy and taking part in helping to promote the biggest Art Hoax in Canadian history.

A heartfelt Ms. Hatfield told Judge Martial, that she had little money, that she had to make choices, and to give up certain things in order to make a huge expenditure to pay $10,300 to buy the Morrisseau.

Now she has lost over $40,000 more…

How much more has that further damaged her pension, her retirement and her health?

One cannot help but feel sorry for her, even though she allowed herself to be led into supporting this gigantic Conspiracy Theory. Which is little more than a Hoax…

It’s a Mad, Mad, Mad, Mad World – Ms. Hatfield who has apparently already now had to pay out over $40,000 for legal costs, is being encouraged by a small handful of Conspiracy Theorists, and presumably by her lawyer, to persist with an appeal, that’s going to cost her thousands more in legal fees, to try to prove a genuine painting she only paid $10,000 for, is a fake.

Her lawyer, who was apparently very unhappy with the judge and his ruling, went public, going out of his way to grab astonishing banner headlines in the Ottawa Citizen, by airily trying to diss the judge, and mischaracterize and minimize the significance of his landmark judicial finding. The Citizen editor clearly saw it as such, giving a lawyer’s sensational twist to an article and a judicial finding, for which there was absolutely no evidence whatsoever to support the banner headline, other than the clear spin a distraught lawyer for a losing Plaintiff sought to give it.

And all this, even though ALL the evidence, from credible witnesses and credentialed experts, both inside and outside the court is that “Wheel” was not a fake, and after an independent judge has ruled conclusively, without a single qualifier, that it is genuine, as well.

I cannot believe that a retired little old schoolmarm, with her small and dwindling pension, is paying for all this money madness. After such a totally absolute judgment by a judge, that took everyone aback with its resounding finding of absolute authenticity for her painting.

Originally Ms. Hatfield, supposedly, was worried – she claimed – it was a fake. The judge reassured her totally that in the longest fine art court trial in Canadian history, she had no fears at all of any kind – her painting was absolutely authentic. She could go home in peace.

But it apparently was not what she was after. Now assured it was authentic by a judge, numerous Morrisseau experts, and a forensic scientist, it was apparently not what she wanted to hear at all… Maddeningly, she, apparently, wanted to appeal his ruling… And spend thousands more…

Who, I ask you, in this world or the next, can possibly believe a little old retired schoolteacher on a dwindling pension, would or could possibly afford to spend over $40,000 in legal costs to prove a painting she paid $10,000 for is a forgery?

And faced with a totally devastating legal judgment against her case by Judge Martial, on every level and in every particular, could go on to pay for an appeal, that goes to Superior Court where the costs are astronomically higher than in Small Claims Court. We’re looking at total costs of $60,000 and up, for a $10,000 painting…

All, supposedly borne at the behest and expense of a little old schoolmarm…

Who, one may well ask, is she actually fronting for? And what is their purpose?

Who is really footing the bill for this insanity, and what I regard as the clear abuse of our court system, and why?

A totally innacurate reflection of the case, the article, and the truth, is this journalistically incompetent headline to snag all those people who only read newspaper headers...

A totally inaccurate reflection of the case, the article, and the truth, is this journalistically incompetent headline to snag all those people who only read newspaper headers…

To my mind, this seems to be a clear case of elder abuse, as Conspiracy Theorists are apparently continuing to try to encourage a little old lady, against overwhelming common sense, the tide of history, the ruling of a judge, and the unanimous evidence of Canada’s top forensic experts and handwriting analysts, into spending what remains of her paltry pension on a what I consider a fool’s errand, trying to continue to prove a forensically certified genuine Morrisseau painting a fake.

It’s what Judge Paul J Martial basically told Ms. Hatfield, the evidence showed, after carefully listening to all the testimony in the longest fine art trial in Canadian history.

(In fact, her lawyer announced subsequent to his outburst in the Ottawa Citizen, that indeed, he would move to appeal the case.)

Posted in Art Cartel, BDPs - Black Drybrush Signed Painting, Canadian Cultural Heroes, Court Cases, Forensic Expert Findings, Martial Court 2011 - 2013, Media | Leave a comment

Update: May 7, 2013

Please Note 1: Some articles have been temporarily dismounted. They will be reposted shortly, in an expanded form.

Please Note 2: A new FAQ (Frequently Asked Questions) header has been added to the menu bar.

Posted in Art Auctions, Art Cartel, BDPs - Black Drybrush Signed Painting, Court Cases, Forensic Expert Findings | Leave a comment

Judge Paul J Martial 3: on Donald Robinson’s Case

On March 25, 2013, Judge Paul Martial stripped Donald Robinson of just about every claim he ever made as a Morrisseau authenticator. Judge Martial rejected Robinson’s “expert report,” his analysis, his conclusions, and his abilities as a handwriting expert or Morellian analyst. It is the most devastating dismissal of the self-professed expertise of a fine art dealer in Canadian history.

“He has no formal training as an expert witness in handwriting analysis and his evidence is rejected.”

“Mr. Robinson’s evidence of Morellian analysis of the round versus elongated eyes in Morrisseau’s painting was confusing. His commentary on colour was also inconsistent.”

“The Court rejects his expert report and his conclusion that the Morellian analysis, style, colour, and provenance all pointed to forgery.”

“The Court finds that there is overwhelming evidence that Norval Morrisseau signed paintings in black brush paint.”

“… the painting “Wheel of Life” dated February 1979 is an original Norval Morrisseau …”

“The painting “Wheel of Life” is not a forgery. The Defendants did not misrepresent the authenticity of the painting.”

# in the most stunning landmark ruling in any Canadian fine art case ever, Judge Paul J Martial handed out the most total and resounding denunciation and rejection of the testimony – supposedly based on the claimed knowledge, expertise, and integrity of a Toronto art dealer – ever meted out to a supposed fine art expert in Canadian history.

morrisseau_wheel_hatfield190faJudge Paul J Martial had listened to Donald Robinson’s testimony for some three days, over a thirteen month period, had read his 89 page “expert report” calling “Wheel of Life 1979″ a forgery, and then had taken ten months to go over the evidence before making his totally decisive ruling sparing no words to effectively put an end to the biggest fine art Hoax in Canadian history.

Judge Martial fearlessly tackled, head on, virtually the sole support for the Hatfield/Sommer case, the self-declared expert, Donald Robinson, who publicizes himself endlessly on his corporate website and corporate blog, as the Principal Morrisseau Dealer.

Donald Robinson, you may remember, is the one who started the whole Conspiracy Theory about hundreds of so-called forgeries back in May 2001, when he made his wild charges for the first time for a journalist at the National Post.

In the 12 years since he has expanded his propaganda to charge that there are “thousands of forgeries by umpteen forgers” out there, all being sold by his business competitors.

In 2011 Robinson volunteered to show his proof in court on behalf of a Conspiracy Theory proxy, Margaret Hatfield, whom he and his business associate Ritchie Sinclair had convinced to go to court with her pension money to claim her painting “Wheel of Life 1979” was a forgery.

Sinclair and Robinson right, outside the courtroom where the tag-team performed for Margart Hatfield, Conspiracy Theorist Proxy #4. The association has cost her some $40,000 wasted on a case she could never win.

Sinclair and Robinson right, outside the courtroom where the tag-team performed for Margaret Hatfield, Conspiracy Theorist Proxy #4. The association has cost her some $40,000 wasted on a case she could never win.

Ritchie Sinclair, usually in a Davy Crockett buckskin jacket puts on a suit to impress a judge, here is carrying “Wheel of Life” for Margaret Hatfield, Conspiracy Theorist Proxy #4, as they leave court. He called her “Maggie” and once planted a big kiss on top of her head right in the courtroom, trying to bolster her flagging spirit as it became clear, even to her, that she was in a ship-wreck of a case.

It would be the very first court case ever launched in Canadian art history by a member of the Morrisseau Conspiracy Theorists to attempt to prove a forgery. They used a proxy, getting a retired school teacher to use her pension to fund litigation, instead of funding a court challenge themselves.

In fact in over 12 years the Conspiracy Theorists have never taken a single forger or forgery to court. Not one…

Robinson and his acolyte and business associate, Ritchie Sinclair who introduced the two, probably convinced Ms. Hatfield that this was going to be easy.

A slam dunk. And though it might cost her tens of thousands of dollars in legal bills – money she could not afford to lose – no doubt they told her she’d get it all back when she won her case…

Hell, with thousands of these so-called forgeries “out there” Robinson ONLY HAD TO PROVE ONE WAS A FORGERY.

HOW EASY IS THAT?

Robinson wrote an 89 page “expert report” that he says took him six months to create showing his multi-level so-called “proof” that he claimed showed conclusively that “Wheel of Life 1979” was a forgery.

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.

He had previously done another “expert report” for another court case (see Otavnik v Sinclair) seeking to prove “Jesuit Preist Brings Word 1974“ was a fake. Many of Robinson’s ideas and so-called proofs were recycled into the new “Wheel of Life 1979” “expert report.”

Judge Godfrey, who in the earlier case (see Otavnik v Sinclair), didn’t buy any of it, completely ignored Robinson’s first report, and refused to rule “Jesuit Preist” was a forgery, in fact assuring the Plaintiff, Joe Otavnik, and making a finding that his painting had not lost value of any kind as a result of what went on outside or inside the court. It was the judge’s way of saying the painting is authentic.

It was Judge Godfrey’s way of dissing the so-called proof of forgery documented by Robinson in his 114 page “expert report.” But the judge also told Otavnik he would very much like to have seen a report from a forensic handwriting analysis expert on the prominent signature on the back, which had not been commissioned.

(This was subsequently done; a top Canadian scientist confirmed with DNA certainty, that “Jesuit Preist,” which Robinson’s report said was a total forgery, was, in fact, authentically signed by Morrisseau, and by no one else. It confirmed Judge Godfrey’s support for the painting as authentic, and his sound judgment in ignoring the Robinson “expert report.”)

Now in Robinson’s second “expert report,” for “Wheel of Life 1979” there were no ifs ands or buts about Robinson’s claims of certainty about it all. Robinson swore, unlike professional forensic experts who only dealt in “DNA certainty,” he was made of sterner stuff than that. He said he was 100% sure “Wheel” was a fake. He put it all in his so-called “expert report.”

Then Robinson took the stand to display before the judge and the public gallery, all the documentary and analytical evidence he could muster to demonstrate and confirm that the painting was a forgery.

The court indulged him, big time. He was on the stand for three days. Judge Martial took lots of notes.

And all Robinson had to do, remember, was prove a single forgery, one of his own choosing, and not have to prove 4,000 fakes, which he claimed were actually “out there.” Though in the dozen years since he began spreading the rumours of fakes through a lazy and compliant media, he has never identified a single forger, and has not taken a single forgery to court or sued anyone for either making so-called forgeries or selling them.

Now, in May 2011, one forgery was all Robinson needed.

Everything was on his side to allow him to give it his “best shot.”

What could be simpler than that, to confirm the truth of his Conspiracy Theory?

A – ROBINSON’S CLAIMS – Robinson had several major claims or proofs of forgery that he boldly put forward. 

The Classic BDP

The Classic BDP illustrating all the supposed indicators Donald Robinson says point to a forgery: that there is a signature there at all; it’s in black paint; the initial N and M are wrong; there is a date; the title is all in caps. But then he’s only an amateur sleuth, with no credentials in forensic or handwriting analysis – as Judge Martial pointed out – to make pronouncements that have any value. In fact top forensic handwriting analysis expert and scientist, Dr. Atul K Singla used the same data to confirm exactly the opposite: that only the original artist would depart from a normal signature, repeatedly, in so many ways. That a forger never would, for a simple reason: he knew, if he departed from a normal, authentic signature, or way of signing, that he would get caught, and end up in jail. In fact, the very first rule, followed by every forger is: Do not get caught… In short what Dr. Singla maintained – ignoring all the handwriting similarities that matched numerous known signatures – if what Donald Robinson said was true, that Norval never signed any painting like this, then no forger ever would do so. Never even do it once, let alone the hundreds of times it is documented.

The Stupid Forger – Alas, the Stupid Forger had certainly left his compromising DNA all over the back of all the so-called forgeries, adding not only:

– a huge Signature, but

– a Date,

– a Title in caps,

– a Copyright Symbol, and

– various additional distinguishing marks, and doing it all with

– huge strokes of a brush in black paint.

 (Did the Stupid Forger not know that leaving all this DNA on the back of the painting is data that forensic experts and handwriting analysts love to feed on?)

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.

Just one of many black, drybrush signed, titled, and dated paintings authenticated by Morrisseau, or Robinson, and in this case, also by a top forensic scientist. Robinson later, changed his mind, for reasons best known to him, which he has never divulged; Norval, as usual never talked or dissed it; the scientist refused to change his finding.

In turn Robinson attacked each of these supposed “faux pas” by a “Stupid Forger” as a dead giveaway that “Wheel” and all other similarly signed BDPs, were lousy fakes.

He said the fakes were so obvious, so poorly done, so amateurish that even a beginner could spot them across the room. He didn’t explain how come then, both he and his son had bought some 31 of these alleged fakes for $54,000 and authenticated others exactly like them, on multiple occasions for Kinsman Robinson Galleries clients between 1999 and 2001.

All BDPs Were Forgeries – In fact Robinson claimed all “black drybrush signed titled and dated paintings” were fake; every single one of them. Totaling possibly 4,000 – by his count – or more…

And Donald Robinson held to this view, stridently, without a single qualifying word or phrase, as he took great pains on multiple occasions to point out to Judge Martial.

The Notorious KR-384 – The biggest bombshell in the courtroom, during the entire five days the trial was held was inadvertently dropped, when Donald Robinson went all out to try to prove that Norval never ever signed the back of his paintings in black drybrush paint.

Donald Robinson has always preferred his Morrisseaus to be blank on the back, like this one his Kinsman Robinson Galleries is selling in Toronto. That means the back is free of DNA evidence that Norval actually painted it, with an authenticated signature. Alas, missing the signature, has a negative; you can't use the DNA to disprove it wasn't painted by someone else, on the other side.

Donald Robinson has always preferred his Morrisseaus to be blank on the back, like this one his Kinsman Robinson Galleries is selling in Toronto. That means the back is free of DNA evidence that Norval actually painted it, with an authenticated signature. In fact some 70 big and black painted signatures on the back – which Donald Robinson claims are all forged – have been proven to have been signed, with DNA certainty, by Norval Morrisseau himself, without a single dissenting opinion, by top Canadian handwriting experts. Alas, missing the signature, has a negative; you can’t use the DNA to disprove it wasn’t painted by someone else, perhaps in Hong Kong, on the other side. This also shows how useless gallery labels are. This could easily have been stuck on by the cleaning lady – she may have. But there is no way the cleaning lady signed, titled, and dated the back of any canvas with Norval’s huge signature. And pass the DNA test as well. You keep your gallery label; I’ll take a Norval BDP any day of the week. DNA does not lie. It’s from the hand of the artist, not the cleaning lady…

As proof, Robinson stated, he had taken possession of 384 paintings belonging to Norval Morrisseau in 2002, and kept them at the Kinsman Robinson Galleries in Toronto, where they were shipped, from the west coast, presumably by Gabe Vadas, for “safekeeping” – Robinson’s word – for seven years, until after Norval died.

Robinson repeated ad absurdum how he had examined each one multiple times, over the years, had personally numbered them KR1 to KR-384, and that not a single one was signed, titled, and dated in black paint.

Robinson was clearly trying to pull the wool over the judge’s eyes.

As everyone knows, signing styles for an artist change with the passing decades. Morrisseau collectors suspected that with Norval’s horribly shaking hands it was not a good idea to have him sign the back of any paintings from the mid-90s on. People might very well ask: hey, if his signature is so shaky, how come the lines on the other side of the painting are so strong and firm?

Robinson also said all the other paintings – well over a thousand – he ever handled, were similarly blank on the back. He strategically – or was it dementia? – forgot to remind Judge Martial that he had multiple times (1999-2000) bought thirty-one (31) 1970s paintings which had been hugely signed with black paint on the back. And his son Paul Robinson had also issued multiple Appraisals for similar 1970s BDP paintings, as early as 1999 and as late as October 2001.

The “Safekeeping” Tactic – What the KR-384 bombshell exploded was not light on how and when Norval signed or didn’t sign his paintings, but raised the question what is all this moving twenty to forty million dollars worth of Norval paintings from British Columbia to the basement of the Kinsman Robinson Galleries in Toronto, for supposed “safekeeping,” as Robinson testified in court?

Supposedly - if you can believe this? - six years after this photo was taken, Donald Robinson says Norval assured him he didn't paint the Wanker 16...

Norval as he looked three years before he was moved into a terminal care facility, and four years before the KR384 paintings were shipped for “safekeeping” to Donald Robinson’s Kinsman Robinson Galleries in Toronto. The paintings in this secret grouping are all easy to identify by family lawyers, from any others stashed in other hiding places: each one was carefully hand marked, personally by Donald Robinson himself, labelling them from KR1 to KR384. 

“Safekeeping” the $40,000,000 from whom? Lowlife thugs and B&E artists in Nanaimo?

Or was this a pre-emptive strike and an attempt to keep the paintings out of the hands of the Morrisseau family and their lawyer?

Here’s my take on why this is a bombshell.

For several years, the Morrisseau family had been trying to kidnap Norval from the clutches of Gabe Vadas, in Nanaimo, BC. In December 2001 they succeeded and took Norval out of the terminal care facility he had been stuck in by Gabe Vadas, and moved him to Thunder Bay where he was to remain under their control till sometime in the fall of 2002.

Gabe Vadas must have panicked big time to find that his meal ticket – for the past sixteen years – was gone. The family had kidnapped Norval. He guessed that they and their lawyer would strike next to grab all Norval’s possessions, especially all the hundreds of paintings Norval owned.

They had nabbed Norval out of his clutches… Was Gabe now intent to make sure they wouldn’t grab the paintings next?

I believe he shipped 384 of Norval’s paintings to Kinsman Robinson Galleries, allegedly for “safe-keeping,” but not from lowlife burglars, but so that neither the Morrisseau family, nor the family lawyer, could find them and grab them.

A still from the most important video shot of Norval over the last ten years of his life, by Ryan Leblanc in Thunder Bay in April 2002. It is the only video document that has not been tampered with, but shows an uncut run of tap which clearly shows that Norval was disengaged from what went on around him and would sign anything that was put in front of him

A still from the most important video shot of Norval over the last ten years of his life, by Ryan Leblanc in Thunder Bay in April 2002. It is the only video document that has not been tampered with, but shows a damning uncut run of tape which clearly shows that Norval was totally disengaged from what went on around him and that he would sign anything that was put in front of him when a pen was put in his hand.

And of course with Norval spending most of 2002 in Thunder Bay – besides he was also mostly in la-la land at this time – I bet it’s likely he wasn’t even aware he was a multi-millionaire or that his paintings had been, ahem… moved, for “safekeeping.”

In fact in 2003 Norval told Macleans journalist John Geddes that he wished he had a few dollars so he could afford to buy some paint and canvas… The plaintive cry of a wheelchair cripple who was completely unaware that some $40,000,000 of his paintings were, at that very moment, in the KRG basement, having the backs being carefully examined by Donald Robinson, as he testified he did.

The $40,000,000 stash of paintings was still there in the KRG basement when Norval died. (Robinson kept them for another two years before he says he shipped them back to the west coast – we presume – to Gabe Vadas.)

And, as the press, the family, the lawyers all said, Norval died broke, leaving not a nickel, not a house, not a boat, not a property, not a bank account, not a painting to his children…

It would be very interesting to know whether this surreptitious moving of the KR-384 paintings to Toronto by Vadas and Robinson happened at the time that Norval was in Thunder Bay.

It raises the obvious question: was this huge stash of hundreds of paintings taken on a secret trip without Norval’s say-so or his knowledge?

So was “safekeeping” really to keep them out of the clutches of Norval, his family, and their lawyers?

And to preserve them for the man who had, for years, been exercising Norval’s Power of Attorney, and his business partner, the Principal Morrisseau Dealer, who presumably hoped to continue their longstanding business relationship, and a future lucrative partnership in selling the $40,000,000 worth of paintings for him.

How legal or ethical is any of that?

And furthermore, since family members say they ended up with nothing: who ended up with the $40,000,000 in paintings, all so carefully numbered KR-1 to KR-384…?

Black Drybrush – certain sign of forgery

“Q. Okay, the signature on the back of this particular painting from Norval is significantly larger, you’ll agree with me, than these handwritten signatures that you’ve analyzed in your report?
A. Yes.
Q. Did you factor that into your consideration?
A. Certainly, certainly part of my experience that on the rare cases when Norval did sign the back of his paintings, never as large as this particular one, or any of the paintings like it.
Q. So correct me then if I’m putting it to you this way, Mr. Robinson, you don’t care about the handwriting analysis at all. You’ve drawn the conclusion that the signature on the back is inaccurate simply because it’s in dry-brush and black-coloured paint?
A. I could draw that conclusion. I didn’t in my report. I analyzed a number of factors but, including the handwriting methods and the initials and so on, but you could draw – I would certainly agree with your statement that almost all the paintings that I could see from the ’70’s that are painted in – that have a painted writing in the back and very large paint by a brush and paint are in fact forgeries.” (Court Trans/Hatfield v Child: Sep 1, 2011 p 22)

What Robinson was saying was, that without forensically analyzing the handwriting itself, just by looking at the black drybrush on the back you could identify some 4,000 paintings as forgeries.

Writing on the Back – never in black paint

“In twenty-eight years of dealing in Morrisseau’s art, I observed that Norval had rarely written anything on the back of any canvas, but when he did, it was always in pencil or ballpoint pen – never in black paint.” (Kinsman Robinson Galleries/Principal Morrisseau Dealer Blog – Aug 28, 2008, 2 a:m)

Robinson first made the above claims in the 2008 Kinsman Robinson corporate blog “Principal Morrisseau Dealer.” Now Robinson went on to restate his claims before the Martial court in 2011 and 2012.

“… the writing and printing in heavy black drybrush paint on the back of the canvas, alleged to be by the artist, is completely inconsistent with Norval Morrisseau’s practice.

“Morrisseau did not use drybrush paint to sign, title, or date his art in the 1970’s, or any other time.”

“As I said in my report Norval rarely, rarely ever wrote anything on the back of his paintings. He did do sometimes, but when he did it was always in pencil, pen or marker pen. And never ever have I ever seen one, nor have I ever known anybody to know one that has – was painted in – in black paint in the back. (Court Trans/Hatfield v Child: Sep 1, 2011 p 33)

“Q. When he did write on the back of paintings, a title or a date, what did he – how did he do it?

A. He normally – he always did it in pencil, sometimes in ink, occasionally in marker pen. That’s the only ones I’ve ever seen. And I say – my estimate would be that he did this perhaps in maybe 10 per cent of the paintings he produced. This was not his normal practice.” (Court Trans/Hatfield v Child: Sep 1, 2011 p 35)

“MR. SCHILLER: Q. Bear with me one moment. You say on page 47 of your report, and you can look at it if you’d like, I’m quoting directly, “It is improbable, if not impossible, that Mr. Morrisseau signed any paintings…” in what you call, “DB” or drybrush writing. You stand by that; correct?
A. I guess I should refer to that page; 47?
Q. Page 47
A. Oh yes, okay; I’m with you.
Q. And you even said that earlier in your evidence in this proceeding when you were examined by Mr. Sommer.
A. Probably.” (Court Trans/Hatfield v Child: Feb 23, 2012 p 34)

This is very strange testimony from a self-styled world’s top Morrisseau expert who had spent $54,000 buying 31 paintings all hugely signed, titled, and dated on the back with black drybrush paint. At that time he had been an “expert” dealer in Morrisseau’s art for some 15 years.

And his son Paul Robinson, who runs Kinsman Robinson Galleries today, had signed Certificates of Appraisal authenticating many similar Morrisseau paintings, also hugely signed, titled, and dated on the back with black paint…

Dating – very, very rarely; never in black paint

And to make sure that he had not heard wrongly from Robinson, Judge Martial once asked him directly for clarification.

“THE COURT: I just have a question. Mr. Robinson, the paintings were never dated, were they?

A. “No. Norval normally did not date his paintings, and the bulk of these certainly were not dated. I can’t say for certain that none of them were dated, because we know he did occasionally, very, very rarely, but occasionally write a title on the back of the painting if it was, for example, particularly interesting to his family – and he may have in some cases written the date – but of course, well, it would never have been in black paint.” (Court Trans/Hatfield v Child: Sep 1, 2011 p 34)

Titling – not caps only

“First of all, the main difference right away is that Norval was never in the habit of – when he did title, he never titled using all capitals. He just didn’t do that. He would always use upper and lower case letters.” (Court Trans/Hatfield v Child: May 31, 2011 p 37)

Signature – never did it in black paint

“In answer to the question: did Norval sign his signature in English with brush and paint? He testified: “… almost never did it. Not to my knowledge have I ever seen it” (Court Trans/Hatfield v Child: Sep 1, 2011 p 22)” quoted (Judgment by Judge Paul J Martial: Mar 25, 2013 p11)

Robinson said his knowledge and expertise in Norval’s handwriting proved a forger had signed “Wheel of Life 1979.”

Robinson said it made him 100% certain that “Wheel” was a forgery.

ADDITIONAL ROBINSON PROOFS OF FORGERY:

Robinson Claim: His Expertise in Morellian Analysis Proved a Forger Painted Wheel - His Morellian analysis of the stylistic elements on the front of the painting, he claimed, proved it was not done by Norval.

Robinson Claim: Norval Said “Wheel” Was a Fake – Morrisseau had signed an Affidavit of Forgery – in the fall of 2004 – to which was attached a list on which the painting was named as a forgery. The validity of all Norval’s affidavits gained their entire power because attached to the hip to them all was an important Conspiracy Theorist claim.

Robinson Claim: Morrisseau Had Total Recall – Robinson had for years, repeated that Morrisseau had total recall of 10,000 paintings which he had painted over some 50 years. He had first crossly insisted on this to Murray Whyte of the National Post in May 2001, when he snapped at the journalist that it was “preposterous” for him to suggest that it wasn’t so.

It was always the claim of Norval’s papal infallibility in remembering everything he ever painted that was the only basis for credibility in these Affidavits of Forgery which were sent out to all Donald Robinson’s major business competitors from 2003 to 2005.

Robinson Claim: His Business Competitors are Fraud Artists – Robinson claimed he alone spoke the truth, and was testifying for altruistic reasons, that the other Morrisseau art dealers were all lying, and knowingly involved in fraud to cover up the fact they were selling fakes to the public.

“Q. (Brian Shiller) And do you believe that the actions of Artworld of Sherway along with Jim White, who was the consignor of the painting, amount to some form of fraudulent scheme?
A. I certainly do.
Q. And you believe that Donna Child is involved in that fraudulent scheme?
A. Yes.” (Court Trans/Hatfield v Child: Feb 23, 2012 p4)

Robinson Claim: All Randy Potter Auction Paintings are Forgeries – Since “Wheel” came from Randy Potter’s auction, it was forged like all the other Morrisseaus sold at that auction.

“Mr. Robinson based his opinion of forgery since a large number of the paintings came from Khan Country Auctions. He observed Mr. White at Khan Country Auctions buy a large number of paintings. That he agrees that all the paintings from this auction are forgeries. “They certainly are!” he said.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p10)

B – The Testimony of the Defendant’s Witnesses

Numerous sworn witnesses, including dealers, collectors, and family members, came forward to say that what Donald Robinson was saying was a “lie.” They testified, under oath, that they had seen Norval sign his paintings, many times in the 1970s and 80s, exactly like Donald Robinson claimed the “Stupid Forger” had done.

– Robinson said, “They are all lying, absolutely. They’re complicit in this whole scheme.” (Court Trans/Hatfield v Child Sep 1, 2011 p24)

Sworn affidavits were produced from another collector who had seen Norval sign his paintings this way in Thunder Bay back in the 70s.

Dr. Atul K Singla, one of Canada’s top forensic scientists, and handwriting analysis experts said, with DNA certainty, that Norval, and no one else, had signed the back of “Wheel of Life 1979,” and not some “Stupid Forger.”

– Robinson said forensic scientists are scared to say they are 100% certain of their findings because they always are in doubt about the claims in their reports. (Anyone who has actually studied statistical analysis knows that statements claiming 100% accuracy are unscientific nonsense including with DNA, and even finger prints. It’s all about extremely high degrees of probability.)

– Robinson also said these highly educated forensic experts – Dr. Singla has an M.A. and a Ph.D in forensics, as well as numerous supplementary diplomas – are paid to produce results the client wants to find, so they essentially fabricate their reports to make money. (Unlike Donald Robinson, of course.)

C – The Martial Judgment: General

After listening to all this over five long days of testimony, over some 13 months, Judge Martial privately reviewed the hundreds of pages of documents and court transcripts for some ten months to analyze the case alleging forgery.

On March 25, 2013, Judge Martial published his ruling.

The Martial Judgment: Specifics on Authenticity

In his prefatory remarks Judge Martial stated: “An expert witness has the obligation to be truthful and objective in all of his testimony.” and “The Court will assess the credibility of all witnesses in the normal course.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p9)

Expert Witness “Mr. Robinson was qualified as an expert witness on the valuation and authentication of Norval Morrisseau, the artist. He was not qualified as a handwriting expert.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p6)

Morrellian Analysis - “Mr. Robinson would examine a tiny part of the painting and by examining the tiny details proof of the forgery would be revealed. In his opinion the painting entitled “Wheel of Life” was nowhere an exact copy and nowhere a good fake due to inconsistencies in the style.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p7)

Style - Robinson testified that the style of the paintings is not typical of Morrisseau.

Signature on the Back – “He testified that there was never large black drybrush paint on authentic Norval Morrisseau paintings. Whenever Norval Morrisseau signed he used a regular brush. The dry brush technique is to dip a brush in a jar of paint, wipe most of the paint off and use it to produce a signature. He testified that the back of the “Wheel of Life” painting has a dry brush signature so that it looks old and faded which is typical of 1970s fakes.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p8)

Judge Martial restated the evidence in his judgment. “Robinson testified that during the time that he represented Morrisseau exclusively which was for 19 years that not one painting had writing on the back in paint and brush.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p10)

“On cross-examination, Mr. Wilfred Morrisseau testified that some eighty percent (80%) of the paintings were signed on the back with black paint. More importantly that he saw his brother sign with his own eyes.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p23)

Title - “He (Robinson) stated that Morrisseau never painted using all capital letters in his titles, He would use upper and lower case letters.”  (Judgment by Judge Paul J Martial: Mar 25, 2013 p8)

No Proof of Forgers – Judge Martial wrote and quoted directly from the transcripts: “Although Morrisseau told Mr. Robinson the names of the persons involved in the forgeries. Mr. Robinson did not write them down since he had no evidence to back up his claims.

“A. Well, I didn’t write them down and I had no evidence whatsoever to back up his claims. He did mention people, apprentices. So I didn’t do anything with them because I had no, no evidence and no reason to believe – I had nothing to back him up. (Court Trans/Hatfield v Child Feb 23, 2012 p52)” (Judgment by Judge Paul J Martial: Mar 25, 2013 p13)

Unreliable Authentication by Robinson“He (Robinson) also agreed that even he himself had difficulty assessing the authenticity of Morrisseau paintings around 1999-2000.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p12)

Though at the time Robinson was prominently going around telling people he was the world’s top Morrisseau expert, the “guy who wrote the book on Morrisseau,” etc., he admitted to Judge Martial he was at the time, about a 10% expert compared to what he is now…

Unreliable Authentication by Morrisseau – And Robinson agreed Norval was also unreliable. “He testified that he observed Norval Morrisseau himself having difficulty telling whether or not his own painting was a fake.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p13)

“The Court concludes that authentication by the artist himself was at times incorrect.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p13)

“The Court finds it highly irregular that Morrisseau the artist himself was unable to identify his own art. Mr. Robinson testified that he would not be surprised that Morrisseau would sign a certificate of authenticity to make someone happy as stated by Christian Morrisseau in a blog. This raises even more doubt in the view of the Court as to the reliability of Morrisseau.

Mr. Robinson farther testified that he agreed that Morrisseau was unpredictable in general.

“Mr. Robinson also agreed that Morrisseau could have had memory problems during the years 2003, 2004, 2005, 2006 and certainly in 2007.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p14)

D – JUDGE MARTIAL’S FINDING:

On BDPs“The Court finds that there is overwhelming evidence that Norval Morrisseau signed paintings in black brush paint.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p36)

The typical BDP signature on the back of almost all of Randy Potter's Morrisseaus, that Donald Robinson and other Morrisseau collectors saw. The Conspiracy Theorists, at first in love with the signatures, would suddenly change their minds, say the huge signatures on every canvas were all forged, never explaining why such a huge betraying forgery would possibly be put there by even the dumbest forger, knowing it would betray him instantly. In fact the Stupid Forger was turned in by the signature DNA in the end thanks to handwriting analyis by top Canadian forensic scientiests. The Dumb Forger turned out to be, with DNA certainty, none other than Norval Morrisseau himself.

The typical BDP signature on the back of almost all of Randy Potter’s Morrisseaus, that Donald Robinson and other Morrisseau collectors saw. The Conspiracy Theorists, at first in love with the signatures, would suddenly change their minds, say the huge signatures on every canvas were all forged, never explaining why such a huge betraying forgery would possibly be put there by even the dumbest forger, knowing it would betray him instantly. In fact the Stupid Forger was turned in by the signature DNA in the end thanks to handwriting analyis by top Canadian forensic scientiests. The Dumb Forger turned out to be, with DNA certainty, none other than Norval Morrisseau himself.

It was an utterly stunning finding, completely knocking the central pillar out from under Donald Robinson, and the main “proof” claimed (or invented) by the Conspiracy Theorists.

In fact three different top Canadian forensic scientists and handwriting analysis experts had, over the past several years, confirmed that some 70 different paintings, claimed to be forgeries by Donald Robinson, had been, in fact, authentically signed by Norval Morrisseau, with DNA certainty, and that no one else could have done it. Without a single failing finding.

Judge Martial was merely confirming what had been established by scientists who were experts in their field, not amateurs like Donald Robinson and his business associate, Ritchie Sinclair.

It was Norval’s way of speaking from the grave, having left his DNA, big time, on the back of thousands of his 1970s paintings.

So it was Norval himself, who decisively dissed Donald Robinson’s claim, not just Judge Martial.

Furthermore Judge Martial also noted, “It was his (Robinson’s) opinion that paintings from the 1970’s were rare.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p9)

By his finding that there was “overwhelming evidence” that BDPs were genuine Morrisseaus, Judge Martial liberated literally thousands of Robinson-vilified Norval’s 1970s paintings as being authentic which they were all along. They are all from the very period from when Wolf Morrisseau had testified it was he who had instigated the whole thing of prominently signing, titling and dating the paintings in black drybrush paint on the back to help international sales in the 70s.

Many experts say the 1970s was Norval’s most prolific period, and the only reason Robinson said the paintings from then were rare, was because he called them all forgeries. In fact he had seen hundreds of them at Randy Potter’s auction; he had bought 31 of them himself; his son Paul had given Appraisals for many others.

In fact I believe an art terrorist or Conspiracy Theorist campaign had created this huge hole in Norval Morrisseau’s catalogue raisonné when his genuine paintings were defamed as fakes. (See the Case of the Missing Paintings.)

Judge Martial put a resounding end to these utterly spurious claims.

What does that say about Donald Robinson who said he was overwhelmingly certain that Norval never, ever signed his paintings this way?

What does that say about his reliability as a Morrisseau authenticator?

What does that say about the reliability of the Kinsman Robinson Galleries label on a painting?

What does that say about the reliability of a Kinsman Robinson Galleries Certificate of Appraisal, or Authentication?

On Norval’s Affidavits of Forgery “His (Robinson’s) testimony coupled with the testimony of other witnesses of Morrisseau’s Parkinson’s disease raises a significant doubt of the reliability of the statutory declarations… No expert testimony of capacity was proffered by the Plaintiff on such a key issue.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p36)

Judge Martial dealt a virtual death blow to any kind of reliability of the so-called Morrisseau Affidavits of Forgery, sent to many of Kinsman Robinson Galleries main business competitors from 2003-2005, and “bearing” Norval’s signature.

(A most curious fact emerged: no one had ever received an “original” affidavit; all were photocopies, which caused one forensic expert to say that it looked like a “cut and paste” job to him. Neither the Court nor Jonathan Sommer had originals either. The whole court case was based on a Xerox copy of Norval’s supposed say-so…)

Judge Martial chastised the Plaintiff’s legal counsel, Jonathan Sommer, for not providing a witness who could prove to the court that Norval was of sound mind and body when he supposedly signed his Affidavits. (they bore his signature)

It left the clear impression that Sommer did not because he could not. And he could not because Norval was not. As, in fact, many people who saw him at the time said; Norval had “left the building” years before, and was only momentarily – for minutes at a time, his brother Wolf testified – in touch with this world before he drifted off into his…

So much for all those Affidavits of Forgery all signed in 2003-2005, when Norval was clearly mentally gone…

On Robinson’s Self-professed Handwriting Expertise – In one fell swoop Judge Martial dismissed Donald Robinson’s self-professed expertise in handwriting analysis on the back of the paintings, or his syllabic examination on the front.

“Mr. Robinson was qualified as an expert in the area of valuation and appraisal. His testimony however overlapped into the area of handwriting and included an analysis of syllabic and English handwriting, areas for which he was not qualified.

“He has no formal training as an expert witness in handwriting analysis and his evidence is rejected.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p36)

It was another stern rebuff to Donald Robinson who claimed he was an expert in the handwriting of Norval Morrisseau.

All, of course self-taught, possibly from email or internet courses. Robinson’s degree is in electrical engineering; he has no credentials in art, fine art, handwriting analysis, or forensics, or even in any related fields.

No wonder Judge Martial dismissed and “rejected” his self-declared expertise.

On Robinson’s Other Testimony – Judge Martial dismissed Donald Robinson’s testimony and so-called expert report” as little more than a business tactic to corner the market and jack up prices for their gallery against the flood of Potter auction paintings.

“The Court finds it obvious that Potter would be seen as a significant competitor.”  (Judgment by Judge Paul J Martial: Mar 25, 2013 p6)

“Mr. Robinson’s evidence of Morellian analysis of the round versus elongated eyes in Morrisseau’s painting was confusing. His commentary on colour was also inconsistent.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p12)

“Mr. Robinson also testified as to his personal dealings with Morrisseau paintings. It was his view that there were a large number of forgeries. It was also clear that his personal views and business interests conflicted with his professional opinion since it was in his interest along with Mr. Vadas to maintain the price of Morrisseau paintings which would not otherwise be the case if the market was flooded with paintings sourced from Potter auctions.

“The Court rejects his expert report and his conclusion that the Morellian analysis, style, colour, and provenance all pointed to forgery.” (Judgment by Judge Paul J Martial: Mar 25, 2013 p38)

Forgery or Not? “After a careful consideration of all of the evidence, the Court finds that on the balance of probabilities that the painting “Wheel of Life” dated February 1979 is an original Norval Morrisseau and undoubtedly one of his most notorious paintings.

“The painting “Wheel of Life” is not a forgery. The Defendants did not misrepresent the authenticity of the painting.

“The Plaintiff’s claim is dismissed with costs fixed at $1,500.00” (Judgment by Judge Paul J Martial: Mar 25, 2013 p38)

Conclusion and Implications for Canada and Canadians

Judge Martial’s finding is total, absolute, and incontrovertibly decisive in all respects.

He courageously chose to come out swinging, when he could have hidden behind a judicial fog of indecision.

He is clearly a Great Canadian Cultural Hero for making the record clear about the biggest Hoax in Canadian fine art history that has damaged Canada’s art heritage for the past thirteen years.

And, in no uncertain terms, blew the entire Conspiracy Theory put forward by Donald Robinson and his business associates out of the water.

Judge Martial did the job a lazy, compliant, and complicit pool of journalists, whose job this should have been all along, utterly failed to do. Over some twelve years one gullible journalist after another just played along with the Hoax, just too lazy to do the research, to follow the evidence trail, to practice common sense, preferring just to take the easy way out with a story, in their eagerness to chase another shallow deadline with another superficial article.

Robinson was given some three days to testify, and had to prove only one painting – out of some 4,000 so-called forgeries he claimed existed, that he could have picked from – was a forgery.

Paintings he called ludicrously poor forgeries and easy to debunk. Yet he failed spectacularly, with his own choice, his own proof, on his own turf.

To the diehard Conspiracy Theorists, Judge Martial offered not a single float or life preserver of any kind, to aid the sinking Plaintiffs, anywhere in his 39 page judgment.

Judge Martial effectively put an end to the worst Hoax in the fine art history of Canada.

A Hoax that had destroyed millions in the fine art valuation of the art of Norval Morrisseau, Canada’s top Aboriginal artist.

A Hoax that had devalued, overall, the artistic heritage of ALL Canadian First Nations artists.

A Hoax that totally destroyed or hugely damaged numerous reputable Canadian fine art retailing businesses.

A Hoax that has destroyed some $40,000 of a retired little old lady’s pension.

A Hoax that sent some $200,000 of other wronged victim’s legal costs down the drain as they sought to protect themselves, their businesses, their paintings, and their livelihood, from malicious and defamatory attacks by diabolical Conspiracy Theorists.

(NOTE: With none of the main proponents of the Conspiracy Theory spending even a dime, beyond a subway token to go the the courthouse to give their testimony.)

A Hoax that contributed – significantly, I am certain – to the premature death of at least two people, including Globe journalist Val Ross, and Michael Moniz, the successful litigant who won a historic out-of-court award of some $25,000 from CTVglobemedia for defaming his authentic Morrisseau painting, purely on the wrong-headed say-so of Principal Conspiracy Theorists Aaron Milrad and Morrisseau companion Gabe Vadas.

A Great Canadian Cultural Hero, Michael Moniz, who won a landmark out-of-cour settlement and some $25,000 in a Toronto Globe defamation suit.

A Great Canadian Cultural Hero, Michael Moniz, who won a landmark out-of-court settlement and some $25,000 in a Toronto Globe defamation suit.

Only a couple of weeks before he died I talked to Michael Moniz in a courtroom foyer. It was only the second time I had ever met him or talked to him. He told me that the attacks by the Conspiracy Theorists and their forgery accusations had taken a huge personal toll on him, his family, his business, and the stress – he was set to testify – was almost unbearable, with no end in sight.

Two weeks later, he was dead at 48, of a stroke, and I was attending his funeral paying my respects to a man who had done more than most to fight the Hoax that had destroyed so much of Canada’s fine art heritage. It was a fight which I am certain, helped to shorten his life.

The sordid “butcher’s bill” of this Conspiracy Theory leaves only one question unanswered:

Just what were Donald Robinson and his son Paul Robinson thinking, in May 2001, when they started this whole Conspiracy Theory supposedly about “thousands of forgeries by umpteen forgers?” And which they have been promoting ever since on their corporate blog, Principal Morrisseau Dealer…

otavnik_moniz

Joe Otavnik says farewell to Michael. In 2008 these two single-minded men had launched court attacks against Principal Conspiracy Theorists, challenging them to “put up or shut up” after they called Morrisseau paintings they owned forgeries.

Joe tackled no lesser a target than the artist himself, Norval Morrisseau and his business manager, both of whom folded like a cheap suit, refused to face a judge, and paid Joe off for defaming his painting.

“While lesser men stood back, they stepped up to the plate, and at great personal cost, challenged sacred cows in our society. Because it was the right thing to do…”

Canada is a better place because they did so…

Posted in Art Cartel, Art Galleries, BDPs - Black Drybrush Signed Painting, Canadian Cultural Heroes, Court Cases, Martial Court 2011 - 2013 | Leave a comment

Reference Books

Essential reading for those who want to know more about the relationships between Aboriginal and Non-Aboriginal Canadians, and other factors related to the Morrisseau Hoax.

Don't read this if you're looking for stolen Morrisseau paintings; his name isn't mentioned once, in this definitve work on theft in the international art world. The art thieves - even Canadians in Canada - never steal Canadian art. Thieves steal only multi-million dollar works by internationally recognized Masters not the "nobodies" who paint in Canada.

Don’t read this if you’re looking for stolen Morrisseau paintings; his name isn’t mentioned once, in this definitive work on the realities of art theft in the international art world. Self-respecting art thieves – even Canadians who steal in Canada – never steal Canadian art. Thieves steal only multi-million dollar works – hey it’s done for the money – by internationally recognized Masters – hell they want to sell art that is in high demand. Nobody, not thieves, not investors, or blowhard collectors want art by “nobodies” like Morrisseau who painted “primitive” stuff in Canada, and gave away his art or sold it for sex or twenty or thirty dollars a pop… Read it to find out why nobody has ever stolen a Morrisseau…

Don't read this if you're looking for stolen Morrisseau paintings; his name isn't mentioned once, in this definitve work on theft in the international art world. The art thieves - even Canadians in Canada - never steal Canadian art. Thieves steal only multi-million dollar works by internationally recognized Masters not the "nobodies" who paint in Canada.

Don’t read this if you’re looking for forged Morrisseau paintings; his name isn’t mentioned once, in this definitive work on forgeries in the international art world. The art forgers – even Canadians in Canada – virtually never forge even high-end Canadian art like that by Group of Seven painters. Self-respecting forgers only fake multi-million dollar works – hey it’s done for the money! – by internationally recognized Masters – hell they want to sell art that is in high demand. Nobody, not thieves, not investors, nor multi-millionaire blowhard collectors want art by “nobodies” like Morrisseau who painted “primitive” stuff in Canada, and gave away his art or sold it for sex or twenty or thirty dollars a pop… Read it to find out why nobody – not even a Stupid Forger – has ever forged a single Morrisseau (of the thousands laughably claimed by his former art dealer). After reading Dolnick’s books on art theft and art fraud, you’ll understand why all the talk by a couple of misguided business associates about a forgery ring painting thousands of Morrisseau paintings you could have bought for peanuts from the artist or at auctions, is a ludicrous and a total hoax that could only happen in an international art backwater like Canada.

“I wouldn’t hang that shit in my house!”
A wealthy, elderly female, Eaton family collector who was bequeathed a substantial collection of Canadian First Nations art, including genuine works by Norval Morrisseau which she dumped at auctions.

"Lawyers are perhaps the most distrusted of all professional... Lawyers Gone Bad offers insight into lawyer ans legal practice, the regulation of the profession, and how the law itself can be twisted or fail." (book promo)

Lawyers have played leading roles in publicizing and giving some semblance of credibility to “the greatest fraud in Canadian art history.” “Lawyers are perhaps the most distrusted of all professionals… ‘Lawyers Gone Bad’ offers insight into lawyers and legal practice, the regulation of the profession, and how the law itself can be twisted or fail.” (from book jacket promo)

A gripping account of two Cree volunteers who become top snipers in World War I were one is killed and the other returns to the racist bigotry that is part of the cultural genocide of  Indian life in Northern Ontario where Norval Morrisseau grew up and lived.

A gripping account (novel based on true story) of two Cree volunteers who become acclaimed top snipers in World War I, where one is killed and the other returns to face the bigotry that is part of Indian life in Northern Ontario where Norval Morrisseau grew up and lived.

 

 

 

 

 

 

 

 

Joan Goldi's Interantioanl Platinum Award for Investigative Journalism showing that aggressive racism at the very top of the white establishment is still a fact of life for normal law-abiding citizens of First Nations background.

Joan Goldi’s International Platinum Award, won at the world’s largest film and television festival, for “Investigative Journalism,” demonstrates tragically, that aggressive racism at the very top of the white establishment is still a fact of life for normal law-abiding citizens of First Nations background in modern times.

 

book_king_comp

A historical catalogue of how conniving corporate and political operatives in a white society have traditionally exploited and victimized Indians for their own financial and political gain.

 

 

 

 

 

book_goulding

A revealing exposé of how a white serial killer of Indian women got away with it for so long because of deep-seated racist disdain for Indians among white individuals and police organizations.

book_hare_comp

Dr. Hare is considered a top world expert on this subject. His famous checklist for diagnosing psychopathy is used by police forces around the world.

 

 

 

 

 

book_babiak

Dr. Babiak, a collaborator with Dr. Hare, took it one step further, following their research that suggested an alarmingly high incidence of psychopathy in the aggressive business world, among corporate CEOs.

 

 

 

 

 

Posted in Art Cartel, Books1, Martial Court 2011 - 2013 | Leave a comment

Exposing the Wankers: The Holy Trinity Paintings

sign_wanker16bmorrisseau_soma190fa2Summary: The extensive campaign of cultural genocide directed at the art of Canada’s top Aboriginal artist is demonstrated through the bullet-proof provenance of two paintings which expose the ultra-secret Morrisseau fine art manipulations of Donald Robinson, the Kinsman Robinson Galleries, and their outreach workers at the Norval Morrisseau Heritage Society

Bullet Proof Provenance of “FISH & SOMA 1976”
Donald Robinson’s & NMHS Secrets Exposed…
Donald Robinson Entraps Himself…
What My Eyes Saw…
The Wankers that Donald Robinson’s Eyes Saw…
Robinson’s Claims ALL Rejected
Behind the Veil of Secrecy
The Notorious Wang Report: Garbage In; Garbage Out
Other Academic Malfeasance at the Notorious Norval Morrisseau Heritage Society
Prediction: The NMHS Burns the Wanker 16

The Two Most Important Landmark Morrisseau Paintings

Medicine Being from Sacred Fish Stomach 1976 &
Shaman Envelopes Soma 1976

morrisseau_fish_trinity400As a historian I consider – incontestably – these two paintings, which I own, the two most important paintings Norval Morrisseau ever painted.

Here’s why:

They are the only Morrisseau Paintings in history that can claim “Holy Trinity” Provenance, being certified as genuine by Donald Robinson (the Principal Morrisseau Dealer), Norval Morrisseau (the artist), and a top Canadian forensic scientist (Kenneth J Davies). Authentication of this high level is unmatched by any other Morrisseaus that I know of. Their pedigree is inviolate.

For many major reasons, FISH & SOMA 1976 must be considered the watershed paintings, the historically significant benchmark standard, from which to confirm how to tell authentic Morrisseaus from the 1970s apart from forgeries; on both fronts and backs.

And to separate the wheat from the chaff, the lies from the truth, if you will, of what key Conspiracy Theorists claim about how to tell authentic from fake Morrisseaus.

Specifically, I believe, FISH & SOMA 1976 hugely compromise, in multiple ways, on multiple levels, on numerous occasions, the credibility, as believable Conspiracy Theorists, of the Robinson family art business of Toronto, and the members of the Norval Morrisseau Heritage Society (NMHS), the branch plant operation of the Kinsman Robinson Galleries.

Because these two paintings, except for a small accident of history, would have become part and parcel of the fantastic and preposterous evidence chain that Donald Robinson and the Norval Morrisseau Heritage Society have covertly woven, behind the scenes, as their “proof” of what constitutes a “fake” Morrisseau.

Luckily, I had been at the Potter Auction, on Jan 26, 2000 and had outbid Donald Robinson for these two paintings.

These two paintings, more than any other Morrisseaus, hold the key for reversing the tide of cultural genocide that has led to the physical and virtual destruction of much of the art legacy of Norval Morrisseau.

Their “Holy Trinity” pedigree involves:

robinson_don_smile190

Multi-level approval from the World’s top Morrisseau expert…

1 – Donald Robinson Was the Under Bidder on “FISH & SOMA 1976

They are the only paintings that I know of, that can clearly claim Donald Robinson, the Principal Morrisseau Dealer, AKA the Principal Conspiracy Theorist, AKA “Mr. Smith,” as the under bidder.

This involved TWO of his separate authentications, and two of his separate bids, on two different occasions, on the evening of Jan 26, 2000, at Randy Potter Auctions in Pickering ON. Robinson saw them separately; he assessed them separately; he bid on them separately. Each involved a separate act of will on his part as a Morrisseau authenticator.

2 – Donald Robinson Regarded “FISH & SOMA 1976” as High Priority Morrisseaus

In fact, based on Robinson’s expenditures on his invoices, he gave “FISH & SOMA 1976” his 3rd and 4th highest bids, out of some 90 bids he placed in trying to buy 90 different paintings during five different days of auction sales, from Sep 1999 till Mar 2000. He thought that these two Morrisseaus were that good.

Documents prove he was at the auction and bought 10 other Morrisseaus on that day.

FISH & SOMA 1976” give you wonderful documentary evidence of exactly the kind of Morrisseau paintings Donald Robinson – after, as he claims, 15 years on the job, including a dozen as Morrisseau’s “principal dealer” – considered high priority acquisitions for him. It shows two perfect examples of exactly the kinds of Morrisseaus he was bidding on, and lost, in the 60 or so other times he ended up as the losing under bidder.

But it also gives incontrovertible proof of exactly the kind of Morrisseaus (of 31) that he took home with him from Randy Potter Auctions.

joan_col3 – Donald Robinson Verbally Praised “FISH & SOMA 1976

Donald Robinson personally told my wife and me that these are “very fine Morrisseaus” and further, when we questioned him on their authenticity, said, “Oh, they’re real alright. Trust me! I’m the guy who wrote the book on Morrisseau.”

At the time he claimed to be the exclusive dealer for Norval Morrisseau, the world’s top expert on the artist, and said he had an expertise based on 15 years of assessing and selling Morrisseau paintings.

He personally showed me how to roll the canvas properly for transport home from the auction.

He invited us to visit his gallery, which we did a couple of days later, when he gave us a tour.

He suggested we use his own Kinsman Robinson Galleries framer to mount our Morrisseaus, which we did.

Thanks Norval...

Thanks Norval…

4 – Norval Authenticates “FISH & SOMA 1976”: Never on NM Affidavit of Forgery

Since we bought “FISH & SOMA 1976,” in January 2000, they and our other Morrisseaus, have been on numerous educational web sites. They are probably the most internet exposed Morrisseaus in history, going back over 12 years.

It is therefore impossible to believe that Norval Morrisseau, or his business managers, did not see them at one time or another, especially during the years (2001-2005) when they were sleuthing out the internet for identifying alleged forgeries, and claiming they had found hundreds…

But not FISH & SOMA 1976.”

We know for certain that Donald Robinson, who was Morrisseau’s marketing advisor, knew “FISH & SOMA 1976” existed; he had been the under bidder, told us how to roll and transport them, and where to get them framed.

Norval would have heard from him that we had fakes and would have ordered them to be put on an Affidavit of Forgery. He did not.

In fact, close to 200 paintings with far less public exposure than ours, were found and targeted as supposed forgeries from their minimal internet footprints. Between 2001 and 2005, their owners received Declarations or Affidavits of Forgery from Gabe Vadas and Morrisseau.

One owner dealer was served with an Affidavit of Forgery for only five (5) so-called forgeries.

We have posted seven (7) Morrisseaus, yet we did not receive, in some 12 years they have been posted, either a Declaration or an Affidavit of Forgery, from Norval Morrisseau or from any of the white business partners who gathered around his wheelchair. Nor a Cease and Desist order to stop publishing a forgery and damaging Norval Morrisseau’s art heritage…

And that includes during seven years when Norval was still alive.

This is huge proof that the cartel saw all our paintings – how could they not? – and they all, including Norval, approved their authenticity.

So, added to Robinson’s verbal testimony that “FISH & SOMA 1976” are authentic, must be added the testament of the artist who created them, Norval Morrisseau, as well.

So “FISH & SOMA 1976” are doubly authenticated by supposedly the top two experts in the field: Norval the artist, who painted them, and Donald Robinson the Principal Morrisseau Dealer who had personally seen them, handled them, examined them, was the under bidder on them, and verbally praised them to us.

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was to faded or indistinct for him - the consummate scientist - to hassard a guess, you know like the Conspiracy Theorists are famous for doing...

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was too faded or indistinct for him – the consummate scientist – to hassard a guess, you know like the Conspiracy Theorists are famous for doing…

5 – “FISH & SOMA 1976” are Authenticated by a Top Canadian Forensic Scientist

In 2011 and 2012, both “FISH & SOMA 1976” were separately evaluated by a top Canadian forensic scientist, Kenneth J Davies, who declared with DNA certainty, that they were signed by Norval Morrisseau, and that no one else could have signed them.

Making them the only paintings in history to have been authenticated by the Holy Trinity: the artist himself, his principal dealer – both as under bidder and with verbal certification – and a top Canadian handwriting analysis expert. It can never get better than that.

No one can challenge them in any way, whatsoever, as being anything other than exactly the kind of art Norval produced in the 1970s and proof of exactly how he signed his paintings on the back. Those fabled BDPs with Norval’s DNA on the back.

These two paintings offer Canadians a rare lens through which they can examine the credibility of the claims of the leading Conspiracy Theorists.

6 – “FISH & SOMA 1976” Expose the Secretive Art Dealing Life of Donald Robinson

Donald Robinson purchased 31 Morrisseau paintings at Randy Potter Auctions, over a six month period, from September 1999 to March 2000, paying a total of $54,000 for them. A year later, in May 2001, he announced that all the Randy Potter paintings, including the 31 he bought, were – only his call – fakes.

The same paintings he – as the world’s self-proclaimed top Morrisseau expert – had told many people were genuine, now suddenly became transformed into fakes. With no proof offered…

sign_wanker31bWankers - We call all the Donald Robinson so-called Potter fakes, the “The Wangkr 31 fakes,” an acronym combining Professor Wang, to whom Donald Robinson submitted many of them to make up a notorious bogus scientific computer model, with KR for Kinsman Robinson who commissioned the spurious report and continue to use its supposed findings, to promote sales of their kind of Morrisseaus.

sign_wanker16bLater, the supposed Wangkr 16 fakes, given to Professor Wang, would be turned over to the Norval Morrisseau Heritage Society to take on a new lease on a life of infamy.

The Wanker 16 are absolutely key for exposing what is at the heart of the Morrisseau Hoax.

Suspicious Media Blackout - For unknown reasons, since shortly after he bought them, Donald Robinson has taken any and all measures in order to enforce an utter blackout on information about which pictures he bought at Randy Potters Auctions – the Wanker 31 – and what exactly he did with them.

He has refused to publish any and all photos of the Wanker 31 paintings he bought, refusing to divulge either what they looked like, either on the front or the backs. He has done this to prevent Canadians from analyzing what he bought and later claimed were fakes. More damningly, he has done this to prevent independent forensic examiners from being able to evaluate the signatures on the back of the paintings.

He calls the Wanker 31 fakes, and insists on keeping the proof to himself, and a few intimates at the Norval Morrisseau Heritage Society, who are widely considered to be manipulated by him, and to practice the same covert code of non-disclosure and secrecy he has followed with an inexplicably stubborn intensity for 13 years.

It is, of course, academic malfeasance of the highest order, on the part of the supposedly qualified academics in the NMHS.

Canadians can only guess what those Robinson outreach workers on the NMHS are hiding… What those Wanker 16 “fakes” show, especially on the backs…

7 –FISH & SOMA 1976” Expose the Secret Life of the Norval Morrisseau Heritage Society

Donald Robinson’s story about what he did with the so-called Wanker 31 “fakes” is that he sold a bunch, mostly through a Calgary auction, and then “donated” what he couldn’t sell to the Norval Morrisseau Heritage Society to serve as guidelines to define his standard for what its members should regard as fakes. And should earmark for possible destruction.

The targeted paintings are all from Norval’s 1970s style of BDP production.

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."

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.”

Robinson donated the Wanker 16, to the Society to use as a rejection standard for Morrisseau paintings people were asked to send to them for authentication.

The NMHS is a very secret society of various selected high profile academics who were supposed to decide which of Norval’s 10,000 paintings merit inclusion in his catalogue raisonné – a list of authenticated paintings from his life’s work.

All other Canadian artists, or their families and their hired staff, handle their own art, and keep “in-house,” the supervision of what is authentic and what is not, in an artist’s corpus of work.

screen_nmhs400This NMHS type of secret society, of a group of “outsiders” – self-proclaimed “experts,” not from the artist’s immediate family circle – deciding what is an artist’s work and what is not – has no precedent in Canadian art history.

The NMHS – so the story goes – was set up, under mysterious circumstances, chosen, according to legend, in 2005, supposedly under the direction of Norval Morrisseau himself.

The NMHS website claimed Norval set it up, hand-picked its officers, defined its mandate, provided its mission statement, and picked the paintings that they were to use as samples of fakes.

What is not disclosed, by the secret society, is the fact that at that time Norval had, long ago, stopped being a fully functioning human being.

Two years later Norval had been put in a terminal care facility, he was so badly mentally and physically deteriorated. Not so, said Donald Robinson in 2001. That he still had total recall, and could remember every painting - out of 10,000 - he had ever painted in 50 years. Wow, what a memory. It had to be good, because the absolute entire Morrisseau Conspiracy Theory rests on this single pin point of proof: Norval's ability at total recall, which allowed him to identify the forgeries...

Two years later Norval was put in a terminal care facility, he was so badly mentally and physically deteriorated. Not so, said Donald Robinson in 2001. That he still had total recall, and could remember every painting – out of 10,000 – he had ever painted in 50 years. Wow, what a memory. It had to be good, because the absolute entire Morrisseau Conspiracy Theory rests on this single pin point of proof: Norval’s ability at total recall, which allowed him to identify the forgeries… Oh, yeah, and we forgot, and six years later, Norval set up the Norval Morrisseau Heritage Society, wrote its constitution, and picked out the members.

The Norval Blues c 2001 – The facts that have trickled out in various court testimonies, were that long before 2005, Norval had “left the building.” He had made numerous bad calls on his paintings as early as 1997 (alleged by Ritchie Sinclair), and by 2001, he could only mumble unintelligibly, with numerous people who tried to communicate with him, saying they couldn’t understand him at all.

If they were honest. Or self-critical of their actual interaction with Norval.

One Norval enthusiast, who claimed to have had a conversation with the artist in April 2002, was caught up short, when I questioned him more closely. He thought for a minute and then tried to clarify the nature of the conversation for me.

“Ok, we talked but, well, let me put it this way. If a translator repeated to me what Norval had just told me, I wouldn’t have been able to tell if the translator was lying or not…”

Norval’s brother Wolf, testifying about talking to him in this same time period, said, that by 2001 Norval was only lucid, periodically, for minutes at a time before drifting away…

He even told Judge Martial (during Hatfield v Child in 2012) that Norval confessed to him that he couldn’t remember which paintings he had painted in the past…

In fact Norval was so debilitated mentally and physically, by 2001, that his care-givers had put him in a terminal care facility. And were vigorously exercising their Power of Attorney on his behalf…

Devastating extended and unedited videotape showing Norval supposedly authenticating paintings, in April 2002, reveals him to be in a totally passive and virtual vegetative state by then, and obviously much earlier. He signed the paintings without even looking at them, whenever someone stuck a pencil in his hand, or inked his thumb and took his hand to make an imprint.

The mind boggles how this utterly debilitated virtual quadriplegic would have risen from the dead – like Lazarus we presume – three years later, in 2005, to orchestrate setting up the NMHS, picking its officers from across Canada, blah, blah, blah…

There is, of course, a much better, more credible explanation.

I believe the group of white businessmen around Norval’s wheelchair orchestrated setting up the Norval Morrisseau Heritage Society, under their dubiously acquired Power of Attorney, and staffed it with mostly more white people to “look after, and speak for, the Dumb Indian.”

Very much along the line of selfless missionary service, from the days of the “White Man’s Burden,” to save the Blacks from themselves. Or like the “residential schools” set up in the Canadian North, to “kill the Indian in the child.”

An early founding photo of the NMHS and Norval's white business partners around his wheelchair. On the right is his lawyer, Aaron Milrad who said in an interview in 2005, the group was prepared to "destroy" fakes they found objectionable, and would be protected from fall-out by waivers he would get collectors to sign before they submitted paintings for "evaluation." We believe that may explain the gas can behind him.

THEIR MEAL TICKET TO FAME & FORTUNE - An early founding photo of the NMHS and Norval’s white business partners, as they circle around his wheelchair. On the right is his lawyer, Aaron Milrad who said in an interview, in 2005, that the group was fully prepared to “destroy” so-called fakes they found objectionable. That he would protect NMHS members from legal liability and any negative fall-out by crafting waivers that he would get collectors to sign before they submitted paintings for “evaluation.” We believe that may explain that ominous looking gas can behind him.

They decided to use a bogus academic shield of above-board legitimacy, for what was nothing if not a bold and brazen business offensive. By manipulating the Society, which was to rule which paintings were fake, Norval’s “care-givers” could choke off any product they wanted to “kill off,” simply by providing NMHS members with a fakes template they were asked to conform to.

sign_wanker16bThe fake template they were to use was provided by Donald Robinson – the Principal Morrisseau Dealer, and chief business operative selling direct-from-the-artist Morrisseaus – who kindly donated his Wanker 16 for the job.

The Wanker 16 are the paintings Robinson said were left over “fakes” from the Potter Wanker 31, after he had sold what “fakes” he could.

In a long conversation my wife had with Donald Robinson, in November 2010, she asked what he did with the paintings after he “discovered” they were fakes. Robinson told her he had sold a large number to a “country auction” named Levis Auctions, in Calgary, AB.

Doug Levis runs one of Canada's most reputable fine art auctions. He would be hurt to find out that his fine establishment was used by a Toronto art dealer to get rid of paintings he considered "forgeries" and let the Buyer Beware. And actually make "a small profit" while doing it...

Doug Levis runs one of Canada’s most reputable fine art auctions. He would be hurt to find out that his fine establishment was used by a Toronto art dealer to get rid of paintings he considered “forgeries” and let the Buyer Beware. And actually even make “a small profit” while doing it…

When she asked if he had warned Levis or potential buyers, that he considered these Morrisseaus to be fakes, he replied, “No. In country auctions everybody knows it’s Buyers Beware.” He also said he never tried to make amends.

In fact he told Judge Martial he had sold them for a small profit – even. So people in Calgary bought $54,000 plus profit, worth of fakes that were – in Donald Robinson’s own expert testimony to the judge, worth “nothing” and “zero.”

I bought this fabulous life-size original portrait of Chief Crowfoot, painted by John Perry, in the early 20th century, in Calgary, at one of Doug's auctions.

I bought this fabulous life-size original portrait of Chief Crowfoot, painted by John Perry in the early 20th century, in Calgary, at one of Doug’s auctions. I believe it’s the finest portrait of the chief in existence.

I know Doug Levis personally; have attended his auctions, and bought historic paintings and photographs there. I know him to be a highly principled auctioneer, and know he would be utterly dismayed to learn that he, and his customers, were knowingly sold or consigned art considered fraudulent forgeries by a colleague in the fine art business, and whom Doug considered as a trusted and credible dealer.

Doug does not, and never has, run a “Buyers Beware” auction, but is one of Alberta’s most respected businessmen and has run one of the major fine art auction houses in Canada for decades. It’s been his chosen profession since he graduated with a university degree in fine art.

The Norval  Morrisseau Heritage Society, in return for the donation of the Wanker 16. the NMHS certified that it considered Robinson’s gallery was the only one it recognized as an approved authenticator of Morrisseau art. (Even though there were several other art dealers and collectors who had handled and knew Norval Morrisseau’s work as well, or better, than Donald Robinson.)

Nice…

Understanding this set-up makes it easy to see why, since 2005, this pseudo-academic society has been staffed by people who have repeatedly acted as little more than outreach workers promoting the business activities of Toronto’s Kinsman Robinson Galleries, and are like the Robinson family, leading Conspiracy Theorists.

It’s therefore easy to see how its members have become guilty of numerous acts of gross academic malfeasance.

Including with how it has handled the Wanker 16, after Donald Robinson delivered them.

They have utterly refused to publish high resolution photos of the Wanker 16, or make them available for public security by interested parties.

They have also refused to have independent outside forensic experts look at the signatures. All, of course, in deference to Donald Robinson.

Supposedly - if you can believe this? - six years after this photo was taken, Donald Robinson says Norval assured him he didn't paint the Wanker 16...

Supposedly – if you can believe this? – six years after this photo was taken, Donald Robinson says Norval assured him he didn’t paint the Wanker 16…

Donald Robinson claimed, when he showed the Wanker 16 to Norval, in 2005, the artist told him he didn’t paint them.

Which is not entirely accurate.

We have located the original transcript of that conversation.

What Norval really said at the time was “&?@?&#$)%)_)&@$$+(*&%$.”

The translation is courtesy of Donald Robinson, who dutifully fills in when Gabe Vadas isn’t available…

There is in fact no audio tape or video tape of Norval Morrisseau speaking, at all, on any topic, in the last decade of his life. Including in an hour-long CBC “Life and Times of Norval Morrisseau” program shot in 2003, in which the producer failed to get Norval to say even one word for his show.

So for eight years Canadians have waited, in vain, for the Robinsons or the NMHS to disclose the Wanker DNA they are using to to do matches to existing paintings, in order to decide, which ones they will accept as authentic, and which ones they will burn…

The wait is over. We can tell you exactly what Donald Robinson, and his collaborating intimates, on the NMHS, are hiding.

The answer: “FISH & SOMA 1976” offer a genuine peek behind the cover-up curtain of silence.

But for a small accident of history these “Holy Trinity” authenticated Morrisseaus would both have been included in Robinson’s private stash of “fakes.” They would have gone home with him. And they would have subsequently been included in his stash of supposed forgeries. They would also have been included in the NMHS pile of its “proof” of forgeries. The infamous “Wangkr 16” would today be the infamous “Wangkr 18.”

As a public service to Canadians, we publish high resolution photos of the front and back of “FISH & SOMA 1976” because they are apparently the only two paintings in history that have survived to testify to exactly the kind of paintings Donald Robinson bid on some 90 different times, in the year 2000, and of the 31 that he took home, and then beginning a year later deliberately hid from history and the public scrutiny of Canadians.

So the “Holy Trinity” authenticated “FISH & SOMA 1976” expose the private life of Donald Robinson, for all Canadians to see, and offer utterly foolproof evidence of what you would find if you got to examine the so-called “fake Morrisseaus” – the Wangkr 31 – that he bought at Potters and concealed in his closet for years afterwards.

The back signatures of “FISH & SOMA 1976” confirm, in spades, that the reason Donald Robinson has sought to erase the memory, and any residual pictorial evidence, of his 31 Morrisseau purchases from history, is because, like “FISH & SOMA 1976,” which he tried to purchase by bidding for them, they too are genuine, authentic paintings by Norval Morrisseau.

And I am certain they are not – none of them – at all the fakes that he and his intimates on the NMHS, whom he has instructed, claim they are.

8 – The Preposterous Mr. Robinson Entraps Himself, Multiple Times, with his Potter Purchases… the notorious Wanker 31

The forensic testimony of two Randy Potter Auctions “Holy Trinity” authenticated Morrisseau paintings is far more than twice as powerful as the conclusions one can draw from only a single painting. Here’s why:

We know with a certainty of somewhere around 110% exactly what the eyes of Donald Robinson saw when he examined BOTH the “Holy Trinity” authenticated “FISH & SOMA 1976” paintings, separately. Why is that important?

Because of numerous claims Robinson was to make:

They’re All Fakes – First, because Donald Robinson was later to say that ALL the Randy Potter paintings were forgeries, which would have included the “Holy Trinity” authenticated “FISH & SOMA 1976.”

Willfully Ignoring Overwhelming Forensic Truth -

The typical BDP signature on the back of almost all of Randy Potter's Morrisseaus, that Donald Robinson and other Morrisseau collectors saw. The Conspiracy Theorists, at first in love with the signatures, would suddenly change their minds, say the huge signatures on every canvas were all forged, never explaining why such a huge betraying forgery would possibly be put there by even the dumbest forger, knowing it would betray him instantly. In fact the Stupid Forger was turned in by the signature DNA in the end thanks to handwriting analyis by top Canadian forensic scientiests. The Dumb Forger turned out to be, with DNA certainty, none other than Norval Morrisseau himself.

The typical BDP signature on the back of almost all of Randy Potter’s Morrisseaus, that Donald Robinson and other Morrisseau collectors saw. The Conspiracy Theorists, at first in love with the signatures, would suddenly change their minds, say the huge signatures on every canvas were all forged, never explaining why such a huge betraying forgery would possibly be put there by even the dumbest forger, knowing it would betray him instantly. In fact the Stupid Forger was turned in by the signature DNA in the end thanks to handwriting analyis by top Canadian forensic scientiests. The Dumb Forger turned out to be, with DNA certainty, none other than Norval Morrisseau himself.

Secondly, Robinson was to claim that all BDP’s were forgeries, that Norval never, ever, signed the backs of his paintings like, you guessed it, “FISH & SOMA 1976.” In fact the very signatures and writing Robinson denounced have been the stuff of DNA that has to date proven some 70 paintings he called fakes were in fact genuine Morrisseaus, without a single dissenting finding by three of Canada’s top forensic handwriting analysis experts.

There were also many people who had long associations with Norval who signed affidavits or gave sworn testimony in court that they had seen Norval sign the back of his paintings countless times.

Willfully Ignoring Historically Successful Lawsuits -

This Potter painting forced the CTVglobemedia to settle out of court for some $25,0000

The forensics behind this Potter painting forced CTVglobemedia to settle out of court, and pay Michael Moniz some $25,0000 for defaming his original Morrisseau.

Thirdly, Robinson also chose to overlook the fact that two of the Potter paintings he defamed as forgeries “Spirits 2b” and “Father and Son 1977,” were proven to be authentic by forensic scientists, and became the winning proof in the two largest successful lawsuits against parties alleging defamation, won in 2008 by Otavnik v Vadas and Morrisseau (for $11,000) and Moniz v CTVglobemedia (for some $25,000.)

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 forced Morrisseau and his business manager to settle out of court and pay Joe Otavnik $11,000 for defaming his original Morrisseau paintings.

None of the Defendants (including Morrisseau, his business manager, Gabe Vadas, & the Globe and Mail) in those two landmark cases, believed, for a second, the Robinson claim that the Potter paintings were fakes. They paid up because they agreed they had defamed genuine Morrisseau paintings.

In fact, astonishing as it may be, after Otavnik won a settlement of $11,000 from the artist and his white handler, for having wrongly defamed his paintings, they insisted Otavnik sign over the “copyright” to them, in the terms of settlement. All for paintings they had claimed were “fakes.”

Willfully Ignoring How the “World Expert” Was Fooled 90 Different Times in 2000 – Fourthly, he also cannot claim to have seen “lousy forgeries” before 2000, because he bought 31 separate paintings at Randy Potter’s as late as in March 2000, and far from denouncing them as fakes, tried to buy all he could, bidding on some 90 lots in all, and encouraging others to buy them.

Willfully Refusing to Bring the Fakes Back for a Refund – Fifthly, Robinson bought 31 fakes, he says, for $54,000 but never ever brought a single one back as a refund.

After having supposedly paid $54,000 for Potter forgeries, this is the cheque that Donald Robinson should have demanded, but inexplicably never did...

After having supposedly paid $54,000 for Potter forgeries, this is the cheque that Donald Robinson should have demanded, but inexplicably never did…

And oh, yes, when Donald Robinson believes he’s been “had” and stuck with something he calls a fake, you bet your britches he demands his money back, even if it’s peanuts.

Here’s the cheque he demanded from Randy Potter after claiming Randy allegedly sold him a fake (and very cheap) Davidson.

The Robinson's objected to this document.

Now can you explain the “Missing Cheque” for all the supposed “fake” Morrisseaus…? The cheque Donald Robinson never asked for?

Robinson didn’t complain, even, to Potter, I say, for exactly the same reason all the other 200 leading Morrisseau dealers and collectors who bought hundreds of paintings at Randy Potters also never brought a single one back for a refund.

For the same reason I did not return “FISH & SOMA 1976” for a refund either.

Everyone, who ever bought a Morrisseau at Randy Potters, without a single exception, considered them genuine, and behaved like they were – including even the one who, publicly anyway, called them forgeries.

Privately he sold the “fakes” as Morrisseaus, and made a profit on forgeries, if you can believe?

Willfully Ignoring Age Burn - Sixthly, Robinson was to claim that all the Potter paintings (and other fakes he claimed totaling some 4,000) were the product of a single forger.

He was to claim they were recently made, c 1999 and after, (so the same age-burn would apply to them all), were the product of a single forger, (so a single point source, wear, and history is understood), who ground out some 4,000 or more (almost half of Norval’s entire life’s work of 10,000 paintings), and shipped most of them to Randy Potter for sale. He later said that a group of forgers was producing the fakes.

By claiming this publicly, in court testimony, he has painted himself into a most compromising corner, leaving him with no wriggle room.

This means these thousands of so-called forgeries have to share very important “point of origin” similarities, in order to date them to 1999, or 2000 when they were – his claim – to have been created.

They theoretically cannot have been created earlier because – and this is a huge problem for him and other Conspiracy Theorists – how could Donald Robinson, as the Principal Morrisseau Dealer, possibly have missed coming across some 4,000 supposedly “easy to spot” forgeries in the market place before 2000, without him seeing them and drawing public attention to them?

So Robinson is stuck, having painted himself into a tight corner, with his so-called 4,000 forgeries originating in 1999 and after.

9 – Due Diligence: What My Eyes Saw in “FISH & SOMA 1976

morrisseau_soma_trinity300Superficially my two paintings, “FISH & SOMA 1976,” are each signed 1976. Stylistically they are also similar on the front. They are titled, signed, and dated the same way on the back.

No problem here. We would expect two paintings from the same artist, both executed in 1976, to share a similarity in style. And especially if, for the sake of argument, and according to Donald Robinson’s logic, the forger falsely backdated them.

We would also expect similarities on many levels if – assuming for the sake of argument – that they are a product of a forger or syndicate of forgers operating aggressively out of some lowlife shop in 1999.

Inexplicably, what Donald Robinson claims his eyes saw, though, when he looked at “FISH & SOMA 1976,” was something entirely different.

In fact, the condition of my two 1976 paintings is hugely different. They have clearly had totally and absolutely separate life histories since they were originally painted.

They could not possibly have originated with a single source forger, which is Robinson’s claim. (And hell he looked at them within minutes of my examining them on the evening of Jan. 26, 2000.)

To me they are in fact perfect representatives of the wide variety in condition I was to see in hundreds of paintings I examined at Potters over a nine year period during which I attended auctions there.

And Donald Robinson – remember he was the under bidder – clearly saw this too.

I certainly did. The huge difference in condition was clear to anyone but a blind man.

Another Kind of Expert - As the longtime Director of Research & Acquisitions for an online museum, who has, over a 14 year period, personally curated and acquired some 4,500 antique paintings (oil, acrylic, watercolour, pastel, pen & ink, tempera, gouache, charcoal, etc.), prints, reproductions, and historical memorabilia in ceramics, wood, metal, and fabric, all over 100 years old, I have gained a unique insight on how “age-burn” develops in paintings and historical materials of all kinds. (Curator’s Choice.)

Our collections on exhibition and tour.

I have used this highly specialized knowledge, and developed a unique expertise on how to sleuth out fakes and forgeries in paintingssculptures, photos, and memorabilia.

Donald Robinson’s Framer Speaks - The first person who confirmed my view that neither of “FISH & SOMA 1976” were recent, c 1999 forgeries – according to Donald Robinson’s much later claim – was his very own personal framer, at Canada Custom Picture Framing, to whom we showed the paintings, on February 9, 2000.

The very first thing he blurted out, when we unrolled “FISH & SOMA 1976” was, “too bad they’re so old, dirty, and abused.” The three words he used were absolutely key.

Reality Check - Remember, this was in 2000, in the days before there was any talk of fakes or forgeries of any kind from anyone, anywhere, including by Donald Robinson, who would continue buying many more Potter paintings after I visited his shop and his framer.

And the Kinsman Robinson Galleries’ framer’s first impression, of both our canvases – and two others we brought in at the same time – was that they were clearly old, even before he saw the dates on the back. It was his impression by looking at the acrylic side, and the canvas condition, and the staple holes on the edge from a previous life on a stretcher.

Typically what you would see if you looked at any of the Potter Morrisseaus up close: surface abrasion, paint dropouts, and ground in dirt, all proof of decades of abuse by uncaring owners who originally probably only paid $25 or $50 for them. So...

DISAGREEMENT ON ACTUAL PAINT ON SOMA, THAT DONALD ROBINSON & HIS FRAMER SAW - Typically what you would see if you looked at any of the Potter Morrisseaus up close: surface abrasion, paint dropouts, and ground in dirt, all proof of decades of abuse by uncaring owners who originally probably only paid $25 or $50 for them. But there was a diasagreement on what this shows: Donald Robinson would claim this was freshly painted a few months or even weeks before by a forger; his framer apologized to me saying, “too bad this is so old and worn.” We publish this actual historic document so you can decide who knows what they’re talking about…

Of the two, “Fish 1976” is in relatively fine and clean shape. I might guess a one generation ownership by a caring art lover.

WHAT DONALD ROBINSON'S EYES SAW - Does this closep-up of FISH show the same recent point of origin in some forger's shop, as SOMA above? Why would anyone possibly claim they can't see the difference and construct some kind of Conspiracy Theory on that?

EXACTLY WHAT DONALD ROBINSON’S EYES SAW – Does this closep-up of FISH show the same recent point of origin in some forger’s shop, as SOMA above, as claimed by Donald Robinson? Why would anyone possibly claim they can’t see the difference and construct some kind of Conspiracy Theory on that?

Certainly by comparison with “Soma 1976” it has been lovingly cared for. Even though it’s not an opinion shared by Donald Robinson’s personal framer, who considered it old and abused, compared to other artwork he usually sees.

On the contrary, the life history of “Soma 1976” betrays, absolutely, a number of different owners, who did not treat the painting well at all. As a curatorial archivist I could tell that one time it was mounted on a frame; at other times it was rolled, and stored, for a lengthy period of time, with the acrylic in; at other times it was rolled and stored with the acrylic out; at other times it was too tightly rolled. Forensic marks, abrasions, and cracks tell the story.

In fact damage of this type was pointed out to me by Donald Robinson himself at the auction, as I was about to roll up my paintings with the acrylic side in.

“Don’t do that,” he said, and showed me how he rolled his, in a large, loose roll, with the acrylic paint on the outside. “If you roll the acrylic in on itself in a tight roll you will crack it.”

In fact he specifically drew my attention to the acrylic on “Soma 1976.” It is relatively filthy; the paint is abraded; the acrylic is cracked. In fact this is a common condition of many – I would say most – Morrisseau paintings, which were only originally bought from Norval for $20 or $40, often just to help him out, and treated as essentially “worthless” by generations of uncaring owners.

All the signs of abuse had not stopped Donald Robinson from giving “FISH & SOMA 1976” his 3rd and 4th highest bids at the Potter auctions.

Those Filthy Randy Potter Paintings - Anyone – like Donald Robinson – who claims to be an art expert, could tell that “FISH & SOMA 1976” do not, in any way, shape, or form, share a common life history.

And “Soma 1976” absolutely betrays age burn of some thirty odd years or more, entirely consistent with having been painted by Norval in 1976, and absolutely, totally inconsistent with having been the product – in tandem – with “Fish 1976,” in some forgery studio in 1999. And then – as is Robinson’s claim – hours, weeks, or months later, shipped off by some supposed forger to Randy Potter, with the paint barely dry…

In fact, as an art curator, one characteristic I have noted about Norval’s original art is that it is universally in worse shape than original art by his white contemporaries. Original oil paintings by Sherriff-Scott, Jackson, Heming, Grandmaison, etc. from the 1920s, look cleaner and are in far better shape than most of the hundreds of Morrisseau paintings, I have personally handled and examined, most during the years 1999 till 2008 at Randy Potter auctions.

Even though they are far younger in age, the deteriorated condition of Norval’s paintings is exactly what one would expect to find of art Norval routinely gave away from 1950 to 1990, for $20 and $50, or a bottle of booze or traded for sex.

And then thrown under the bed, in the attic, or in the garage when one got tired of them or replaced them on the wall with Cher, or Justin Bieber posters.

10 – Willful Blindness: What Donald Robinson’s Eyes Saw in “FISH & SOMA 1976

Documents prove that from September 1999 to March 2000, Donald Robinson attended Randy Potter auctions and examined and bid on some 90 different Morrisseau paintings.

The anguish inside KRG was palpable as hundreds of fine Morrisseaus from Norval's high period were competitng with their wobbly stuff from Norval's "Invalid Period."

The Morrisseaus on the wall, were anyone could lift them up. Or Randy would get you a step-ladder, or bring a painting down for a hands-on examination. So no one was ever fooled into buying a bogus painting. Randy sold some 2,000; no one ever came back demanding a refund for having been sold a forgery.

All these paintings were tacked along the top so that anyone who wanted – all art dealers for instance – could just flip up the bottom or side and look at the back to check writing, signatures, condition, age- burn, etc. Which of course, every art dealer, before he is going to spend money on a painting, does, automatically as a routine part of his trade.

Robinson would have seen exactly what I saw in “FISH & SOMA 1976”, and in all the many Morrisseaus Potter had for sale, and noted that:

- Variation in Degradation – there was a huge variation in the ages and conditions of the hundreds of Potter Morrisseaus he examined, and reflected exactly what one would expect if a collector or picker went around scooping up paintings from different sources at different times and places, and then shipping them to an auction.

They clearly could not possibly have come from a sole source shop or in any way share a common history.

- Extreme Age-burn - most of the paintings showed far more wear and abuse than any paintings from any other contemporary artist I have seen, but exactly what one would expect from paintings people bought for $20 or $30 or $50 from Norval. They showed exactly the variation in dirt, cracking, scuffing, holing, staple marks, framing marks that one would expect to find in genuine Morrisseaus that were shoved under beds, into attics, garages, storage lockers, or tacked up in hunting camps and fishing lodges.

Many paintings had the tell-tale cracking of the acrylic, from having rolled up too tightly for long periods of time in storage.

WHAT DONALD ROBINSON’S EYES SAW ON SOMA – BAD CRACKING OF THE ACRYLIC - Many paintings had the tell-tale cracking of the acrylic, from having been rolled up too tightly for long periods of time in storage. In spite of the age-burn of SOMA, Robinson still gave it the third highest bid of some 90 bids he would make over a six month period in 1999-2000. So cracking says two things: abusive treatment by an uncaring owner and long period of storage in tightly rolled up form. Both point directly and dramatically away from a recent origin with a forger supposedly trying to make a living selling fakes. Ruining their looks would positively not help him make a sale for fakes when original canvases by Norval were selling dirt cheap in good condition…

- Variably “Distressing” Art is Impossible & Economically Suicidal - no forger, or group of forgers, could possibly manufacture – even if it were possible, which it is not – this hugely varied kind of age-burning, on hundreds of huge canvases that, in 1999 had no real economic value. Degrading and cracking the canvases would have made them even less appealing to buyers, at a time when they were then only selling for a few hundred dollars, if even that.

- An Artist & Professional Art Restorer Speaks In the late 1990s, a long-time Canadian artist and art restorer, was given the job to restore and clean up, for selling, some two hundred of the Potter Morrisseau canvases, for a dealer who had bought many canvases.

Typical abuse of genuine Potter Morrisseaus, including: screw hole, multiple staple holes, decades of ground in dirt, paint drop-out and abrasions. This painting was forensically certified as a genuine Morrisseau in 2012.

HOW COULD YOU MR. ROBINSON? - Typical abuse on genuine Potter Morrisseaus, including: screw hole, multiple staple holes, decades of ground in dirt, paint drop-out and abrasions. This painting was forensically certified as a genuine Morrisseau in 2012. This is another canvas Robinson claims was a recent production in some forgery operation. I have personally examined this painting on cardboard in great detail. I have found forensic evidence that it had AT LEAST FIVE GENERATIONS OF OWNERSHIP. And Robinson would have you believe a forger would deliberately paint this huge work on a piece of old and crappy cardboard because that would increase its salability…

This artist and professional restorer told me (in 2011) three things that his long, hands-on experience with all these canvases proved to him with absolute certainty:

- the paintings all came from one single artist,

- they had all had terribly different, and mostly abusive lives, since they had left the hands of the artist, and

- that they were all, clearly, twenty or thiry years old in 1999, when he analyzed most of them.

So they could not have been the product of a forger in 1999, let alone a group or syndicate of forgers, nor have came from a single recent source, nor had a common life history, and they were not new.

His call: no variation of any sort of “Robinson type” forger is even a remote possibility for the hundreds of paintings he had examined in detail.

A genuine Morrisseau from Potters Auction that had at least five provable generations of ownership.

The same genuine Morrisseau from Potters Auction that had at least five provable generations of ownership, complete with screw holes, staple marks, etc. But clearly by the hands of the master as certified by one of Canada’s top forensic scientists, who analyzed the signature and writing on the back.

What forger would do a huge painting on recycled cardboard as a way to get a sale?

Both of us had seen more of these Potter paintings, over a longer period of time, than had Donald Robinson, or any member of his staff.

These hundreds of paintings must be considered genuine first cousins or siblings of “FISH & SOMA 1976.”

- Blind Man’s Bluff - clearly Donald Robinson – unless he was totally blind – saw all this, and deduced this himself. It makes it incomprehensible that after viewing all the evidence he could possible claim that the paintings he saw – the very same ones the art restorer and I saw – could possibly have been the product of a forgery operation in 1999.

His claim is nothing short of preposterous, for a start…

- No Curatorial Forensic Skills or Credentials - it tells me that, not only is he completely unaware about the life history of Norval Morrisseau’s art, but even worse, that he has absolutely no clue about “age-burn” in art, on canvas, on paint, on acrylic, or how to interpret scuffing, holes, staple marks, soiling, paint abrasion, acrylic cracking, etc.

It gets worse: his preposterous claim confirms, inviolately, that he clearly has no clue about how impossible it is for anyone to try to manufacture all these widely diverse deteriorations into a huge work of original art, and do it so that no two canvases ever seem to have the same life history.

And all are unique creations, never copies of anything…

All for a market involving a few hundred bucks… Which the “creating forger” then has to share, first with the picker, and then with the auctioneer…

Where is there any profit for anyone in this supposed “forgery” scenario?

And then to keep on doing it, on and on, for years, on 4 or 5,000 works… Oh, and did I mention, never get caught…? Not even once… you know, for forging, or selling forgeries…

This certainly cements the claim that a very stupid forger indeed, must have been at work here… Don’t expect this ludicrous story line to get picked up for a movie script. It’s too idiotic even for teens.

The Robinson claim is nothing, if not preposterous…

Donald Robinson used his thirty odd years as a Canadian fine art curatorial expert as a base to draw on when he wrote his huge, 89 page, “expert report,” publishing all his evidence for calling “Wheel of Life 1979” a fake. (in Hatfield v Child)

A report that Judge Martial utterly dismissed: “The Court rejects his expert report and his conclusion that the Morellian analysis, style, colour, and provenance all pointed to forgery.”

The abused painting above has Norval's tell-tale DNA on the back which was used to certify it as genuine.

The much abused and holed painting above, has Norval’s tell-tale DNA on the back which was used to certify it as genuine.

- No Handwriting Analysis Expertise – Judge Martial (in Hatfield v Child) went even further, when he roundly rejected Donald Robinson’s strongly professed claim to having some kind of expertise in handwriting analysis saying “He has no formal training as an expert witness in handwriting analysis and his evidence is rejected.”

The Preposterous Mr Robinson – Robinson’s claims are all so totally and humungously preposterous; it raises the serious question why someone in possession of his faculties would possibly make the outlandish claims that these hundreds of Randy Potter paintings could possibly be the product of a forgery operation in 1999.

That is why I don’t believe that Donald Robinson, even for a minute, personally believed a single bit of what he said in public about the Randy Potter paintings.

Not one bit; it was only his public “claim” that he chose to make. For whatever personal reason.

Perhaps because he thought that the public was ignorant, dumb, or gullible, or all of the above.

My favourite memory of the Straight Arrow in a typical pose.

My favourite memory of the Straight Arrow in a typical pose.

The most damning thing of all, about his claim, is that it is only his personal claim, the claim of only one man, and repeated by his family and less than a handful of his business associates.

It was not shared by me, or any of the other 200 experienced Morrisseau collectors, who bought at Randy Potters over a ten year period, not one of whom ever brought back a single Morrisseau painting demanding a refund for having been sold a forgery.

A truly stunning truth, isn’t it?

It gets worse. In fact, the proof is incontrovertible that not even Robinson believed a single word of what he said in public, about the Potter Morrisseaus being fakes.

Exactly like every other Morrisseau buyer at Randy Potter Auctions, Donald Robinson never, ever, brought back a single painting either, never demanding a refund, or claiming even a single one was a forgery.

He wants Canadians to believe he just absorbed the loss of $54,000 for what he later alleged were forged paintings.

11 – “FISH & SOMA 1976” Expose Clear Preposterousness of Donald Robinson’s Claims:

- REJECTED #1: Robinson Claim – that all Potter paintings are fakes

The “Holy Trinity” authentication for “FISH & SOMA 1976” is the ultimate rebuff to Donald Robinson when he claimed, and testified in court, that all Randy Potter paintings were forgeries.

In fact every Randy Potter painting that has ever been evaluated by one of Canada’s top forensic document examiners and handwriting experts has come back certified as authentic, without a single dissenting finding.

Two Potter Morrisseaus won the biggest lawsuits for defamation in Canadian art history, one against the artist himself, and one against the Toronto Globe and Mail.

An astonishing summary of accomplishments of a random sampling on some 2,000 paintings Randy sold, especially considering that Donald Robinson called them “all forgeries.”

(A year after he had himself bought 31 of them for $54,000 – but never brought any back for a refund.)

- REJECTED #2: Robinson Claim – that all BDPs are fakes

The “Holy Trinity” authentication for “FISH & SOMA 1976” is the ultimate rebuff to Donald Robinson when he says all BDPs are forgeries, and testified in court that NM never signed his painting like that, ever, even once…

Both are signed in exactly the way Donald Robinson claims Norval never ever did.

Judge Martial, in the longest court case in fine art history, listened to the witnesses, and went over hundreds of pages of documents, and said he totally rejected Donald Robinson’s contention, absolutely, that Norval never used black drybrush paint to sign the backs. He also said Robinson had a huge conflict of interest in saying what he said.

In fact there are presently some 70 different forensic authentications, by top Canadian forensic scientists, of original Morrisseau BDPs that Robinson claimed were fakes.

And many more from different periods are being evaluated for publication late in 2013.

- REJECTED #3: Robinson Claim – that the Wanker 31, and Wanker 16 are forgeries

The credibility of Donald Robinson as a Morrisseau authenticator has been so roundly destroyed, by “FISH & SOMA 1976,” by his public statements, by independent forensic scientists, and now by the finding of Judge Paul Martial (in Hatfield v Child) that they utterly undermine his call that the Wanker paintings are forgeries.

He has been proven so utterly wrong, so many times, that the “Holy Trinity” authenticated “FISH & SOMA 1976” should speak for the Wanker paintings, not Donald Robinson and his gallery’s outreach workers at the Norval Morrisseau Heritage Society.

- REJECTED #4: Robinson Claim – that all Randy Potter BDPs were recent productions of a single or group of forgers operating in 1999 or after.

FISH & SOMA 1976” hanging on the wall at Potter’s had a bullet-proof pedigree that they were 24 years old and had come, through a turbulent life history, direct from Norval’s paint brush.

You might also ask: “How did two genuine “Holy Trinity” Authenticated paintings ever end up sharing wall space with a bunch of Robinson slanged supposed forgeries?”

The evidence is overwhelming that, in fact, they did not.

Hanging on the wall at Randy Potter Auctions: "Father and Son" which would be forensically authenticated and cost the CTVglobemedia some $25,000 for having fraudulently called it a fake.

Hanging on the wall at Randy Potter Auctions: “Father and Son” which would be forensically authenticated and cost CTVglobemedia some $25,000 in an out-of-court settlement for having fraudulently called it a fake.

In fact many of the paintings that hung on the same wall space were later forensically proven to be authentic. In fact every one that has ever been sent for testing has come back positive, as an authentically signed Morrisseau. With DNA certainty; without a single failing finding.

Others won successful lawsuits, and won huge payouts, from Conspiracy Theorists who dared to call them fakes, and paid mightily for their mistakes.

So the proof of origin – the provenance – for countless Potter BDPs has always been back to Norval. Making them all over twenty years old at least, not recent forgeries.

- REJECTED #5: Robinson Claim – to the MEDIA that “there are thousands of forgeries made by umpteen forgers”

Since 2001, Donald Robinson has claimed in the media that there are “thousands of forgeries made by umpteen forgers” out there.

Considering all the evidence “FISH & SOMA 1976” have exposed, it makes clear that all these claims aired over a period of some 13 years in the national media, have simply never been true and have wrongly misinformed lazy, gullible, and compliant journalists into publishing what I consider fraudulent claims to an unsuspecting Canadian public.

The mainstream media continue to be doing anything but practicing journalistic due diligence of any kind. They just hate to give up a pet Conspiracy Theory many have witlessly aired for some 13 years.

- REJECTED #6: Robinson Claim – to the COURTS that “there are thousands of forgeries made by umpteen forgers”

Since 2010 Donald Robinson has made court appearances claiming that, based on his expertise in handwriting analysis, etc., there are “thousands of forgeries made by umpteen forgers” out there.

FISH & SOMA 1976” have led the way to exposing how totally false his court testimony is. And the Courts have weighed in totally in support without the slightest equivocation.

In his finding, on April 2, 2013, Judge Paul Martial (in Hatfield v Child), categorically rejected the conclusion of Donald Robinson’s 89 page purported “expert report” which claimed “Wheel of Life 1979” was a forgery, saying, “The Court rejects his expert report and his conclusions.” Judge Martial stated categorically that “The painting “Wheel of Life” is not a forgery.”

And furthermore, Judge Martial also rejected Robinson’s testimony as an “expert witness,” saying, “He has no formal training as an expert witness in handwriting analysis and his evidence is rejected.”

It is the most roundly censorious denunciation of the expertise of a top member of the Canadian fine art community ever publicly aired by a leading establishment figure.

In fact it eerily echoes the warning issued by Justice Morgan in 1996 when he was faced with Donald Robinson as an expert witness in a tax court case where he had given huge valuations to some Morrisseau paintings assembled by a group of lawyers to donate to museums in exchange for a tax break.

Wrote Justice Morgan: “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 work when he is currently the exclusive distributor for Morrisseau’s new works in Ontario.”

Justice Morgan hugely rejected Robinson’s 1.1 million dollar evaluation, cut it virtually in half, and established a fair market value, for tax exemption for Robinson’s lawyer clients at $660,000.

- REJECTED #7: Robinson Claim – to have a right to launch SLAPP suits against investigative journalists to stop them from trying to find out what is going on in Canada’s fine art Morrisseau market and examine his Conspiracy Theory claiming forgeries

In 13 years of shouting that there are “thousands of forgeries by umpteen forgers out there,” neither Donald Robinson or any other Conspiracy Theorist has ever taken a single person, forger, forgery, or seller of supposed forgeries, to court. Not once.

Everyone has said for years, that’s for a simple reason: Robinson has never had proof of any kind on any level that would stand up in court that would back up his claims of forgery.

He very well knew that, which is why, even though many threats were issued he never took anyone to court for being a forger, making a forgery, or selling a forgery.

Judge Paul Martial (in Hatfield v Child), on April 2, 2013 made it clear in spades, exactly why Robinson has never dared to put a case with his proof in front of a judge.

Judge Martial utterly dismissed Robinson’s testimony, his expertise, his expert report, his conclusions, totally and absolutely without a single qualifier.

Pretty devastating to have a life’s work of some 33 years entirely, brusquely, and unceremoniously thrown into the trash in a public court proceeding.

Judge Martial said about as strongly as it’s possible to say, that Donald Robinson is no credible Morrisseau authenticator on any level. Not with his Morrisseau painting analysis as written in an 89 page expert report; and not with his claimed expertise in handwriting analysis which the judge also completely rejected.

Judge Martial’s rulings explain totally why the Conspiracy theorists have never taken anyone to court, but have just maligned and defamed people and their paintings in the media, on websites, on blogs, and in wild claims when dragged into court.

It also explains why they HAVE gone to court with SLAPP suits to attack investigative journalists.

And they have launched cyber attacks to try to have investigative journalist blogs removed from the internet.

12 – Summary Finding #7 – “FISH & SOMA 1976” Expose What Lies Behind the Robinson & Norval Morrisseau Heritage Society Cover-up & Veil of Secrecy

But probably the most important role of “FISH & SOMA 1976” is what they can tell Canadians about what lies behind the Cover-up & Veil of Secrecy hiding the secret operations and covert activities of Donald Robinson and the NMHS.

sign_wanker16bWhat is no secret, at all, is that Donald Robinson and the NMHS have been hiding, big time, from Canadians, the Wanker 16, their supposed forensic evidence of proof of forgeries.

To a degree that can only be comparable to the mafia, they have consistently and fanatically hidden their activities from the Canadian public. For years they have utterly refused to be transparent, honest, and open with Canadians.

They have collaborated with stealth, and breached clear protocols of academic transparency, to prevent Canadians from getting a peek at the back of the Wanker 16, those Randy Potter “fakes” that Donald Robinson told them to use as the markers for authenticating or rejecting real Morrisseaus.

They were doing Donald Robinson a favour, continuing to hide his “donated” paintings from public scrutiny by independent forensic experts exactly like he had done for years.

People wonder, what are they hiding behind those curtains?

People wonder, what are they hiding behind those curtains?

It is why “FISH & SOMA 1976” are so important. They let Canadians peek behind the Robinson and NMHS Veil of Secrecy, to see exactly what they are hiding there. Remember that, but for an accident of history, they would be in the pile of Wanker fakes that Donald Robinson and the NMHS have hidden away as their supposed proof of forgeries.

And establishes why the Wangkr 16 are in dire danger of being burned by the NMHS…

Since 2005, Donald Robinson and the NMHS have been collaborating in promoting the Conspiracy Theorist claim that there are thousands of forgeries by umpteen forgers, “out there.”

Though Robinson claims knowledge of over 4,000 fakes, and umpteen forgers, to pick from, he has never taken a single forger, forgery, person, or business to court, ever, in 13 years since he “discovered” the diabolical plot to fake thousands of cheap Morrisseaus.

He has also, never, not once, produced any independent forensic proof of any kind to support even one of his allegations of forgery. In a stunning variation from some 70 forensic reports that prove he is dead wrong in some 70 of his claims where he falsely claimed authentic paintings as fakes.

He claims as his “proof”: the Wanker 16. But he is utterly and totally secretive about them.

Donald Robinson and the Kinsman Robinson Galleries have steadfastly refused to publish pictures of the fronts of the 31 paintings he bought at Randy Potters (the Wangkr 31) and which they call forgeries.

Donald Robinson and the Kinsman Robinson Galleries have steadfastly refused to publish pictures of the backs of the 31 paintings Robinson bought so that Canadians can have the writing of the Wangkr 31 analyzed by top independent Canadian handwriting experts.

And the Norval Morrisseau Heritage society has dutifully kept up the secrecy, hiding the “proof” and just repeating, in public, what Donald Robinson tells them to say in private. The NMHS pronouncements and activities are clearly designed in the back rooms of the KRG.

They have just swallowed up, holus bolus, what Donald Robinson has told them when he dismissively calls the Wanker 16 lousy fakes. Which is all just propaganda to help Kinsman Robinson Galleries to corner the market on Morrisseau painting sales, by defaming paintings that their business competitors own or are selling. In this way they have succeeded in destroying the public appeal and salability of much of Canada’s First Nations art.

And the NMHS have been full and eager partners, for years in perpetuating this infamy.

How’s that for due diligence as credible academics?

Why have they secretly collaborated to hide these key paintings for 13 years from the Canadian public? And from the forensic scrutiny of independent experts?

What are they covering up?

The answer: “FISH & SOMA 1976.”

But for an accident of history both “FISH & SOMA 1976” would today be part of this diabolical Wanker cover-up… That’s why the DNA story they tell is so utterly important.

The Accident of History that Exposes the Shame of it All

Had we been a bit less passionate in our bidding, on Jan 26, 2000, Donald Robinson would have been the winning bidder on “FISH & SOMA 1976,” and the two canvases would have gone home to the Kinsman Robinson Galleries with Donald Robinson.

And instead of being publicized and celebrated on the internet, by us, for all the world to see, their life histories would have been covert, secret, furtive, hidden.

And so would the story they have to tell about cultural genocide…

This simple logo may be all Canadians will ever have left to remind them of 16 genuine Morrisseau paintings "destroyed" by the Norval Morrisseau Heritage Society.

This simple logo may be all Canadians will ever have left to remind them of 16 genuine Morrisseau paintings “burned” by the Norval Morrisseau Heritage Society.

On Death Row at the NMHS -FISH & SOMA 1976” speak for 16 paintings that can no longer speak for themselves, that are on Death Row at the NMHS, awaiting the order for execution from Donald Robinson…

And where they too, would ultimately have come – I predict – to a very bad end… Predictably what happened to books in Nazi Germany, or cultural heritage treasures that have been selected for cultural genocide and extermination. (It’s been done before in Canada, Iraq, and Pakistan.)

It’s exactly what Principal Conspiracy Theorist, and sometime Norval Morrisseau business manager, Bryant Ross of Coghlan Art, did in 2010, when he publicly defaced a genuine Morrisseau “Water Spirits” in Vancouver.

Bryant Ross, whose house at Aldergrove was the spiritual home of the Conspiracy Theorists publicly defaced a painting he, for years, tried to sell as an original Morrisseau, that was also praised by Ritchie Sinclair.

Bryant Ross, whose house at Aldergrove was the spiritual home of the Conspiracy Theorists suddenly, publicly, defaced a painting as a supposed forgery, when he, for years, had tried to sell it as an original Morrisseau. The painting was also publicly and effusively praised by Ritchie Sinclair.

He – exactly like Robinson and the NMHS – utterly refused to publish photographs of the signatures on the back of the painting, before he destroyed it.

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 it 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?

Why would Bryant Ross do that? For exactly the same reason his fellow Conspiracy Theorists are doing it… To conceal from History the truth of exactly what kind of artistic works they are actually destroying.

In short, thanks to our interference, in 2000, “FISH & SOMA 1976,” were saved from destruction. So they could testify and expose the Morrisseau Hoax.

Which is why we are letting them speak openly to the world of art lovers everywhere. And to anyone who believes that cultural genocide should be a criminal offence.

In Donald Robinson’s hands they would have been used to tell the story Donald Robinson wanted to tell on major claims and on key times:

– “FISH & SOMA 1976” would have become part of his proof that Randy Potter paintings are all forgeries

– “FISH & SOMA 1976” would have become part of his proof that all BDP paintings are forgeries

– photos of them would never have been published for Canadians

– photos of their backs would never have been published for Canadians

– “FISH & SOMA 1976” would have been given by Donald Robinson to James Wang to help him concoct his notoriously bogus science report in crafting his computer profile on exactly what a Morrisseau forgery looks like: namely “FISH & SOMA 1976

– “FISH & SOMA 1976” would have been used as part of the NMHS database bench mark for selecting, for extermination, unacceptable kinds of Morrisseau paintings; to become the determining NMHS benchmarks for cultural genocide.

– “FISH & SOMA 1976” would have been used by the NMHS to decide which look-alike group of paintings they would burn at next month’s kaffeeklatsch meeting of the Directors.

13 – Numerous Acts of Academic Malfeasance by the Norval Morrisseau Heritage Socitey

The Utterly Fraudulent Wang Report: Garbage In = Garbage Out

wang_report_title600

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

Dr. Wang is mostly famous for having the infamous Robinson Wankers named after him, in honour of him taking part in producing the most bogus scientific report ever to bedevil the Canadian fine art market. And for refusing to produce his baseline research materials for independent analysis.

NMHS Academic Malfeasance Fiasco 1: Professor Wang -

sign_wanker35bIn 2009, Donald Robinson, in collaboration with members of the Norval Morrisseau Heritage Society, sent pictures of 35 Morrisseau paintings (the Wangkr 35) to the very gullible Dr. James Wang of the University of Pennsylvania.

Dr. Wang likes to reduce pictures to numbers for his computer to crunch, so he can then make statements about the results

sign_wanker16bRobinson spoon fed the academic scholar one pile of 16 Morrisseau paintings he called “fake” Morrisseaus (the Wangkr 16). We call them Donald Robinson’s “Wangkr” paintings, for Wang & Kinsman Robinson.

But for an accident of history, “FISH & SOMA 1976” would have ended up in both Donald Robinson’s, and later the NMHS Wanker pile.

Donald Robinson carefully put his Wankers into two piles for Dr. Wang.

Donald Robinson carefully put his Wankers into two piles for Dr. Wang.

Robinson and the NMHS also spoon fed Dr. Wang another pile of 19 paintings which they called “authentic” Morrisseaus (the Wangkr 19). The good professor then adopted Robinson’s nomenclature and his dual piles of data, being a pile of supposed “fakes,” and a control group of supposed “authentic” paintings, either Morrisseaus, or Burrowsseaus. We do not know which… And, of course, neither did Dr. Wang…

He accepted the piles, the nomenclature, the whole shooting match, etc., entirely on faith, more like a preacher, instead of with due diligence like an academic.

Then Robinson directed Professor Wang to design a computer profile for each pile of paintings. Obviously, regardless of what you put in each pile, the profiles the good professor would compile would be different.

Oprah’s Dresses - For instance, putting a pile of Oprah’s fat dresses from the 1980s in one pile, and making a computer profile, would produce a different result than that from her slim pile of dresses, from the late 1990s. The computer printouts would, entirely predictably, and understandably, give different profiles, allowing any ignoramus to say that “See, the different computer profiles clearly proves the dresses are not from the same woman.”

Which is a good way of showing how the validity of any computer model can be hugely undermined by the “garbage in; garbage out” contamination of results.

The problem with contaminated computer data started long before Professor Wang came on the scene. It happened in the Kinsman Robinson Galleries when Donald and Paul Robinson carefully selected the “Wangkr 16” paintings they wanted Professor Wang to consider part of the fakes pile and those they wanted him to consider authentic, the “Wangkr 19.”

zemanovich_john190The Robinsons also had a stock broker, neophyte art collector, John Zemanovich to help them pick the paintings for Wang – or at least go along with their picks. Zemanovich’s input was important enough – perhaps he gave Dr. Wang some good stock picks – as he is the only person in the entire world, thanked by the professor beyond Robinson and the NMHS… Clearly Robinson thought highly of the stock broker too.

It was Robinson who had invited Zemanovich to do the Wang thing; Robinson also thanked Zemanovich in his “expert report” for “Wheel of Life” which he presented in the Hatfield v Child case.

(This is the same “expert report” that Judge Paul Martial slammed, on April 2, 2013, saying, “The court rejects his expert report and his conclusion” and furthermore rejected Robinson’s call that the painting was a forgery as he had claimed, because, “He has no formal training as an expert witness in handwriting analysis and his evidence is rejected.” Perhaps Robinson can blame this fiasco on too much input from his stock broker colleague…)

It was the same common sense rejection of Robinson’s expert analysis that I had made. The electrical engineer clearly lacks credentials on any level to indulge in such academic flights of fancy as he did in his expert reports, just because he thinks they’re useful to promote the business advantage of his art gallery.

But all this just seems to go over the heads of the tittering and misguided so-called academics at the NMHS.

For how many years was Zemanovich listed as a director on the ultra secret NMHS? The page was last updated in January 2012.

BEFORE – For how many years was Zemanovich listed as a director on the ultra secret NMHS? The page was last updated in January 2012. It was mysteriously revised late on a Saturday night, March 30, 2013.

Appointments to the NMHS - Zemanovich was at some point also secretly appointed a director of the NMHS – according to several postings on the database at Open Corporates, which listed him on the internet alongside the other seven member Directors.

I wonder who orchestrated putting that stockbroker and KRG crony in there…? Who has that kind of power?

But there is a clue.

In 2008, when Ritchie Sinclair physically threatened and verbally attacked Joe McLeod – which led police to charge him with Criminal Harassment – one of the things he blurted out in a tirade, was his apparent angry charge that “Donald Robinson had not appointed him to the NMHS.”

“A. He came into my gallery and, uh, I did not know him. I think I might have seen him two or three times. And, uh, he was irate because he had not been asked by Kinsman Robinson to be part of the Norval Morrisseau Heritage, uh, Society. And I was shocked…” (Court Trans/Otavnik v Sinclair: Mar 18, 2010 , p31)

A big, wet kiss from this man is not a good omen...

He claimed to be a member of the Norval Morrisseau Heritage Society.

This was all news to McLeod, but it was clear proof that Sinclair certainly believed Robinson was the “behind-the-scenes” operator with the power to confer membership to the NMHS, or to deny it.

Rejection was not something that ever stopped Sinclair. Two years later, in a police deposition he would claim, as part of his bio to the investigating officer, that he was a member of the NMHS…

But of course everyone else – just like Sinclair – always knew the back room kind of shenanigans that had been going on for years, and who the powers that be, were, while the misguided NMHS academics kept on pretending to an arm’s length distance from the Kinsman Robinson Galleries of Toronto, and Donald Robinson.

Whatever happened to that arm’s length thing about no connection to a business operation? Now Zemanovich, a stock broker, put as a director on the NMHS? A clear and documented intimate of Donald Robinson…

Within two hours of posting that KRG business associate and confidante John Zemanovich was posted as a director of the NMHS, his name was unceremoniously expunged from several of these corporate listings.

AFTER – Astonishingly, within two hours of a posting, on March 30, 2013, that KRG business associate and confidante John Zemanovich was listed as a director of the NMHS, his name was unceremoniously expunged from several of these corporate listings, late on a Saturday night, no less. Don’t people have lives…?

When this Zemanovich information was published, on March 30, 2013, on the Matulic blog, noting that Zemanovich had no real academic qualifications for membership, beyond being a stockbroker, a friend of Donald Robinson’s, and one of his enforcers, along with Mark Anthony Jacobson, the fall out was virtually instantaneous.

On March 30, 2013, within two hours of that fact being posted on the internet, the name of John Zemanovich was instantly removed as a Director from several official NMHS Director members’ web pages.

Somebody in this most secret of societies, apparently had the decency to be embarrassed… And ordered his name removed… like, instantly, late on a Saturday night…

Alas, in the days of screen grabs, you can run, but you can’t hide.

So in a real sense the books were cooked long before the fakes data picked by the Robinsons and Zemanovich was sent to the gullible and hapless Professor Wang. The professor became, and acted, the unwitting and unquestioning academic dupe.

Note: This kind of phony research happens regularly with Big Pharma, where test results are cooked, because by fudging the research results, they can make billions for themselves. So what’s a few deaths here and there; or a few paintings wrongly burned?

In fact Donald Robinson ensnared the gullible doctor by feeding him totally contaminated data in the Wangkr 16 fake pile.

Remember, but for an accident of history, the Holy Trinity authenticated “FISH & SOMA 1976.” would have ended up distorting the profile of Professor Wang’s “fake pile.”

Robinson Art Gallery Secrets Exposed – Which brings up the question: just what the hell did Donald and Paul Robinson select to go into the “fakes pile” for Dr. Wang?

What did they chose? And why did they choose it?

They have kept their selection process a tenacious Robinson gallery secret, for years.

Family secrets are fine of course, and they’re entitled to hide whatever skeletons they may have in their family closets.

But not when they are seeking to impose their family “values” on the entire world of Morrisseau paintings, on the art heritage of Canada’s top Aboriginal painter, and involve themselves in committing, what countless Morrisseau collectors and retailers charge, is cultural genocide on a massive scale, destroying in the process, millions of dollars of art value in the hands of their business competitors.

In a court case in Toronto, on Mar. 5, 2012 longtime art dealer, Jim White, claimed the total financial damage caused by Robinson and the Conspiracy Theorists is somewhere in the 100 million dollar mark.

What is pretty clear to me – knowing that but for an accident of history “FISH & SOMA 1976” would have been in the Robinson “wanker” pile – is that the Robinsons, father and son, probably included other genuine paintings – like “Fish & Soma 1976” – painted by Norval Morrisseau, in the so-called pile of fakes.

sign_wanker16bIn fact I have not the slightest hesitation in saying that I believe all Wanker 16 paintings are original Morrisseaus, and is the reason why both Donald Robinson and the NMHS have been so feverishly secretive in refusing to let independent professionals look at what they call fakes, or publish any pictures of them.

That’s exactly like the police telling a small community that there’s a diabolical child molester in their neighbourhood, but they’re not going to tell you who he is, or publish his picture so you can be on guard for your children’s sake…

I believe both Robinson and the NMHS all damn well know the Wanker 16 are real too.

They’re just waiting to craft an exit strategy, from the biggest Hoax in Canadian history. Or as Donald Robinson called it in court, “the greatest fraud in Canadian art history.” He should know; he created it.

Canadians should be greatly concerned that one exit strategy which I believe is more than real is that the Wanker 16 will be burned to hide the evidence.

Aaron Milrad, Norval’s lawyer, is the apparent source in an article by Anthony Westbridge, of Westbridge Publications, in 2005, that “destroying” paintings they don’t like is a clear option for the members of the newly formed NMHS.

So clearly it sounds like Milrad, was prepared to give new members a can of gas and a match to carry out their mandate to “safeguard” Norval’s art heritage and keep it from being despoiled by “so-called” forgeries, you know, those picked by Donald Robinson.

Picked with the same expertise that caused him to call “Wheel of Life 1979” a forgery, a claim which Judge Martial totally dismissed, along with all the expertise Robinson marshalled to support his claim.

And just to cover their collective behinds, Milrad was making everyone who submitted paintings for evaluation, to sign waivers, to not prosecute or sue NMHS members for “destroying” paintings or mistakenly calling them fakes.

It’s indulging a passion for pyromania with paintings, without fear of consequences.

Garbage In=Garbage Out – Dr. Wang was clearly “used” – I would say “abused“ is more correct – to concoct a computer model that Donald Robinson then went on to claim that can now be used to tell fakes from authentic paintings. Dr. Wang’s report, totally fits the classic “bogus science” formula for computer modeling learned by every high school computer science class: Garbage In = Garbage Out.

Robinson would have you believe that any data that conforms to the “thin dress profile” is Oprah; anything that matches the “fat dress profile” is not her.

These tiny pictures are all that Dr. Wang ever published of his baseline data for his study. He labelled the two piles but he was told what went into each. So his data was contaminated and the results pre-ordained before he began.

These tiny pictures are all that Dr. Wang ever published of his baseline data for his study. He labelled the two piles but he was told what went into each. So his data was contaminated and the results pre-ordained before he began. He refused to produce or publish either pictures of the front or the back of the Wanker 16, which he claimed were the fakes, picked by Norval, who had died two years before…

The trouble is that no independent experts of any kind were involved in making the fakes or the authentic selections. Donald Robinson and Paul Robinson alone, along with their complicit and compliant outreach workers in the NMHS – it was credited as participating in the hoax – cooked the books on this one, by agreeing what would go into the fakes pile, and what would go into the “authentic” piles.

Wang saw an easy way to make a buck and didn’t really press for details. His sole rationale for the Wangkr 16 fakes pile was a one-liner that said Morrisseau claimed the paintings were forgeries.

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

Wang’s mumbo-jumbo, looks impressive, until you examine what really went on with the handling of the picture data given to him.

Wang did not confirm this, as any responsible academic doing due diligence would have. Norval had been dead for two years so Wang just believed Robinson. He had no way, or interest, in double checking on Robinson’s claims. Hell he wanted his lab work contract, and so he gave Robinson the two profiles, from the two piles he requested, no questions asked.

Shame on you Dr. Wang. We know of at least one person whose assets were financially damaged by Donald Robinson’s bogus science finding, provided by a gullible academic, and who has threatened to sue Dr. Wang and his university for malpractice.

With – we repeat again, but for an accident of history – data from the “Holy Trinity” authenticated “FISH & SOMA 1976,” and similar authentic paintings, would have been loaded into the Wang “fakes” profile.

The Wangkr 16 fakes, would have become the Wangkr 18 fakes, and would have confirmed that at least two – I firmly believe all 18 – would have been authentic Morrisseaus, that had only one unhappy association: the Robinson family wanted them and their ilk to be gone from the art market that was competing with the paintings their family wanted to sell.

So, to me, the Wang study is exactly as reliable as the “Big Pharma” studies. (At least the ones that result in successful class action suits.)

In fact, on their website blog, Donald Robinson and Paul Robinson openly use and quote the Wang Report as if the good professor from the University of Pennsylvania had identified the forgeries, with academic (I say pseudo-academic) certitude, and developed a computer profile to help people tell real ones from fakes.

Now how’s that for a clear, gross, and absolutely dishonest and self-serving abuse of modern science?

Their blog publication is deliberate Robinson family corporate propaganda and intends to convince their readers by saying – in my words: “see an American professor has analyzed the fakes and says he can see a clear, scientifically measurable difference between the authentic and the fake Morrisseaus. So there really is academic proof the fakes exist.”

They don’t tell their clients about Oprah’s computer profiles; that she had both fat and thin stages or phases, with dresses to match each. Their claim: one is Oprah; the other is not…

Jack was a rogue, like Norval. The photographic record makes clear that he had a specially warm and intimate relationship with the artist that no one else would come close to having ever again.

Jack was a rogue, like Norval. The photographic record makes clear that he had a specially warm and close relationship with the artist that no one else would come close to having ever again.

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

It’s a totally fraudulent use of a professor, of an academic institution, of the art of Norval Morrisseau, and flies in the face of the common sense of virtually everyone on the planet.

Entirely predictably, considering the travesty of the academic hocus pocus of what Robinson and Wang were involved in – one knowingly, the other just gullible beyond belief – they both hid their scientific data from independent researchers, and refused to publish photos of the front and backs of the subject paintings, neither the authentic pile nor the fakes pile.

Why not?

Contrary to every rule of international academic practice, and every protocol of scientific research, the academic data on which the fake Wangkr 16 and the authentic Wangkr 19 profiles are based have been hidden from the academic community and from the Canadian public since 2009. Instead the crafty businessman and the gullible professor chose to engineer a huge cover-up of diabolical proportions.

Why would the Robinson family hide the research data from scrutiny by the Canadian fine art community and the Canadian scientific academic community?

Which is why “FISH & SOMA 1976” are so absolutely important in figuring out exactly what was in the “Wangkr 16” pile of Robinson “fakes.” But for a slight accident of history, both “Holy Trinity” authenticated paintings would have been buried in it.

I have absolutely no fear of saying, with a degree of certainly of somewhere around 110%, that the overwhelming majority – if not all – the supposed fakes embedded in Donald Robinson “Wangkr 16” profile were, in fact, authentic Morrisseau BDPs from the 1970s, that were signed on the back exactly like “FISH & SOMA 1976.”

And that’s why they have hidden them from Canadian scientists and independent Morrisseau researchers, and the Canadian public.

There can be no other reason.

In other words Dr. Wang’s fakes profile shows only which type of Morrisseau’s genuine paintings the Robinson family wanted the world to consider fakes (we already know what those are: 1970s style BDPs, most of which were in the hands of their business competitor’s in the secondary Morrisseau art market.)

And also – there’s another story here which we will address later – which paintings the Robinsons wanted the world to consider “authentic.” Were they Morrisseaus, or Burrowsseaus?

Needless to say, Professor Wang couldn’t tell an authentic from a fake Morrisseau, himself, unless you paid him and showed him how to make a finding… That’s his escape hatch…

Donald Robinson and the NMHS were credited with being on hand to help the good but gullible professor to reach the proper conclusion with his utterly ludicrous computer modeling profiles in how to tell a fake from a real Morrisseau.

sign_wanker35bThe only proof that could possibly prove me wrong in all this is if Professor Wang released his 35 photos, the Wangkr 35 – both front and back – for independent scientific analysis – which he has steadfastly refused to do, for years, and I predict will never do, because he was paid, as a contract worker, to keep it all quiet. And publish only what the Robinson family and their fellow Conspiracy Theorists – Phillips, Hill et.al. – would allow.

Wang probably signed a gag order.

Wang will never talk, and so he can properly be accused of using his research and the name of his university to aid and abet the cultural genocide against Canada’s Aboriginal people.

Or, failing Wang’s disclosures, if the Robinson family releases its photos, front and back, of the fakes and of the authentic control group, for independent scientific analysis – which it will, also, never do because its reputation would never recover from the totally predictable findings.

Which leaves us with, well…

You know, “FISH & SOMA 1976” again… Their BDP first cousins, brothers and sisters, aunts and uncles, are all in that Wangkr 16 pile of fakes so jealously guarded from curious eyes, by Donald Robinson and his outreach workers at the NMHS… I guarantee, with a certainty of around 110%.

They can prove me wrong, in an instant… Just by publishing.

I’m not afraid for a minute that they ever will. They’ll burn the paintings or close the NMHS before that ever happens…

Which Dear Diary, is, as you know already, exactly why they have refused to do the right thing voluntarily in the many years since 2009, come clean, and publish their forensic proof for all Canadians to see.

Because they – no surprise here – the Robinsons and the NMHS were only involved in a business initiative to promote the Kinsman Robinson Galleries and the paintings it had for sale.

And to use Wang to cover up a corporate assault on their business competitors with a faux patina of academic certitude.

Note: The Wang Report was referred to as part of Donald Robinson’s “Wheel of Life Expert Report,” which Judge Paul Martial (in Hatfield v Child) so totally rejected as having no merit at all, on any level. Saying that the man who wrote it had no credentials on any level that the judge would accept as confirming some kind of expertise.

What Judge Martial, in effect, was telling us is that, if Robinson is so totally wrong – stridently calling a genuine painting like “Wheel” a fake – then what about his credibility when he calls the Wanker 16 fakes.

They’re from the same source, the same auction, the same pickers, the same dealers, and from the same Morrisseau period, and share the same writing on the back.

How would they fare in front of Judge Martial’s eagle eye, and his rigorous application of the protocols of due diligence?

NMHS Academic Malfeasance Fiasco 2: Utterly Discredited Academics on the NMHS

There is no more discredited organization in Canadian history that I know of, which compares to the Norval Morrisseau Heritage Society.

Its members – almost all gullible kaffeeklatsch urban white academic types, and a stockbroker friend of Donald Robinson – were thanked in the credits for participating with the Robinson gallery in the academic sleight of hand called the Wang Report.

They were willing participants in cooking the books, for the Wangkr 16, letting the Robinson gallery lead them by the nose, refusing to do due diligence themselves, to ascertain exactly what was in that “fakes pile” given to Dr. Wang.

Rather than using their brains, they buried their heads somewhere…

They – mostly of academic backgrounds – approved keeping the Wangkr 16 and Wangkr 19 research date secret from the Canadian public and worse, from independent scientific analysts.

They aided and abetted a small family owned and operated business into manipulating a trusting but gullible American academic into creating a totally fraudulent computer model which was then used to attack the secondary market paintings of their business competitors, over which the family had no other control.

The NMHS complicity in the Hoax of the Conspiracy Theory of thousands of fakes by umpteen forgers, and its willingness to be compliant was so huge, that Donald Robinson had no difficulty in turning over his “fakes pile” of paintings to the group for “safekeeping.”

He knew he could count on this group of KRG outreach workers to keep the compromising data secret from the Canadian public and Canadian academics.

It gets worse.

NMHS Academic Malfeasance Fiasco 3: Hiding Robinson’s Potter BDP Paintings

sign_wanker16bFar from only hiding the Wang data, the NMHS further increased its malfeasance by also refusing to publish photos of the front and back of the paintings Donald Robinson said he gave them (the Wangkr 16) to use as their own bench mark for deciding which Morrisseau paintings are authentic and which are forgeries.

This is utterly outrageous: one man’s art gallery decides which of the 10,000 Morrisseau paintings get recognized as real and which as fakes, all based on his corporate agenda for his family-owned and operated business.

More “garbage in; garbage out” manipulation by the Principal Morrisseau Dealer.

And the NMHS members have, for years, consistently secretly collaborated against Canadians to keep the “Wangkr 16” paintings secret.

I believe I know exactly why. And I have proof.

But for a small accident of history, the “Holy Trinity” authenticated “FISH & SOMA 1976” would at this very moment be in the possession of the NMHS, right in among all the other so-called fakes (the Wangkr 16) that Donald Robinson stored with them.

And Ruth Phillips and Greg Hill would be denouncing them both as Wangker fakes.

And I have not the slightest doubt, with the certainty of something around 110%, that the other paintings, also Robinson-sourced, the Wangkr 16, that they are using as a benchmark are signed on the back exactly like “FISH & SOMA 1976.”

That, far from having a benchmark of real fakes, the NMHS is, in fact, using genuine BDP Morrisseaus from the 1970s as the control group (the Wangkr 16) to attack BDPs which are mostly in the hands of business competitors of the Kinsman Robinson Galleries.

The NMHS “Wangkr 16” benchmark is used to weed out real Morrisseaus that the Robinson family does not want recognized by Morrisseau collectors, the Canadian public, forensic scientist, or Posterity, so they can continue to sell only their own “Robinson family brand” of Morrisseaus, or Burrowsseaus, whatever…

And the gullible NMHS has become the willing instrument that Donald Robinsons uses to carry out his destructive task.

KISSING COUSINS - A fine photo that shows the lovingly close relationship between Kinsman Robinson Galleries, Conspiracy Theorist extremists and members of the Norval Morrisseau Heritage Society. In loving embrace with Trudy Nicks, from the Royal Ontario Museum and an NMHS director, are John MacGregor Newman (KRG),  Mark Anthony Jacobson, who is an aggressive "enforcer" for the Conspiracy Theorists. At the far left is Donald Robinson, trying, as always to distance himself from his more than cosy relationship with members of the NMHS. Photos of its members always exclude him because everyone knows he's the 800 pound gorilla in the room.

KISSING COUSINS – A fine photo that shows the lovingly close relationship between Kinsman Robinson Galleries, Conspiracy Theorist extremists and members of the Norval Morrisseau Heritage Society. In loving embrace with Trudy Nicks, from the Royal Ontario Museum and an NMHS director, are John MacGregor Newman (KRG), and Mark Anthony Jacobson, who is an aggressive “enforcer” for the Conspiracy Theorists. He ran the second most vile website in Canadian history, attacking forensically authenticated Morrisseaus, and the people who owned them with every vile word in the dictionary, and many which are not. At the far left is Donald Robinson, as always studiously trying to distance himself, publicly, from his more than cosy relationship with members of the NMHS. Photos of its members always deliberately exclude him because everyone in Canada’s fine art business community knows he’s the 800 pound gorilla in the room.

NMHS Academic Malfeasance Fiasco 4: Greg Hill Rewrites History for Robinson

Greg Hill of the National Gallery of Canada hired Ruth Phillips to write for his Norval Morrsisea catalogue in 2006. He has made numerous fales evaluations on genuine Morrisseaus that forensic scientiest have overturned. The daring duo, from Ottawa, live in the town that relies on scientist more than any other in Canada, and yet they - all academics themselves - Browne, Phillips, Hill - sneer at their expertise to validate signatures in art.

Greg Hill of the National Gallery of Canada hired Ruth Phillips to write for his Norval Morrsisea catalogue in 2006. He has made numerous false evaluations on genuine Morrisseaus that forensic scientists have overturned. The daring duo, from Ottawa, live in the town that relies on scientists more than any other in Canada, and yet they – all academics themselves – Browne, Phillips, Hill – sneer at their expertise to validate signatures in art.

Greg Hill, of the National Gallery of Canada, as early as 2006, showed his willingness to be a compliant tool for Donald Robinson’s family business initiatives, probably hoping he wouldn’t get caught, as a top civil servant, for collaborating to promote the agenda of a private businessman.

No such luck; since some of us read…

Greg Hill is, currently, the Curator and head of the Department of Indigenous Art at the National Gallery of Canada. He was appointed just three months before Norval died. As an assistant curator, since 2002, in the NGC’s Contemporary (non-Aboriginal) Art department, he had set up the (frankly embarrassing) retrospective exhibition on Norval Morrisseau in 2006.

In the “Chronology” at the back of the National Gallery Catalogue for Norval’s retrospective show in 2006, Hill wrote a one line entry which he no doubt hoped no one could ever catch. Only one line, but it is damning for what it betrays, about Hill, his mind-set, and others…

“1991 – Kinsman Robinson Galleries is declared the exclusive representative of Morrisseau’s work as a result of an increase in the number of forged artworks appearing in the marketplace.” (“Norval Morrisseau: Shaman Artist,” p 179.)

cat_krg_1991

This is a preposterous and totally fraudulent entry which is not referenced to any literature I’ve seen anywhere. It is also not what Robinson, or anyone else, has published anywhere else either. No documentation exists about it anywhere.

This is pure bumph either entirely invented by a mindless civil servant or perhaps whispered in his/her ear at a KRG kaffeeklatsch.

It seeks to establish fakes as a big problem in 1991. Which is absolutely, a bald faced lie, and a corporate machination and manipulation of the highest order.

Even six years later, when they could have “let it all hang out,” you know about all those diabolical “forgeries,” Robinson in his own book, “Travels to the House of Invention,” wrote only a couple of dismissive lines about fakes.

And Norval, in his own long article, in the same book, chose to write nothing at all… The truth in their own writings is incontrovertible: fakes were not a problem, to either of them, whatsoever in 1997. So how could they possibly have been, six years previously, in 1991, when nobody, anywhere wanted a damn Morrisseau painting at any price. Other than for $25 or $50.

In fact, Robinson published elsewhere, at the beginning of his “Expert Reports,” which he prepared to use to defame and devalue his business competitors and their art assets, that the reason Norval signed a contract with him in 1990, was Robinson’s convincing argument that Norval’s prices were so absolutely lousy everywhere in Canada, that he needed Robinson and his marketing plan to boost them…

We know Hill made up the totally fallacious entry; it’s his book. If Hill knew his Morrisseau stuff – which he clearly does not – he would have known what a preposterous lie he was publishing. That he agreed to write it shows what an absolute toady he is, allowing himself to become a willing tool in the hands of any corporate manipulator who flatters him.

He obviously had not read any of the literature available on Norval.

Who put him up to writing such nonsense? In fact into making up such a totally fraudulent entry? We’ll let you guess…

It was clearly academic malfeasance of the highest order. Trying to rewrite history that never happened, in order to try to influence events in our day.

It is a shameful deed to have done. For an academic of any kind. For a civil servant academic in a leading role at a top Canadian cultural institution, it is outrageous and should be a firing offense.

Demonstrably Hill is not a credentialed historian; Hill is not an investigative journalist. So he has no background that would teach him, or prepare him, in how to handle historical evidence or write factual information honestly or fairly.

When he clearly was in need of it, big time.

Hill is an artist. He is also of First Nations background.

Which hurts.

Because he has allowed himself to be used by a small group of white men around Norval Morrisseau’s wheelchair, to help them commit cultural genocide against the art of Canada’s top Aboriginal artist.

His gullible, willing, and complicit partnership with the Conspiracy Theorists has destroyed millions in valuation in Canadian Aboriginal art. Just ask any gallery owner who specializes in First Nations art.

His gullible, willing, and compliant activities have destroyed millions in valuation among all Canadian First Nations art, as his irresponsible charges of forgeries has scared away, in panic, countless buyers who formerly loved to buy art by First Nations artists.

Nobody wants Aboriginal art when people like Greg Hill and his equally ill-informed partner in cultural genocide, Ruth Phillips, pontificate – entirely without credible, independently certifiable evidence of any kind – that the Indian market in Canadian art is shot through with thousands of forgeries.

Hill and Phillips’ unthinking support for malicious attacks by white men involved in cultural genocide of First Nations art is unforgivable.

Duncan Campbell Scott is the godfather of those who preached assimilation of Indians, and was an advocate of "Killing the Indian in the Child." He is the spiritural font for the National Gallery of Canada, which until 2006, had religously excluded Aboriginal Art from its mandate, and had never in its 120 year history ever had a feature show for an Aboriginal artist, because they, were not considered capbalby of producing art on a level with non-Aboriginal artists.

Duncan Campbell Scott is the godfather of those who preached assimilation of Indians, and was an advocate of “Killing the Indian in the Child.” He is the spiritual font for the National Gallery of Canada, which until 2006, had religously excluded Aboriginal Art from its mandate, and had never in its 120 year history ever had a feature show for an Aboriginal artist, because they were not considered capable of producing art on a level with non-Aboriginal artists.

And they do it – the racist Indian Agent, Duncan Campbell Scott*** would love them for this – because they commit repeated acts of cultural genocide in the face of some 70 forensic reports by three different top Canadian forensic scientists whose findings make it clear they are not only wrong, in what they claim, but malicious and defamatory, in persisting when the facts are in.

***Scott was the longtime head of Indian Affairs in the early 20th century (1913-1932) who promoted and supported the Indian residential school system towards cultural genocide in his attempt to “kill the Indian in the child.” We were not told this in school when we were forced to study and recite his poetry.

Hill is also the first Aboriginal person to head a curatorial department at the National Gallery of Canada, which has a long and passionate history of racist exclusion of art by Canada’s Aboriginal Peoples.

It is a cultural tragedy that the very first action he involved himself in is an act of cultural genocide on a parallel with the racist attacks that the Canadian government carried out against the potlatch art regalia of the Kwakwaka’wakw people at Alert Bay, BC in 1921.

Hill’s only defence is that – my words: “Hell, don’t blame me. I’m only an artist; I paint whatever comes into my head. And that’s how I write stuff too. That’s how I came to write that thing in the catalogue. I must’ve heard it somewhere so I thought, heck why not? Must be true. I had nothing else to write for 1991, so I said, Ok, let’s put that in there.”

Then again, Hill not being a historian just confuses his facts and dates which is common among amateur writers.

Again under Chronology, this time for 2001, he writes “Alleged forgeries begin to appear at auctions.”

cat_krg_2001

So do the forgeries first appear in 1991, or 2001?

Either date is wrong anyway, because Robinson claims he started noticing the auction forgeries in 2000. What Hill meant to say, was that in 2001, Robinson first publicized his recent “discovery” that there were alleged forgeries at auctions. Using a gullible journalist who was every bit as malleable as Hill was.

Those are the correct dates, not that spurious entry for 1991, which Hill apparently put in for no other reason than to please a business associate.

Hill, of course, is a pawn, also in the hands of history.

When I lived in Africa as a teacher educator for two years in the 1960s, I read “Black Skin; White Masks,” Frantz Fanon’s study of the psychopathology afflicting intellectuals in post-colonial societies, of how, especially educated Blacks, because of inferiority complexes imposed on them by white institutions in which they try to climb the hierarchy, ape the values of their self-declared “betters.”

The National Gallery of Canada, has had a long and passionate racist history in excluding, the art of Canada’s Aboriginal Peoples from its corridors, as being unworthy of sharing wall space with Canada’s white artists.

Only in the 21st century has Canada’s premier art gallery come to accept the inevitable, that Aboriginal artists are every bit as worthy as non-Aboriginal artists, which every other art gallery and museum around the world has long accepted as normal.

Note Hill's carefully chosen word "acquires" which in fact, covers the fact that these paintings were not actively pursued by NGC staff, but were in fact, "donated" by concerned citizens, and grudginly "accepted" by NGC bureaucrats. The donors hoped that in this way Canada's Indian children coming to visit could have something to identify with in the nation's premier art gallery.

Art Apartheid – Note Hill’s carefully chosen word “acquires” which serves to cover the fact that these paintings were not actively pursued by NGC staff, but were actually, “donated” by concerned citizens, and only grudgingly “accepted” by NGC bureaucrats. Remember, they spent none of their precious “acquisitions budget” on Norval but used it to buy art from European artists from Italy, and France. The donors hoped that in this way Canada’s Indian children, coming to visit, could have something to identify with in the nation’s premier art gallery. Neither painting ranks among Norval’s best works, but merely serve to underscore the systemic racism that long held sway at the National Gallery of Canada whose hidebound white bureuacrats long enforced art apartheid to make Canada a less than friendly place for Canada’s Aboriginal peoples and their artists.

The most damning indictment: that while the best art of white artist Tom Thomson is in the NGC, the best work of Norval Morrisseau is all in the hands of private collectors. As late as 2000, when Norval was effectively on his deathbed, the NGC had in its vaults only two minimal works by Canada’s top Aboriginal artist, neither of which it had paid for, but which were donated by two Canadians who were embarrassed by the racist exclusion from the premier art gallery of the nation.

The racist values of the NGC staff were so ingrained that no Aboriginal artist had ever had a show in Canada’s premier art gallery, neither Inuit nor First Nations.

The NGC, like Scott, relegated Indian art to the museums where “souvenir Indian stuff” is kept and displayed. Gallery officials had not considered Indian art as a living art, as practiced by white artists.

When the racist posture of the NGC could no longer be maintained against the clamour by outraged Canadian art lovers, and the knowledge that Morrisseau – Canada’s top Aboriginal artist – was in his death throes, and could die before they lowered its racist walls, its executives quickly arranged to mount a show.

In what I consider the worst case of elder abuse in Canadian history, they carted in Norval’s body for a show-and-tell in 2006. (Norval told Macleans’ John Geddes in 2003, that he didn’t care for that kind of public hoopla. Unlike his white business handlers who thought “a dog-and-pony show” was key to promote sales.)

So the government bureaucrats quickly seconded Greg Hill – remember he’s an Indian – to be reassigned from their “Contemporary Art” department to do the part-time job of mounting the Morrisseau retrospective.

It is in this hostile and racist bureaucratic environment that Greg Hill – landed in the job of putting a show together and writing a catalogue, not as much to celebrate Norval, but to help cover up the clearly racist a#$$ of the NGC’s history and total lack of expertise in Aboriginal art, let alone in Morrisseau art.

None of which – remember – they had in the basement for study. Ok, they had two that had been donated…

Hill hired Ruth Phillips, a Carleton University professor to write the covering excuses for the long racist history of the Aboriginal art exclusion at the NGC.

Hill and Phillips would become the driving force behind the NMHS, and become responsible for some of the group’s worst fiascos. All because of their far too cozy relationship with the staff of the Kinsman Robinson Galleries.

So get this, in 2006, the National Gallery of Canada:

– an institution which had, in line with the directive and government policy established by Indian Affairs Minister Duncan Campbell Scott, since the 1930s, shunned Indian art as being part of a useless and dying culture, fit only for anthropological study,

– an institution which had no background or association with Aboriginal art on any level,

– an institution which had no staff with credible knowledge on Aboriginal art on any level,

– an institution which had no knowledge base on Norval Morrisseau, or his art on any level,

– an institution which had never purchased Morrisseaus for its vaults which it could study,

– chose to prop up an Indian, Greg Hill, whose job descriptions was “contemporary” non-Aboriginal art, but had dabbled, off and on, in “Indian” art, as far as was permissible in the elitist white artistic community of the National Capital region, to quickly do a salvage job for a hugely disgraced national institution.

You know “Aboriginal Skin; White Mask.” Now where have we heard this before? Where is Franz Fanon when we need him?

The answer: post-colonial Africa in the early 1960s.

It took the National Gallery of Canada fifty (50) years to catch up to problems racist Africa dealt with in the 1960s… It was even way behind South Africa, with one of the most racist histories in the world.

In fact Hill’s huge “Chronology” gaffe is only the first of an unending list of acts of gross academic malfeasance willingly engaged in by members of the NMHS, all purposefully aimed at aiding and abetting the corporate and financial agenda of Toronto’s Kinsman Robinson Galleries.

NMHS Academic Malfeasance Fiasco 5: Phillips/Hill Railroading Browne & Witmer

On several occasions members of the NMHS have secretly carried out attacks on other paintings similar to “Holy Trinity” authenticated “FISH & SOMA 1976.”

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?

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?

In 2008 Ruth Phillips and Greg Hill were likely the NMHS members who gossiped to Dr. Jonathan Browne – an expert on dung beetles, but completely out of it on art – and his wife Dr. Julie Witmer, that their painting “Grandfather Speaks of Great Ansistral Warrior 1977,” for which they had paid $27,321,50 for, was a fake.

They caused the good doctor to roar like a wounded lion with a defamatory “MorrisseauBuyersBeware” website that made him dear to the hearts of the handful of Conspiracy Theorists. He pulled out all stops to dump “Grandfather Speaks” and other Morrisseaus he owned.

It was an utterly dumb move by the dung beetle doctor. It happens to the best of people when they don’t practice due diligence. In fact the stubborn doctor refused offers – you won’t believe this – from other collectors to pay to have forensics done on his painting.

morrisseau_grandfather_speaks190fa“Grandfather Speaks of Great Ansistral Warrior 1977” was later proven, with DNA certainty, by Kenneth J Davies, a top Canadian forensic scientist, to have been authentically signed by Norval Morrisseau and by no one else. (See Browne v Bugera)

Thanks to the totally misguided kaffeeklatsch gossip from his friends on the NMHS who so grossly misinformed him, Browne lost a beautiful Morrisseau to a more knowledgeable and fortunate art buyer. And made himself look like a total dolt in the process.

The lesson: Browne should stick to dung beetles and avoid dabbling in Canadian art. And so should his incompetent advisors at the NMHS, (likely fellow Ottawa residents, Phillips and Hill) who had steered him so utterly and devastatingly wrong.

But hell, they were good at it… So they decided to stick to what they knew…

NMHS Academic Malfeasance Fiasco 6: Robinson/Phillips/Hill/ & Sabotage at Red Lake

A majore 156 page illustrated book on the Red Lake years of Norval Morrisseau was vandalized by Ruth Phillips and Greg Hill, who ordered the removal of five genuine paintings by Norval Morrisseau belonging to Ugo Matulic who was a target of Toronto's Kinsman Robinson Galleries.

A major 156 page illustrated book on the Red Lake years of Norval Morrisseau was vandalized by Ruth Phillips and Greg Hill, who ordered the removal of five genuine paintings by Norval Morrisseau belonging to Ugo Matulic who was a frequent blog target of Toronto’s Kinsman Robinson Galleries.

In fact at almost the same time, in 2008, Ruth Phillips and Greg Hill were definitely responsible for having five genuine Morrisseau paintings belonging to Ugo Matulic removed from a large completed pictorial retrospective catalogue already printed to celebrate “Norval Morrisseau: the Red Lake Years.” The Red Lake editor of the catalogue said the Ottawa duo made her do it.

A typical page of the book as completed before Phillips and Hill saw it.

A typical page of the book as completed before Phillips and Hill saw it. A final complete copy of the book, was sent by the Red Lake curator, to Matulic, along with effusive thanks for him donating the paintings to be included, as well as profuse apologies that they were ordered removed by Phillips and Hill.

Donald Robinson’s blog had shown his hostility to Ugo Matulic. We assume Robinson was involved in steering Phillips and Hill, who have no standing anywhere in the Canadian fine art world, as Morrisseau authenticators of any competence at any level, to have this art removed as “forgeries.” They have acknowledged publicly, that Kinsman Robinson Galleries is the only acceptable authenticator recognized by the NMHS.

To make sure the job was done right Kinsman Robinson Galleries of Toronto, sent its own Associate Director of the gallery, John MacGregor Newman, to make sure that things were done right...

To make sure the job was done right Kinsman Robinson Galleries of Toronto, sent its own Associate Director of the gallery, John MacGregor Newman, 2,000 kms to remote Red Lake.

If you can believe this, at the unveiling of the new revised book, at Red Lake in early July, 2008, guess who came the two thousand kms to this utterly remote little town to gloat over their “burning” of the Matulic paintings?

Why it was none other than NMHS directors Ruth Phillips, and Greg Hill, as well as John Zemanovich - remember him; Donald Robinson’s associate in the Professor Wang fiasco, and a sometime NHMS director – and John MacGregor Newman, the Associate Director of the Kinsman Robinson Galleries of Toronto. How’s that for an arm’s length relationship they always pretend the NMHS has from KRG? And due diligence about authentication that you can trust?

And Matulic was sent an apologetic letter from the local curator with her sincere condolences for having “burned” his Morrisseau pictures from the book. As a courtesy, and a memento of what might have been, she sent him a copy of the completed first edition of the book which included his pictures on five pages. Before, burning the rest of the run.

It’s why we’re able to document in all its horror, the malevolent act of cultural genocide, with before and after pictures.

A typical page after the art terrorists had ordered Matulic's pictures removed.

Without a single change in text, a typical page after the art terrorists had ordered Matulic’s pictures removed and the book entirely reprinted.

It’s just another, in a long list of sterling examples of how the NMHS and Kinsman Robinson Galleries collaborate to destroy the Morrisseau paintings in art collections they hate.

And work to terrorize anyone planning to publish a book on Morrisseau, into deleting images they don’t like. (See: Terror on Elm Street: the Elmwood Spa Book Launch; Picasso of the North: the Case of the Missing Pictures)

A justifiably angry Ugo Matulic, one of the most public-spirited individuals involved in uncovering the Morrisseau Conspiracy Theory, and practicing his usual due diligence, sent the five NMHS rejected paintings to a top independent forensic scientist and handwriting expert, to see if they were the fakes that the Robinsons, Newman, Zemanovich, Phillips, and Hill, AKA the Conspiracy Theorists claimed.

A forensic scientist exposed Phillips and Hills incompetence as Morrisseau authenticators but talented as art terrorists.

A forensic scientist exposed Phillips and Hills incompetence as Morrisseau authenticators but talented as art terrorists.

One painting was only signed with NM. Its forensic examination is pending the arrival of comparative original signatures from Norval, which will be completed by the end of 2013.

The other four alleged NMHS forgeries were proven, with DNA certainty, to have been authentically signed by Norval Morrisseau and by no one else.

Just another in a long line of, grossly incompetent at best – diabolical and malevolent at worst – calls on Morrisseau authentication by Ruth Phillips, and Greg Hill, and their Conspiracy Theorist experts at the KRG.

Their incompetence as Morrisseau authenticators and their level of academic malfeasance is truly staggering.

And utterly destructive of Norval Morrisseau’s – and Canada’s – art heritage.

NOTE: If you can believe this, in December 2010, Kinsman Robinson Galleries, which in 13 years of shouting about “thousands of forgeries by umpteen forgers,” has never, ever, taken a single forger, or seller of alleged forgeries, to court, launched a malevolent SLAPP suit against Ugo Matulic – the man who knew too much. The man who practiced due diligence to a fault, and was telling it exactly like it is, and was…

Targeting investigative journalists is every bit as important a part of the modus operandi of the Conspiracy Theorists, as is “burning” Morrisseau paintings they hate.

NMHS Academic Malfeasance Fiasco 7: Ruth Phillips

What is Ruth Phillips hiding?

Ruth Phillips has an unenviable reputation; she has probably made more bad calls on Morrisseau paintings than any other member, most of whom try to bask in the glory of the position, and not say silly stuff that will get them in trouble – like you know Phillips and Hill – when the forensic scientists get into the act, and embarass them, once again, for ludicrous calls.

Another genuine Morrisseau that Phillips ordered “burned” at Red Lake.

Ruth Phillips, who just cannot seem to keep her mouth under control, went public after Kevin Hearn launched his ill-considered lawsuit, egged on as CT Proxy #5 by Ritchie Sinclair, and his fellow Conspiracy Theorists.

Phillips, hankering for the media spotlight, pomposited in the Ottawa Citizen that there are lots of fakes out there.

“Art historian (Ruth) Phillips said that while she had no comment on the painting at the centre of this lawsuit, in general anyone considering buying a Morrisseau artwork should be cautious.

“There’s just no question that there are a lot of fakes in circulation. People should be very careful about buying his work.” (Ottawa Citizen, Nov. 3, 2012)

Remember, you now know the sole proof for the misguided professor’s irresponsible comments is the spurious Wangkr 16, and the discredited Robinson and his KRG.

Another genuine Morrisseau painting that Ruth Phillips called a fake and incompetently ordered removed from the Red Lake book.

Another genuine Morrisseau painting that Ruth Phillips incompetently called a fake and ordered removed from the Red Lake book.

Phillips pontificates in the national media on a subject she has no knowledge of; a subject she has repeatedly demonstrated gross incompetence in; a subject she has never produced any independently verifiable proof for…

On April 2, 2013, Judge Paul Martial stripped Donald Robinson of just about every claim he ever made as a Morrisseau authenticator. Judge Martial rejected Robinson's "expert report," his analysis, his conclusions, and his abilities as a handwriting expert or Morellian analist. It is the most devastating dismissal of the self-professed expertise of a fine art dealer in Canadina history.

On April 2, 2013, Judge Paul Martial stripped Donald Robinson of just about every claim to expertise he ever made, in 28 years as a Morrisseau authenticator. Judge Martial rejected Robinson’s lengthy “expert report,” his analysis, his conclusions, as well as his abilities as a handwriting expert or a Morellian analyst. It is the most devastating dismissal of the self-professed expertise of a fine art dealer in Canadina history. Judge Martial went on to declare a painting Robinson swore with all his being, as a fake, to be, in fact, an absolutely genuine Morrisseau, without a single qualifying word or phrase.

It’s just the usual NMHS shorthand for “don’t buy paintings from anyone but the Principal Morrisseau Dealer, the sole authority in the world we, the members of the NMHS, recognize as a legitimate Morrisseau expert.”

The man she apparently emulates is Donald Robinson, the man who has made more false identifications of Morrisseau “fakes” paintings than any other person in the world, living or dead, including 90 alone at Randy Potter auctions, where he bid on that many different Morrisseau paintings, before later, suddenly and inexplicably, reversing himself and calling them ALL fakes instead.

Another victim of the NMHS & KRG "book burning" at Red Lake.

Another victim of the NMHS & KRG “book burning” at Red Lake.

The man who published five (5) forged pictures in his own Morrisseau book (identified and claimed as fakes by Ritchie Sinclair, a man whose expertise Robinson acknowledges in his Hatfield “expert report.”)

The man who published another Morrisseau painting wrongly oriented in the same book.

The man who first told respected Toronto art dealer Jim White the 23 paintings he had submitted for authentication, were “very fine” works, and to get them well insured, and then two weeks later, said they were all fakes…

The man who has received the worst rebuff as a fine art expert from a judge in Canadian history.

We could go on…

Another victim of the NMHS & KRG "book burning" at Red Lake.

Another genuine Morrisseau that was a victim of the NMHS & KRG “book burning” at Red Lake.

When this is all over I have no doubt that Robinson’s record for false “authentications” will top out at some 4,095 bad calls – including all Norval’s BDPs from the 70s which he calls fakes. Whatever the number it will remain, for all time, the worst record for bad calls by any “art expert” in world history. Bar none…

And in an earth-shattering rebuff to the small handful of Conspiracy Theorist fanatics, Judge Paul Martial, delivered the knock-out punch to their patron saint, Donald Robinson, utterly dismissing his self-professed expertise as totally compromised by self-interest, and repeatedly saying that he “rejected” Robinson’s call that “Wheel of Life 1979″ was a fake, rejecting his expert report, his analysis of paintings, his analysis of the handwriting, colour and style evaluations, Morellian mumbo-jumbo, and his conclusions. Leaving the Principal Morrisseau Dealer without a shred of clothing as an art authenticator left to cover himself with.

It was the worst dressing down ever meted out to a so-called expert and his fine art expertise in Canadian – if not world – history…

And across Canada, hundreds of Morrisseau collectors, and owners of some 40 galleries selling First Nations art, celebrated that, at long last, the jig was up, the Hoax exposed. Wrote one gallery ower. “It appears that reason has returned to the Morrisseau market.”

And that’s the expert that Phillips and her cronies at the NMHS defer to… adjudicating what is a real Morrisseau from a fake, all based on a lot of paintings he supplied… (Can you see how Judge Martial (2013) and Justice Morgan (1996) both charged Robinson as guilty of a “hopeless conflict of interest?”)

The mind truly boggles at the academic incompetence and malfeasance that impugns every move that the members of the NMHS have made over the last eight years.

It is a stain on their individual credibilities that none of its members or the organization will ever recover from.

So much for what passes for academic excellence at Carleton University. One would not accept the kind of nonsensical twaddle Phillips engages in from an intellectually challenged undergraduate. Why should we accept it from a professor?

Just from whom does this mindless professor get her marching orders?

Frankly I’d hate to see the IQ of her student body. In disgust, I’ve just advised my friend’s daughter to drop out of Carleton, and upgrade to the James Bay Art College in Moosonee, ON.

14 –FISH & SOMA 1976” Make a Dire Prediction

NMHS Academic Malfeasance Fiasco 8: “Burn, Baby, Burn…”

Cultural genocide on display. Wanker 16 paintings on a bonfire at an NMHS kaffeeklatsch with the 900 pount gorilla in the room, hanging in the background...

Cultural genocide on display. Wanker 16 paintings – genuine Morrisseaus to you – on a bonfire at an NMHS kaffeeklatsch with the 800 pound Gorilla in the Room, staying in the background…

I have not the slightest hesitancy, with a degree of certainty somewhere around 110%, that all the paintings the NMHS has in storage from Donald Robinson (the Wangkr 16) will disappear from the face of the earth, before they are photographed, front and back, and the data released to independent Canadian scientists for study.

So much of the publicity handed out by Aaron Milrad distorts the truth, or is little more htan unsubstantiated gossip. Top Canadian forensic scientiests have found that all his allegations lack merit. A word of advice: stick to law, not Morrissea art evaluation where he rates, at best, a huge Bronx Cheer.

So much of the publicity handed out by Aaron Milrad distorts the truth, or is little more than unsubstantiated gossip. Top Canadian forensic scientists have found that all his allegations, absolutely, lack merit. A word of advice: stick to law, not Morrissea art evaluation where he rates, at best, a huge Bronx Cheer.

It will be the result of a secret academic collaboration between the NMHS and Donald Robinson and his son, the only Morrisseau authenticators – if you can believe this academic outrage – in the whole world that the group recognizes.

In spite of the fact that there are numerous other dealers in Canada who have been selling Norval Morrisseau and other First Nations art for much longer than KRG. KRG only started to represent Norval Morrisseau from 1990 on, when Norval was long past his prime and in declining health and ability.

It’s my considered belief that this group of plotters cannot possibly allow the Wangkr 16 to be analyzed by any independent scientific expert, because – remember but for an accident of history – the Holy Trinity Authenticated “FISH & SOMA 1976” with their devastating DNA evidence, would be among them.

And prove that the NMHS and Robinson are actually destroying and burning, not fakes like they claim, but genuine and precious Morrisseaus that have only one problem: the Robinson gallery does not want them tp be recognized as genuine.

(A reminder: MBA 101 – seek to control the market by controlling supply and demand; kick paintings owned by others out of competition for sales.)

And would like to see them gone, yesterday…

Which reminds me of the dire warning Aaron Milrad confided to publisher Anthony Westbridge in 2005, you know the part where he said they had the intention of actually “destroying” some inferior works.

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’t overlook the many bad calls on so many paintings Aaron Milrad alleges are fakes, which then turn out to be authentic, according to Canada’s top forensic scientists. Some 70 times and counting… Perhaps some good advice for a lawyer: stick to law; stop pontificating on art you don’t know. Taking his advice cost a journalist who listened to him, Val Ross, and her employer, the Toronto Globe some $25,000 in a defamation suit for publicizing one of his bad calls. (See Moniz) No wonder he’s an advocate of “burning” paintings; make sure there’s no compromising evidence left.

“… works submitted for authentication that turn out to be fake are not returned to the client, and many are even destroyed… you can be certain they will document each submitted work, thoroughly and watch the market to make sure it (the so-called fake) does not surface anywhere as an authentic Morrisseau work.” Westbridge Publications. 2000.)

Not only that, they were clearly intending to commit cultural genocide on along these lines.

Because Aaron Milrad made everyone who submitted a painting for assessment or authentication, sign a disclaimer that they would not sue members of the NMHS for making a bad call on a painting, or for not returning or for destroying a painting, all powers which the members arrogated to themselves.

Burn what you like; you will never get sued or punished…

wow_flaming_medium2Wow! Let’s get the gas and matches…

Now, where are those ugly “fake” Morrisseaus that Donald Robinson brought in for disposal…

It is why in the eight years that the NMHS has possessed these paintings (the Wangkr 16) it has refused, with extreme tenaciousness, to release to the public any pictures of the front and back of the so-called fakes.

The reputations of Ruth Phillips, Greg Hill, Elizabeth McLuhan, Richard Baker, Carmen Robertson, Trudy Nicks, and Cindy Bromley, will never recover from taking part in what I consider an outrage of academic malfeasance that is unprecedented in world art history.

All pretending to be arm’s length academics, when they have proven in many ways, on many levels, and on many occasions that they are merely gullible, compliant, and willing outreach workers for a small Toronto family business which has long sought to control the art market in Morrisseaus by crushing paintings in the hands of its business competitors, and enhancing the value of its own Morrisseaus, or Burrowsseaus, whatever… that they are selling.

There is only one way to save their collective a@$$%s and they know it: destroy those damn Robinson BDPs before someone gets them and authenticates them, taking the whole group of NMHS academics down with them…

And so putting a long-deserved end to a Conspiracy Theory which should have been rooted out years ago, and end the worst act of Canadian cultural genocide by white people against the art heritage of Canadian First Nations, since the Canadian government tried to destroy the potlatch-related cultural paraphernalia of the Kwakwaka’wakw people at Alert Bay, BC in 1921.

The beach at Alert Bay, BC, where the last great act of cultural genocide was carried out by white men against the art and regalia heritage of Aboriginal peoples, in 1921. The NMHS is at the core of an unprecedented assault on legitimate art of Canada's top Aboriginal artist.

The beach at Alert Bay, BC, where the last great act of cultural genocide was carried out by white men, against the potlatch art objects and regalia of Aboriginal (Kwakwaka’wakw) people, in 1921. In the 21st century, the NMHS is at the core of an unprecedented racist assault on the legitimate art of Canada’s top Aboriginal artist.

I have stood a number of times on the beach at Alert Bay, near Vancouver Island, and contemplated where this egregious act of cultural genocide took place. And inside the U’mista Centre I saw where many of the repatriated masks that were not lost, destroyed, or sold, have been preserved, as a somewhat less malevolent white society has been forced to make amends for the racist acts of its predecessors.

This U'mista mask stands for hundreds of other hertiage art treasures that stolen, sold off or destroyed by malevolent whte men seeking to "kill the Indian in the child."

This U’mista mask stands for hundreds of other hertiage art treasures that were stolen, sold off or destroyed, by malevolent white government men seeking to “kill the Indian in the child.”

The Government of Canada did not return the remaining art treasures until 2002.

By then many of them had been sold off to museums around the world by the Canadian government that stole them (by threatening to jail anyone who kept their potlatch artifacts, or participated in a potlatch ceremony.)

It is my hope that it is not too late to stop the aggressive racism associated with these multiple acts of cultural genocide against the genuine BDP paintings of Norval Morrisseau, which have become the special target of the misguided academics on the NMHS, the Robinson gallery and their business associates, Ritchie Sinclair of Toronto, Gabe Vadas, of Nanaimo, BC, and Bryant Ross of Aldergrove, BC.

They have all secretly collaborated to make Canada a lesser country than it once was… and to carry on a racist tradition of an assault on Canada’s First Nations art heritage.

FISH & SOMA 1976” are a measure of all Canada will have lost if we allow historical patterns to repeat, and the actual and virtual destruction of Norval Morrisseau’s art heritage to continue.

fish2w

Posted in Art Auctions, Art Cartel, BDPs - Black Drybrush Signed Painting, Canadian Cultural Vandals, Forensic Expert Findings, Wanker | Leave a comment