Who’s the April Fool for 2017?
174 183 190 195 200 206 208 211 page April Fools “Special Report”
A – Exposing a Fraudulent Art Scam
– I meet self-styled top Morrisseau expert Donald Robinson, Jan. 26, 2000
– KRG creates the Worst Fraud in Canadian History
– Remaking & Remarketing Norval Morrisseau
– The Aldergrove Conspiracy
– Donald Robinson Marketing Idea
– Vadas sets up the Morrisseau “composite painting studio” of contracted artists
– Black Drybrush Paintings
– “If I can’t have her, then…” aka Killing the Goose
– KRG Creates the Norval Morrisseau Heritage Society to promote the fraud
– Those Wankers at KRG
– Presenting the NMHS
– Professional Painters Contracted to the Morrisseau Studio
– Manufacturing Provenance at KRG
– B – 29 Case Studies of leading experts rejecting Donald Robinson’s “Expert” Reports & Sworn Testimony:
– Reject #1 – by Justice Murray Alexander Mogan, July 12, 1996 re: art evaluation
– Reject #2 – by Justice J Edgar Sexton 1999 – re: art evaluation
– Reject #3 – by Chief Justice Julius Isaac 1999 – re: art evaluation
– Reject #4 – by Randy Potter – re: 2,000 Morrisseaus sold at auction 1999-2010
– Reject #5 – by James White on that Double-dealer Robinson – re: 23 Morrisseaus – Mar. 2001
– Reject #6 – by forensic expert Brian Lindblom for Joe McLeod (2002) & Joe Otavnik (2007)
– Reject #7 – by forensic expert Brian Lindblom re: – re: “Father & Son 1977” – Nov. 5, 2008
– Reject #8 – by CTVglobemedia & Peter Jacobsen #1 – re: “Father & Son” – Mar. 10, 2009
– Reject #9 – by Joe Otavnik forcing KRG to dump Ritchie Sinclair promo – Apr. 27, 2009
– Reject #10 – by Dr. James Wang – re: Fraudulent Use of “Wang Report” – July 2009
– Reject #11 – by Judge Godfrey, Otavnik v Sinclair – re: “Jesuit Preist 1974” – Jan 2011
– Reject #12 – by John Goldi on the Dastardly Duo – Robertson/Robinson “Expert Reports”
– Reject #13 – by RCMP & Thunder Bay Police rejecting allegations of fakes – Mar 5. 2011
– Reject #14 – by forensic expert Kenneth J Davies – re: “Jesuit Preist 1974” – Dec. 19, 2011
– Reject #15 – by forensic expert Kenneth J Davies – re: “SOMA 1976” – Dec. 19, 2011
– Reject #16 – by forensic expert Kenneth J Davies – re: “FISH 1976” – Apr. 1, 2012
– Reject #17 – by forensic expert Kenneth J Davies – re: “Grandfather Speaks” – Apr. 1, 2012
– Reject #18 – by forensic expert Dr. Atul K Singla – re: “Wheel of Life 1979” – Aug 24, 2010
– Reject #19 – by Dep Judge Paul J Martial – re: “Wheel of Life 1979” – Mar. 25, 2013
– Reject #20 – by KRG lawyer to Drop Million Dollar SLAPP suit v Ugo Matulic – May 16, 2013
– Reject #21 – by Joyner Canadian Fine Art closed by fraudulent KRG advice – July 3, 2013
– Reject #22 – by John McDermott who abandons “fake” Morrisseau lawsuit – October 2013
– Reject #23 – by forensic expert Dr. Atul K Singla – re: “SOMA 1976” – Dec. 5, 2013
– Reject #24 – by Justice Mary Anne Sanderson – re: “Wheel of Life 1979” – Dec. 17, 2013
– Reject #25 – by SAW Gallery dismount & apology – re: “Wheel of Life 1979” – Sep 3, 2014
– Reject #26 – by Bell Media & Peter Jacobsen #2 – re: “Wheel of Life 1979” – 2014-2016
– Reject #27 – by Don Robinson “no show” for Ritchie Sinclair trade libel trial – Jan 19, 2015
– Reject #28 – by Robbie B. over KRG fraud re: “Warriors in Circle of Life 1974” – Apr 28, 2015
– Reject #29 – by Judge to come, on Kevin Hearn’s fraudulent lawsuit re: “Spirit Energy” 2017
Partial Summary of Donald Robinson’s Series of Consistently Expert-Rejected Norval Morrisseau “Expert Reports”
# Being a summary of some of the credentialed forensic experts, learned judges, and informed lawyers, who have utterly discredited:
– Donald Robinson’s “faux-expert reports,” full of his self-proclaimed “expert” opinion,
– his related sworn testimony in court, and
– his related personal and professional believability and credibility, regarding all his attempts to make claims in support of his invented, self-serving allegations of supposed Morrisseau forgeries.
Personal Disclosure: On Jan. 26, 2000, I first met Donald Robinson while standing in line at the Potter auction, waiting to pay for Morrisseau paintings we had both bought, he ten, I two.
He was cheery and breezy, and obviously glad to have bought Morrisseau paintings for a few hundred bucks that he could jump in value by 700% or 800% and make a bundle on at his Kinsman Robinson Galleries, in Toronto’s tony Yorkville district.
ULTRA RARE – A typical Norval BDP (Black Dry-brush Painting) from his 1970s high point, signed, titled, and dated by his hand, in the black dry brush style. And all called fakes by Donald Robinson and Ritchie Sinclair. In spite of the fact that some 70 have been authenticated by top forensic experts. And this one, is the first Norval Morrisseau painting ever to be given a “beyond DNA certainty” authenticity rating of 100%, as being painted by Norval. So, who’s the fake…?
Robinson allowed that he was the despondent and losing under-bidder on two paintings I had overbid him on, SOMA and FISH. “Wonderful Morrisseaus,” he, clearly enviously, called them. They were the highest priced Morrisseaus of the evening.
Fast Forward – I had no way of knowing then, that these two paintings Robinson had coveted so much, would become historically famous in helping to uncover the worst fraud in Canadian history. Or that only a few weeks before, three top eminent Justices of the Tax Court of Canada, and the Federal Court of Appeal, had concurred that Robinson could not be trusted regarding the valuation of Morrisseau paintings, nor could his testimony on the stand.
How could I guess that from such beginnings, motivated by the prospect of crass personal monetary gain, Robinson and his son Paul would go on to become Morrisseau art terrorists, and maliciously call all such genuine paintings as SOMA and FISH fake, hundreds, even thousands of them?
Many years later SOMA would become the first Morrisseau painting to be authenticated by TWO independent forensic handwriting experts (Davies & Singla). It would also become the first painting ever to be awarded a beyond-DNA authenticity rating of 100% genuine, by a handwriting expert, this from Dr. Atul K Singla MA (forensics), PhD (forensics). And NO! I neither contracted, nor paid, nor instructed either of these two independent forensic scientists to do their work.
Donald Robinson was the underbidder on this work, and called it a “wonderful Morrisseau” on Jan. 26, 2000. It was also forensically authenticated years later. This hugely publicly exposed painting was NEVER listed as a supposed forgery, along with many hundreds of others that were listed on numerous Affidavits of Forgery on which Norval supposedly listed all the fakes. So, Holy Trinity Authenticated. It doesn’t get any better than that…
In Memorium – SOMA and FISH would also perform the sad memorial duty as damning stand-ins for what I have dubbed the “Wanker 31,” which Donald Robinson successfully managed to purchase at the same auction over a period of seven months for $54,000. Later he and his son would call those 31 Morrisseau paintings fakes, and gleefully turned over those they failed to sell – the Wanker 16 – to the notoriously toadying Norval Morrisseau Heritage Society (NMHS) – its members all hand-picked by Donald Robinson – as “fakes” marked for disposal.
The Wanker paintings then “disappeared” from the face of the earth, like Argentina’s “desaparecidos.” I believe, like them, they were also “murdered” as undesirables.
I have for years hoped and demanded that the cultural terrorists involved at KRG and the NMHS, publish – instead of hiding and destroying – documentary evidence, that will prove me wrong. I have been demanding high res photos of the front and backs of the Wanker 31 for examination by me, and independent forensic experts.
For years, they have resolutely refused to respond in any way, to my public pleas, to “come clean.” Can you guess why? Does anyone else smell ashes in the room…?
The damning SOMA and FISH forensics would tellingly prove, incontrovertibly, that those 12 “disappeared” KRG Wankers, were without a doubt, in fact, genuine Morrisseaus, authentically signed by Norval Morrisseau. I believe the Wanker 12 Morrisseaus, were then – at the direction of Donald Robinson – authorized to be burned by the NMHS’ resident pyromaniac, and outspoken vocal heritage art vandal, lawyer Aaron Milrad.
Public Declaration of Cultural Genocide by Aaron Milrad and the Norval Morrisseau Heritage Society.
The Vicious and Malicious Pyromaniac – At the founding of the NMHS in 2005, Milrad, revealing his heart of darkness against Indigenous art, explained to the media, the group’s Mission Statement that would ruthlessly guide its members for the next dozen years: “works submitted for authentication that turn out to be fake are not returned to the client, and many are even destroyed.” (Anthony B Westbridge, Westbridge Publications, Mar. 30, 2005)
But it’s far worse than that. Milrad and his group clearly knew what they were going to do was evil, racist, unethical, immoral, and cultural genocide of the highest order. That their policy of destroying and denigrating people’s art would create predictable legal blowback. And that they were clearly and urgently in need of legal protection for their acts of Indigenous cultural destruction.
“Seems we can’t trust the white man.” the Outlaw Josie Wales.
“You bet we can’t!” Chief Dan George.
So in spite of the fact that the Law Society of Upper Canada forbids lawyers from “fronting for a fraud,” Milrad craftily prepared the legal framework to protect the perpetrators of the biggest and most vicious and malicious racist and destructive fraud in Canadian history.
“Milrad pointed out that anyone submitting a work for authentication would have to sign a contract which would in effect, absolve Morrisseau, his family, Milrad and members of the committee, of any liability if the committee comes back and says, it’s not a Morrisseau.” (Anthony B Westbridge, Westbridge Publications, Mar. 30, 2005)
So the crafty Milrad claimed he created full legal protection for anyone gleefully working in the NMHS “laboratory” where “many are even destroyed.” (Anthony B Westbridge, Westbridge Publications, Mar. 30, 2005)
“Step right this way folks. Dr. Mengele will see you now, but first please, sign this contract, just to absolve the good doctor of responsibility if something unfortunate should happen while you’re in the shower…”
So, but for my aggressive overbidding Robinson at that auction, SOMA and FISH would have become Wanker 17, and 18, and ended up on Aaron Milrad’s funeral pyre of Norval’s art, at the same malicious NMHS kaffeeklatsch. Instead they would go on to live another day, and to help expose the worst case of cultural genocide and heritage destruction in Canadian history.
I recall back on that January evening at Potter’s auction, turning to Robinson and asking, more than a bit rhetorically: “But are they real?”
It’s absolutely important to recognize that at this time, January 2000, there had never, ever, been a single issue raised about there being even a single Morrisseau fake, of any kind, by anyone, in any book or article, anywhere in the world. Not in the entire 50 year painting life of Norval Morrisseau.
As a longtime fanatic cruiser of fine art auctions in Ontario, Alberta, and Vancouver, I had previously frequently seen multiple paintings by individual artists like AY Jackson, Tom Thomson, AJ Casson, and Emily Carr, among others, show up at various fine art auctions. That’s because when an artist is suddenly hot and getting high prices, then everyone else with art by him, also wants to dump theirs for some quick cash. So I once bought two fabulous mid-nineteenth century oils of Quebec scenes by Van Buskirk at the same auction. At another I bought five huge and rare James P. Cockburn 1857 Ackerman Aquatints of Niagara Falls.
So multiple paintings from an artist at an auction are common, but seeing some 20 Morrisseaus at once, seemed to be too good to be true. They were all what I dubbed to be BDPs, Norval’s high period 1970s style paintings, hugely signed, titled, dated, and copyrighted by Norval’s hand in black drybrush paint technique on the back.
But without the slightest hesitation Robinson effusively blurted out to me, “Oh they’re real alright. Trust me. I’m the guy who wrote the book on Morrisseau.”
At that time Donald Robinson had been claiming to be the world’s top Morrisseau expert for ten years already. And he had written a book, he claimed in conjunction with Norval, who at that exact time is video-documented as already hopelessly shuddering uncontrollably in his wheelchair, and almost always stuttering unintelligibly. This amazing “collaboration” had produced “Travels to the House of Invention,” in 1997. Hey if these two guys didn’t know their stuff, what can you say?
I had to believe Robinson. Hell, according to auctioneer Randy Potter, Robinson ravenously bid on over 90 of these same kinds of paintings, at multiple Potter auctions, over a seven month period, and came away with 31, for which he paid $54,000, and never, ever brought one back as a fake or to ask for a refund.
Talk about convincing proof of authenticity…
Like Father Like Son – In the meantime Donald Robinson’s son, Paul “Pup” Robinson was, for years, secretly issuing to countless KRG clients – for cash of course – innumerable “Certificates of Appraisal” with bloated valuations, for exactly the same kinds of Morrisseau paintings, from the same sources.
And more damningly, in fact, the documentary record makes clear, Pup Robinson was aggressively signing Certificates for cash, even many months after his Dad, “Pop” Robinson, was calling them ALL fakes in the media…
Yah can’t make this stuff up…
Six months after Papa Robinson denounced all Morrisseau BDPs from Potters as fake son Paul was still authenticating them as genuine and collecting thousands of dollars for doing so. Neither Robinson ever figured their private documents would become public.
Don’t you wish Pop and Pup Robinson could try to get their act together…?
That evening at Potter’s, Pop Robinson kindly showed me how to roll the valuable canvases properly, for transport home, gave me the name of his KRG framer, and invited me down to his Kinsman Robinson Galleries. My wife and I went the next day and saw numerous Morrisseau BDPs for sale, tagged for $9,000 to $11,000. KRG invoices showed they had picked many of them up for only hundreds of dollars at auction.
The flood of what Donald Robinson called “wonderful Morrisseaus” continued, as Thunder Bay dealers thought it was a good return on investment, to sell at Toronto auctions, for $800 or $1,000, a painting they had once picked up, for $10 or $20 bucks from Norval, or that consignors had found stashed under beds, in garages, attics, or fishing lodges, all over northern Ontario.
That 90 or 100 fold return, for huge cracked and dirty old canvases, is a better payback on investment – by far – than any other investment on the planet. Many of these were huge paintings, four feet by five feet or larger, and far bigger than most art offered for sale at fine art auctions.
The Ultimate Idiot’s Claim – And you damn well could never get that kind of return by going to the ludicrous expense of setting up a so-called forgery shop manufacturing huge and brand new acrylics, that made economic sense, or had a ghost of a chance of slipping by the eagle eyes of Donald Robinson and the top Morrisseau collectors in the country.
The Last Place on Earth – And idiotically planning to start such a forgery operation in Thunder Bay, the town that already had the highest per capita household overload of genuine Morrisseaus of any place on earth…
Who would possibly be interested in buying a new fake, when, each and every household in Thunder Bay was already sick to death of all those original Morrisseaus they had rolled up in the garage, or stuck up in the attic.
A flood of genuine art, of course, is totally credible from an extremely prolific artist, well-known for painting 40, 50, and 60 paintings at a time, and for hawking them on the street for peanuts, or door-to-door, for little or less.
Over a forty year period, all over northern Ontario, where the artist lived and travelled. Estimates of his output range up to 10,000 paintings, of which the Robinsons would later go on to try to claim most are fakes. And ludicrously pomposity that only his own KRG gallery had genuine Morrisseau paintings with authentic provenance, for sale.
Compare: Doris McCarthy, who lived to be 100, said during her life she painted a painting a day, giving her a total output of a possible, say 35,600 paintings. To her, Norval’s output is obviously small potatoes.
By the late 90s, the word was out on the street that is sweet music to any art dealer’s ears, “the artist is dying; Norval’s dying.”
Norval’s physical and mental decline was common knowledge in the industry. And so a welcome jump in his valuations was imminent. (The Robinsons were unique in claiming Norval was still hale, hearty, mentally alert, lucid, talking up a storm, and painting the best stuff of his life.)
No wonder some 200 of Canada’s top Morrisseau dealers and collectors – I among them – would show up at Potter’s auction over the years – including the ravenous Donald Robinson – to snap up whatever they could afford from an artist with one foot in the grave.
And during those years, Pup Robinson feverishly continued to issue and sign his official KRG “Certificates of Appraisal” for the Potter BDPs, as a service to clients who brought them in for approval. Or signing invoices for Wanker BDPs he was selling as genuine Morrisseaus.
Alas! KRG couldn’t stop the flood of Norval’s art streaming in from every small town in northern Ontario, which hugely depressed and threatened its bloated uptown Toronto gallery prices.
This fortunate auction flood, over the years, gave me, as a historian, investigative journalist, and art researcher, a wonderfully priceless, and unparalleled research opportunity, at Potters, to see many hundreds of original Morrisseau paintings, and to be able to closely examine the fronts, and especially the telling, uncovered and exposed backs, to my heart’s content. I can’t think of another art curator and researcher anywhere, who has been afforded such an amazing hands-on access, to countless hundreds of original works of an artist.
This was, apparently, a distinctly different research approach than taken by Donald Robinson, who told Deputy Judge Paul J Martial, in Hatfield v Artworld (2012) that he never looked at the back of a single Potter Morrisseau before buying 31… for $54,000. A totally bogus pretence, which no other Canadian art dealer would find anything other than preposterous to claim.
Robinson tried to tell Martial that the Morrisseaus were pinned to the wall, so he couldn’t see the backs. Which of course, was another preposterous lie. They were only pinned at the top. Everyone who wanted to – and many did – just lifted the bottoms up or flipped them to the side, either by hand or with a ruler that was made available, to view the backs.
Disclosure of a Museum Curator – I have bought literally thousands of pictorials over the years, including hundreds of paintings, oils, acrylics, watercolours, gouaches, pastels, etc., lithos and prints of all kinds, and countless photos. In not a single case have I ever bought a single one without carefully examining the backs first, which as every art collector or forensic expert very well knows, are often more important than the fronts for ascertaining authenticity, period, and value.
John Goldi csc, the Director of Research and Curator of Collections for the Canadian Anglo-Boer War Museum, busy authenticating and cataloging some of the 7,500 antique art and memorabilia items he acquired for the Museum over the past 18 years. The background he has developed, as a forensic historian, has given him unique knowledge on deciphering fakes, frauds, and forgeries, and creeps, crooks, and conmen of all kinds, that is recognized and lauded around the world. CURATOR KUDOS
It’s up to you whether you call this Robinson Perjury #1 or Robinson Perjury #21…
A year and a bit after I had met Robinson he – inexplicably – did a total 180, (May 18, 2001, the National Post) now trying to call paintings he once loved and lusted after, and aggressively bid on, as “all fakes.” First saying there are hundreds, then thousands. But tellingly, never finding or being able to produce proof of any kind to substantiate even a single one, except what he cribbed together in the dingy basement of KRG’s provenance manufactory.
The Morrisseau art fraud came to involve a small cabal of ruthless and selfish art wheeler dealers, acting from behind Norval’s derelict body and vacant mind trapped in a wheelchair, and then (early in 2001) bedridden in terminal care. Both Norval’s care-giver Gabor Vadas, and his art dealer Donald Robinson, were acting in concert to promote their agenda out of crass self interest.
They were determined to corner the market in Morrisseaus by slanging other reputable art galleries across Canada, as selling fakes. They did this by sucker-punching witless and gullible dupes in the mainstream media who eagerly published their unsubstantiated racist crap without doing even minimal due diligence (Globe, Postmedia, Star, CTV, etc.)
To terrorize their business competitors, Vadas and Robinson ruthlessly wielded their Powers of Attorney/, that each had separately appropriated from Norval – Vadas in 1990, when Norval’s mental, and physical decline became obvious; and Robinson in 2004, when Norval had been in a wheelchair for a decade, in terminal care for three years, couldn’t talk intelligibly, was mentally gone, and unable to recognize the people around him.
Then Robinson set out to busily grind out his junk science “expert” reports vainly trying to claim this Morrisseau BDP or that one, as a fake.
Wanker #1 Points a Damning Finger – If the forensics and history of SOMA and FISH – AKA Wanker 17 and 18 – are not enough proof for you, that the Wanker 16 which Robinson and the NMHS pyromaniacs destroyed, were genuine Morrisseaus, consider this:
Responding to what he had read in my blog, on Apr 27, 2015, I got a call from the owner of Wanker #1 – the actual first of the Wanker 31 that Donald Robinson bought at the Potter auction in Sep. 1999 – and to whom it had been sold by Paul Robinson fifteen years before. I was invited to see it, in-hand, as well as the accompanying KRG invoice.
Wanker #1 front and back exactly as I saw them both as I examined the painting and the signature closely in Robbie’s home.
The painting and documentation I was shown soon exposed to me a damning list of Donald Robinson’s perjuries in court – I had been there, seen and heard – as well as Kinsman Robinson Galleries’ malfeasances towards its clients.
SHAMELESSLY EXPOSING ROBBIE’S WANKER – The Kinsman Robinson Galleries invoice that Robbie showed me, as recreated by me from memory. Robbie was extremely angry to learn that KRG and the Robinsons had been saying Wanker paintings like his were all fakes and worthless. Since Robbie didn’t want photos of the actual document appearing in public, I had to recreate it from memory. The data details are accurate to 100% though the “layout” of the information may vary slightly from the actual document. The accuracy of the data is damning for KRG. IT IS THE VERY FIRST WANKER TO SHOW UP IN PUBLIC AND IS DEVASTATING PROOF – WHAT AGAIN? – FOR MY LONG MAINTAINED CLAIM, THAT THE REASON THAT KRG AND THE NMHS HAVE COLLABORATED TO HIDE THEIR WANKERS (the Wanker 31) FROM THE PUBLIC FOR THE PAST 16 YEARS IS THAT THEY ARE – and they know they are – ALL GENUINE NORVAL MORRISSEAU PAINTINGS SIGNED ON THE BACK BY THE ARTIST HIMSELF AND NO ONE ELSE. That the passengers on the KRG & NMHS Wanker Line Runaround are deliberately committing art terrorism because they don’t want the public to find out. “Warrior in Circle of Life 1974” now joins, as proof of the HOAX, my own “SOMA 1976” and “FISH 1976” (on which Robinson was the underbidder on Jan. 26, 2000, and which he would have also carted home along with “Warrior,” for sale to unwitting clients or for hiding, defamation, and devaluation, were it not for my aggressive bidding.) The trio of paintings are now devastating and incontrovertible proof that KRG and the NMHS are deliberately and knowingly targeting genuine secondary market Morrisseau paintings for defamation and devaluation, in order to give KRG a commercial advantage over its competitors in the Morrisseau market. Even if, in the process, they have to commit deliberate cultural genocide against Canadian Aboriginal art – and specifically Norval’s – to do it… NOTE: I BELIEVE THAT EVENTS ARE UNFOLDING THAT COULD SEE THIS INVOICE TOTALLY “DISAPPEAR” FROM THE HISTORICAL RECORD. Like its cousins the Wanker 16.
The Wanker #1 discovery, proved incontrovertibly – and neatly dove-tailed into what I had already projected from the SOMA and FISH forensics – that the Robinsons and the NMHS had wantonly and willfully destroyed genuine Morrisseau paintings, signed on the back with Norval’s own writing, in black drybrush paint.
BDP signatures, which in some 70 examinations by three top forensic handwriting experts, were verified as being by Norval’s hand, and by no one else’s, with DNA certainty, and without a single failing.
That makes three genuine Morrisseau paintings that seem to have escaped the KRG and NMHS bonfire, and hugely indicts what kind of paintings these cultural vandals burned up. Though I am not sure – two years later – if Wanker #1 is still among the living… Read on, why I believe I smell more smoke…
The Apostles of the worst act of cultural genocide in Canadian history.
SO, do not sneer unctuously at NAZI book burnings back in 1933; we have our own, equally vicious culturally genocidal vandals right here in 2017.
Remember, when NAZIS were targeting Jewish culture and art as inferior, the “best people” were fellow-travelers: academics, the intelligentsia, cultural administrators, civil service bureaucrats, British royalty, all gave tacit approval or eagerly helped to feed the funeral pyre. Or stood by, and did nothing, just preferring to let things happen… Preferring to see how they could wring a financial or political advantage for themselves out of a loathsome act of cultural genocide.
How many members of the NMHS can you count? I think I can make out Ruth, and Carmen, and isn’t that Greg in front, before he graduated to long pants?
The word “inferior” most frequently used by the NAZIS to denigrate Jews and their culture, is also the word most commonly use by Ritchie Sinclair and his longtime employers and business associates, the Robinsons, to denigrate thousands of Norval’s fabulous paintings.
“The only thing necessary for the triumph of evil is that good men do nothing.” (The most quoted quote in modern times is attributed to numerous authors.)
The parallel of one race targeting another, is eerily mirrored in the racist slanging, by a cabal of white guys, of Norval Morrisseau’s art as inferior, and as overwhelmingly contaminated and forged, and in the denunciation of numerous reputable Indigenous artists, with ties to Norval, as liars, forgers, creeps, and crooks.
It is a chilling and most loathsome echo of the worst of another age. And it is proudly Canadian…
In January 2013, I launched theMorrisseauHoaxExposedBlog.com with a tell-all about the fraud and the fraudsters, a group of “establishment” greedy white men, collaborating with a former street kid, and Norval’s lover, Gabe Vadas, to ruthlessly victimize a totally wheelchair-bound, sick and mentally vacant old “Indian” artist.
Who, at the time, had the most debilitated mind and body of any leading personality in Canadian history.
I consider it the worst case of elder abuse in Canadian history.
And in the process I discovered and exposed Donald Robinson’s part in the biggest Hoax in Canadian history.
And how he, his son, and their Kinsman Robinson Galleries, hand-in-hand with the toadying malfunctionaries on the NMHS, were deliberately involved in recklessly and maliciously destroying Norval’s art and his painting valuations in the multi-millions… and damaging, for a generation, the credibility of the entire Indigenous art industry.
It is the worst case of cultural genocide in Canadian history.
The final damning indictment…
Norval died in Toronto on Dec. 4, 2007, brought there by his “care-giver” Gabe Vadas, who could tell Norval was dying, and wanted him to do so in Ontario, to escape BC’s inheritance laws, mandating 50% going to a deceased’s children. Vadas wanted it all; Ontario would allow him to.
I believe Gabe Vadas was also in town to consult with, and seek advice, from his longtime Toronto lawyer, Aaron Milrad, and from the Robinsons, on how he could maximize his control over the estate of an artist who was literally, at death’s door.
The Robinsons obviously were determined to keep on dealing with the former street kid and longtime Morrisseau business operator – a simpatico white man – Gabe Vadas, rather than with Norval’s seven adult Indigenous children for whom they had frequently shown open public contempt. In front of Judge Martial, Donald Robinson had scorched the whole Morrisseau family, as “all liars.”
As Vadas aggressively boasted, regarding Norval’s estate, on the CBC “Life and Times” broadcast, “I’m deserved of it all.” So this trio of Norval’s handlers, who had collaborated in multiple ways for many years, predictably became the very first to learn that Norval had died.
And then it gets worse…
None of these white men: Vadas, the Robinsons, Milrad, into whose pockets Norval had put gazillions of dollars, were compassionate enough, cared enough, to bother notifying any of Norval’s Indigenous children, that their father had died.
So Norval’s Indigenous children, even those living in Toronto, wouldn’t find out that their Dad was dead until days later…
Burning the Evidence Part 2 – And they did NOT learn their father was dead, neither from the Robinsons or Milrad, nor from Vadas, all of whom continued to indulge their racist antipathy of non-disclosure against Norval’s Indigenous family, and were apparently also busily arranging to cremate Norval without consulting them.
(Cremation is a no-no in Anishinaabe culture and considered too outrageously disrespectful to the dead, to even contemplate. All three of these crafty white guys, who for years bragged to the media about their special spiritual connection with Canada’s top Indigenous artist, and unique insight into his First Nations culture, would have certainly known that.)
But they were ruthlessly planning on cremating Norval anyway. Why?
NOTE: Norval’s cremation was finally stopped when Norval’s family secured an intervention from a Human Rights agency to stop the religious desecration of Norval’s body by this trio who, while he was alive, had collaborated to desecrate his art. Out of total self-interest and personal greed.
It is something Indigenous peoples of Canada know a lot about. In the many years I spent living and working in remote arctic and sub-arctic Indigenous communities, as a teacher, a principal, and as a documentary and educational filmmaker, the most common phrase I constantly heard bandied about, more than any other, was “greedy white man.” I believe, they’re very possibly, the first “Anishinaabe” words a newborn learns when it comes home from the hospital.
The Norval Morrisseau art fraud HOAX is a good example of what’s behind it.
It’s tempting to conjecture that the hurried cremation plans, for the tell-all body, were just an extension of the NMHS’ diabolical “burning of the Wankers.” And done for similar reasons.
I believe someone probably feared that some enterprising Morrisseau family lawyer might demand an autopsy, which in this case would reveal that Norval had a brain that was totally destroyed, and had been jelly for years…
NOTE: The signs of Dementia-related diseases clearly show up in the changes visible in brain cells when examined under a microscope. And Norval was a well-known chronic victim of aggressively advancing Dementia and Alcohol Dementia in his later years.
In fact Norval’s Indigenous family members, both Morrisseaus and Kakegamics, believed Norval had been mentally incapacitated for years, and ruthlessly manipulated as a mindless puppet of opportunity, by his white handlers out of personal greed. Norval’s Indigenous relatives had their lawyers file an injunction to that effect.
Somebody probably feared that the finding of an autopsy, would of course, supply proof of Morrisseau family allegations, and serve to totally invalidate the notorious “Will” that Norval had supposedly signed less than two months before.
That notorious Will famously disowned all seven of Norval’s adult Indigenous children, and left it all to one white guy, Gabor Vadas, and indirectly, of course to his longtime enabling and, no doubt, high-billing lawyer Aaron Milrad.
NOTE: Karl Burrows, the Morrisseau studio’s chief contract painter, who “lived in the belly of the beast” for years, wrote that Vadas had a total obsession with discovering every possible legal tactic he could think of, to make sure he “got it all,” and spent an inordinate amount of time, and huge amounts of Norval’s money, on his lawyer to make sure it happened.
REWIND – These two – Vadas and Milrad, you may recall, in 2007, fraudulently sucker-punched a witless and hapless Globe reporter, Val Ross, into publishing utterly false and libelous crap about Michael Moniz and his paintings as supposed Morrisseau “fakes.”
The duo, acting in concert, were the sole source for the journalist’s fraudulent claims. Globe lawyer Peter Jacobsen quickly realized his client had been fed total lies by these two scammers, and advised the Globe to settle Moniz’s lawsuit with a $25,000 payout, for having viciously, maliciously, and meretriciously, libeled him and slandered his genuine Morrisseau paintings.
Cremating the tell-all body, would, of course, prevent the truth about the phony Will, Norval’s jellied brain, and the cold-blooded machinations, from coming out. Just like the conspirators hoped the “bonfire of the Wankers” would remove their damning and compromising evidence from the scene.
Now do you see why the crafty cabal of white guys might want to conspire to keep the family from learning of Norval’s death?
It was not Gabe Vadas, Principal Caregiver, and not Don Robinson, Norval’s Principal Morrisseau Dealer, both of whom had Norval’s Power of Attorney, nor Aaron Milrad, Norval’s (Vadas’) lawyer, who called Norval’s seven children to tell them their father had died while in their care. Jim White was blown away that they had not told the family even two days after Norval died. So he did, and paid out of his pocked for them to fly to Toronto from remote Red Lake. Without a dime from the white guys who had raked in millions from the dead Indian’s art…
The White Knight – It would be left to a decent art collector human being, James White, who, when he ultimately heard of Norval’s death, two days after it happened, immediately called Norval’s children in far-off Red Lake, Ontario.
White confessed that it was he who paid, out of his own pocket, to bring Norval’s family members to Toronto from remote northern Ontario.
With not a dime from the Robinsons; not a nickel from Aaron Milrad; not a penny from Gabor Vadas. All white guys who had grown rich and fat from Norval’s art and estate.
Truly loathsome and racist people, the lot of the manipulating Morrisseau handlers.
Canada at 150 – a racist hotbed of culturally genocidal white guys exploiting Indigenous art and artists for their own selfish purposes.
Now you know what the fine art industry in Toronto’s tony Yorkville area is all about.
As Toronto lawyer, and international fake art sleuth Bonnie Czegledi said scorchingly:
“Over a period of a few years, I discovered that the business of art is one of the most corrupt, dirtiest industries on the planet. There are no regulations… It’s not pretty. The patina of loveliness that most people associate with art didn’t exist in the reality that I found. It was filled with criminals – and a lot of different kinds.” (Bonnie Czegledi, quoted, Hot Art, Knelman, p25)
Today Norval – his body, not his ashes – lies beside his wife Harriet Kakegamic.
Where the “Wanker 16” ashes have been disposed of, by the NMHS, and its chief pyromaniac, Aaron Milrad, is unknown. The most educated guesses are the Rideau River, or the sewers of Ottawa…
If you want to know, ask him…
The Creation of the Greatest Fraud in Canadian History
During the entire active painting life of Norval Morrisseau, from 1950 to c1995, there had never, ever, been a single allegation of a forgery, anywhere, from anyone.
– Forgeries were first alleged publicly by Donald Robinson BS on May 18, 2001 in the National Post, when Norval Morrisseau was already shut away in terminal care, after he had been a wheelchair invalid for years, and years after he had ceased being able to paint anything that was salable, and his rare periods of mental lucidity were minutes rather than hours long.
Donald Robinson BS tried to allege that there were many hundreds of Morrisseau “fakes,” all lowlife forgeries that any fool could easily identify even across a room.
I suppose that’s very much like the same skill police use to spot and arrest a Black guy across the street, clearly guilty of “driving while Black.”
– Since the day Robinson first publicly announced he had “discovered” hundreds of Morrisseau fakes (May 18, 2001), as of April 2017, not a single, solitary alleged fake of a Morrisseau painting has ever been found to be other than a genuine painting signed by the artist himself – and by no one else than Norval Morrisseau – by every deputy judge, judge, justice, and forensic handwriting expert who has been asked to examine the allegations of forgery and make a determination.
That’s over all 17 years since Donald Robinson BS and his Kinsman Robinson Galleries (KRG)*** started making these wild and unsubstantiated – make that fraudulent – charges. Stemming from what the Hon. Justice Murray Alexander Mogan of the Tax Court of Canada, called Donald Robinson’s “hopeless conflict of interest,” accusing him of being self-servingly “hypnotized” by his own gallery documents in preference to willfully ignoring other relevant Morrisseau market place facts, he very well “ought to have known.”
***KRG is a small Robinson family-owned and operated art gallery in Toronto’s tony Yorkville area. They represent about a dozen artists, and started to represent Norval Morrisseau in the early 90s.
Robinson’s obviously fraudulent allegations were invented to promote a scam that was originated to enhance the valuation of Kinsman Robinson Galleries retailed Morrisseaus, by destroying the valuation of genuine Morrisseau paintings in the hands of their business competitors, by claiming their competitors’ Morrisseaus were all fakes, and that KRG’s were the only genuine ones, backed by “provenance.”
To help promote this ruthless business scam, Kinsman Robinson Galleries and its Robinson family staff – Donald Robinson, Paul Robinson, John MacGregor Newman, Diane Kinsman – began a deceitful rebranding and promotion initiative by:
– fraudulently remanufacturing and rebranding Norval publicly, as a mentally, physically, & artistically flourishing artist, at a time when he was a wildly Parkinson’s shuddering and rapidly deteriorating wheelchair invalid, consigned in a terminal care facility, afflicted with Dementia, Alcohol Dementia & mentally “out of it,”
– fraudulently hiding the fact that its brand of so-called “direct-from-the-artist” paintings were at best, composites from a “Morrisseau studio stable” of contract artists, or were actually recycled, “no provenance” auction sale purchases (NOTE: auctions virtually never give out the source and names of previous owners, etc. of paintings they sell, even to the new owners),
– fraudulently remanufacturing and rebranding Norval’s art as BLANK on the back, when, in fact, thousands of Morrisseau’s high period 1970s & early 80s paintings were dated, titled, and signed on the back by Norval in black drybrush paint,
– fraudulently remanufacturing and rebranding the Robinsons as Morrisseau experts, when, in fact, Donald Robinson BS was hugely discredited by every judge he’s ever been in front of, as totally self-serving, and not credentialed or trustworthy about Morrisseau art, and discredited by every forensic expert who ever examined his alleged so-called “fakes,” universally finding them to actually be authentic,
– fraudulently remanufacturing and rebranding Donald Robinson BS as supposedly having a special spiritual relationship with Norval Morrisseau, posing as being “simpatico,” and having a unique relationship and insight into Indigenous art and culture. When in fact he is a racist, who spewed venom against ALL the Morrisseau family members as “all liars,” and his entire KRG gallery operations, including funneling malicious falsehoods to a compliant press, have been dedicated to committing cultural genocide against the art and artists of Canada’s Indigenous people,
– fraudulently remanufacturing, fabricating, altering, or deleting provenance – TITLES, DATES, SUBJECTS, SOURCES, NAMES, MATERIALS – in a deliberate attempt to hide compromising provenance, and to tart up the salability of “Morrisseau” paintings they were selling,
– knowingly manufacturing and promoting a fraudulent myth that there were actually “fake” Morrisseaus,
– deceptively manufacturing and fabricating fraudulent “expert reports” to help promote these fraudulent initiatives,
– creating the Norval Morrisseau Heritage Society (NMHS)***, in 2005, to operate as a pseudo-academic stamp of approval, of KRG’s fraudulent initiatives, and staffing it with gullible and witless dupes, willing to promote and endorse them all unquestioningly, to please the Robinsons, and never challenging them about their facts or their motives,
***The NMHS is the most reprehensible and fraudulent cultural agency ever to desecrate the cultural landscape in Canadian history. A racist organization set up by some white men to destroy the art of Norval Morrisseau and discredit Indigenous art and artists across Canada.
Donald Robinson whom Ritchie Sinclair calls, “My Mentor” has been hugely and totally discredited, without a single failing, by some 12 court decisions and lawsuit settlements.
– aggressively recruiting (in Oct. 2008) discredited and racist art terrorist Ritchie Sinclair to become KRG’s main fraud promoter and enforcer, operating in tandem with Kinsman Robinson Galleries, under the direction of Donald Robinson BS, whom Sinclair called “My mentor,” and where his main jobs as “KRG enforcer” were laid out to him to be:
– 1 – create a racist, vicious, and malicious anti-Indigenous website attacking some 1,000 genuine Morrisseau paintings belonging to KRGs main business competitors, and calling numerous leading and reputable Indigenous artists, forgers, creeps and crooks. Sinclair’s racist and malicious website features:
– low res images just cribbed from websites of KRG’s business competitors
– using the vilest words to attack, not just the paintings, but defaming and naming reputable gallery owners, and collectors as forgers and crooks
– using the vilest words to attack Morrisseau family members and multiple reputable First Nations artists as forgers and crooks
– 2 – locate and convince gullible neophyte art collectors – including Dr. Jonathan Browne and Julie Witmer, Margaret Hatfield, and Kevin Hearn, among others – that their original genuine Morrisseaus were “fakes,” and get them to sue, at their own expense, reputable gallery operators, in this way smearing decent and honest art dealers, and advancing the fraud in public, without it costing the Robinsons a nickel
– 3 – the intimidator who has physically threatened numerous people, first doing it to Joseph McLeod so many times at his place of business and home, that Toronto Police finally charged Sinclair with multiple counts of Criminal Harassment of the 82 year-old McLeod. Other targets he has threatened and assaulted include: Joseph Otavnik, Joan Goldi, John Goldi.
Putting his best face forward in a CBC broadcast is Notorious “Faux-nishinaabe” Impostor\Impersonator Ritchie Sinclair – totally discredited by judge after judge, after judge, after judge. Sinclair’s fantastic fabrications about himself – besides numerous costumes, baubles, bangles, beads and feathers, and other personal adornments – include Goofy Bear Dancing, and a bewildering list of faked aliases including: “Stardreamer,” “Anang Inaabandaan,” “Shaman,” “a native artist,” “Morrisseau’s protégé,” “Morrisseau’s designated successor,” “Morrisseau’s equal,” etc. In fact he is just an aging, 60 year old delusional white man living in his roommate’s apartment in downtown Toronto.
Sinclair also sent an “anonymous death threat” to Ugo Matulic, which was traced to Sinclair’s home computer.
– 4 – feeding malicious and false information to lazy, gullible, and witless mainstream media journalists, who have just mindlessly regurgitated the unsubstantiated drivel they were spoon-fed to advance the fraud,
– 5 – lying to police and feeding them malicious and fraudulent information, regarding KRG targets (art galleries, auction houses, Morrisseau collectors, Morrisseau blog publishers) so hoping to launch bogus court cases against them.
– 6 – fraudulently manipulating the Wikipedia page of Norval Morrisseau with utterly false drivel to advance the fraud.
– 7 – sending a continuing barrage of the vilest “anonymous” emails to KRG targets including: Joseph McLeod, James White, Ugo Matulic, Joseph Otavnik, John Goldi, etc., and anyone else who dared to take action against the fraud and its promoters.
As Toronto lawyer, and international fake art sleuth Bonnie Czegledi scornfully snarked:
“Over a period of a few years, I discovered that the business of art is one of the most corrupt, dirtiest industries on the planet. There are no regulations… It’s not pretty. The patina of loveliness that most people associate with art didn’t exist in the reality that I found. It was filled with criminals – and a lot of different kinds.”
– (Bonnie Czegledi, quoted, Hot Art, Knelman, p25)
Rewind – Starting in 2007 Donald Robinson, with his son Paul Robinson at his side, sat in his basement at the Kinsman Robinson Galleries (KRG), and started to fabricate the first of what were to become a fakes assembly line of KRG’s notorious Morrisseau “expert reports,” targeting genuine Morrisseau paintings they tried to claim were fakes.
Donald Robinson drew on memories of his undergraduate science degree to dress them up with pseudo-scientific claptrap, and puffed them up with preposterous graphs, and ludicrous close-ups of eyes and laughable snippets of signatures and letters. And then spun them around with nonsensical pseudo-scientific mumbo-jumbo he made up about Morellian this and that.
It’s completely understandable.
Robinson BSc Becomes Robinson BS – Robinson, knowing he had no academic training or credentialed background of any kind in the subjects he was stuffing his “expert” report with***, craftily dressed up his faux reports with the trappings of pseudo-science that, back in the mists of time, he had once seen professors use in their books. That’s the look he wanted for his faux reports, hoping in this way to sucker-punch the witless and gullible into believing what he was trying to claim, that he had evidence and proof – which he knew he did not – of Morrisseau fakes and crooked dealers, who all – go figure that! – just happened to be, his main Morrisseau business competitors.
*** If Robinson willfully chose to forget all this, he was sternly reminded of it with unmistakable clarity by Deputy Judge Paul J Martial, in his 40 page Judgment on Mar. 25, 2013, after he had indulgently listened to Robinson explain himself, and his background, and expertise, for many hours on multiple days during the Hatfield v Artworld trial.
Each Robinson faux-report picked one painting to attack that the Robinsons wanted to be fake to promote what lawyer Brian Shiller told Madam Justice Mary Anne Sanderson was “a scam.”
To that end, Donald Robinson BS marshaled and fabricated his so-called facts to give his allegations and reports the pseudo-scientific stamp and appearance of proof of a forgery.
Stated a clearly incensed Plaintiff’s lawyer, Brian Shiller, a dozen feet in front of me, in Osgoode Hall:
“That’s the scam. The scam is to get all the secondary market paintings off by calling them all fakes. Come and get the paintings from us. Buy ours. That’s the scam. Now I go as far as to say that Mr. Robinson is involved in that by his actions.” (Brian Shiller, Dec. 6, 2013, Osgoode Hall)
All Donald Robinson’s faux reports were done to target specific paintings and specific art gallery owners, or art collectors, that KRG considered business competitors, or a threat to KRG’s art selling business model, and so wanted to discredit and destroy.
Remaking and Re-marketing Norval Morrisseau
Norval Morrisseau became world famous as an artist in the 1960s, and became known as Canada’s top Indigenous artist. His high period, as an artist, was the 1960s, and 70s. In the early 1980s he lost his longtime Toronto dealer, Jack Pollock, who had made him famous.
By the late 1980s, thanks to a lifetime of grossly self-indulgent, and over-the-top drug, alcohol, and substance abuse, Norval was in spectacular decline, mentally, physically, and artistically. He ended up living on the streets of Vancouver, where he hooked up with Gabor Vadas, a crafty panhandler, and grade 10 dropout.
The street kid, whom Norval had picked up – or vice versa – on the lowlife streets of Vancouver in c 1987, when both were homeless and destitute, proceeded to remanufacture himself as Norval’s business and art production manager of the “Morrisseau studio.”
The Aldergrove Conspiracy – Gabe Vadas started the “Morrisseau studio factory,” in 1988, by hooking up with an accomplished artist, Bryant Ross, who became business manager and whose shop, in Aldergrove BC, became the operations centre.
Notorious Art Terrorist – Bryant Ross is famous for trying to sell me, in 2005, and many others, some direct-from-the-artist “Burrowsseaus” at his rural art studio where he had been selling them since 1988. When he failed to sell them he just trashed them as “fakes” in the media in 2012 and in the SAW gallery in 2013, hoping people had short memories and no screen grabs to alert people to his past deceits.
Disclosure: In 2005, doing research on the Morrisseau HOAX, I visited Bryant Ross and his shop where the Aldergrove Conspiracy was hatched. This was the same year the cabal of fraudsters founded the Norval Morrisseau Heritage Society, staffing it with willing, witless, and gullible academic toadies, to help Donald Robinson BS and KRG in their fraudulent fakes promotions.
Ross tried to sell me – a guy he didn’t know, and years before I published the HOAX blog – some awful looking “Morrisseau studio” paintings he showed me, assuring me they were “direct from the artist.” I believed none of it. He also brashly, and sight unseen, assured me that any I had at home were fakes. I thought what a totally unprincipled huckster.
A Fraudster Reveals His Past – This was the time, over a period of several years, when Bryant Ross was trying to sell one of what he called and advertised as his “direct-from-the artist” Morrisseaus called “Water Spirits,” in his gallery, at Seahawk Auctions, and on ebay, all without success.
Exasperated, five years later (Jan. 27, 2010) Ross defaced “Water Spirits” before Vancouver, BC, TV cameras as a fake Morrisseau. I ran into “Water Spirits” again on June 13, 2014, when I visited Ottawa’s SAW Gallery “F is for Fake” exhibit. Ross, in tandem with Ritchie Sinclair, had put it up as a supposed fake in the notorious SAW Gallery “F is For Fake” show. (This proved to be a disastrous personal and professional mistake for SAW Gallery curator Jason St-Laurent – as explained below).
And you thought used car dealers were bad!
In 1988, the Aldergrove studio cabal hired another accomplished artist, Karl Burrows, as a contract painter to help Norval Morrisseau make acceptable and salable Morrisseau look-alikes, without wigglies, when Norval was increasingly unable to do it himself anymore. Both Ross and Burrows, were white guy artists, who had to learn how to “paint like an Indian” fast.
Donald Robinson – The Big Heavy from Toronto
This is where Donald Robinson came into the picture in 1989, seeking to make a deal with Vadas and his cronies in Aldergrove, BC, and endeavoring to become the “Morrisseau studio’s” national dealer, publicist and promoter. They cemented the deal in 1990.
Introducing Donald Robinson BS – Donald Robinson has been a principal with his son Paul Robinson, in directing the art machinations of Toronto’s Kinsman Robinson Galleries with an address in Toronto’s upscale Yorkville area, where the pompositing glitterati like to shop.
For the last 17 years (from 1990 on) of Norval Morrisseau’s life, Robinson liked to pose as “Principal Morrisseau Dealer,” marketing hundreds of works, supposedly direct from Norval.
But in fact, not direct from only Norval, at all, as KRG would have its clients believe, but for the last decade of the artist’s life, actually coming from the “Morrisseau studio” where a group of plotters and painters frantically wielded brushes, in total secrecy of course, to “help out” the rapidly declining, and increasingly mentally and physically helpless artist.
This plan worked out great for the Robinsons because, though they were saddled with a wheelchair invalid, who was years past painting anything salable on his own, they could be assured of an unending supply of fresh new product to sell.
Gabe Vadas kissing the man who was his entire “meal ticket” for some 25 years.
Gabe Vadas Takes Over Total Control – In 1990, the last of what had once been an independent Norval, passed into the hands of this crafty cabal of fabricating white men, when Vadas took over Norval’s Power of Attorney (POA) on Apr. 24, 1990. The ultimate aim: ruthlessly dispossess Norval’s legal heirs, his Indigenous children who lived in northern Ontario, and prevent them and their lawyers from getting their hands on any of Norval’s estate: his paintings, property, bank accounts, boats, his art, and memorabilia collection etc.
Double Whammy – On Sep. 28, 2004 Donald Robinson took over Norval’s Power of Attorney (POA) for himself, as well, so the dastardly duo of POA art terrorists could hit their business competitors with a legal Double Whammy.
And to act ruthlessly to increase the value of their holdings in Morrisseau art, by destroying the valuation of other people’s Morrisseaus, in the hands of other collectors and art galleries.
Vadas was, from 1990 on, in total and ruthless control of ALL Norval’s personal, business, artistic, financial, and legal affairs. Robinson and Kinsman Robinson Galleries were hired to become the main conduit of the Vadas “studio art” to the white world based in Toronto. And with their POA after 2004, KRG had total control and complete freedom to manipulate to their heart’s content, all matters relating to Morrisseau art, by claiming to “represent” an artist who had been Dementia-disabled for years.
Vadas became a totally self-aggrandizing fraudster, ruthlessly and fraudulently using Norval’s POA to claim that thousands of Norval’s paintings in the hands of others were fakes. Joined at the hip with the Robinsons of KRG, Vadas specifically targeted Norval’s high period works, his 1970s style, many of them signed and titled with black drybrush paint, and art in the hands of reputable and honest art dealers, but KRG business competitors.
From now on ALL the Morrisseau-related legal initiatives came, NOT from Norval at all, but from Gabe Vadas and his art fabricating and manipulating studio cronies. All claiming they were “speaking” for Norval, many years after Morrisseau was mentally gone and couldn’t communicate understandably on any level with anyone anymore. In short ALL the Norval claims, from then on were Vadas’ (and after 2004 KRG’s) trumped up claims, in fact and in legalese.
Morrisseau Studio Post-1990 Composite Paintings – The group soon began to produce nice shiny notorious “Morrisseau studio composite paintings,” AKA “Burrowsseaus,” etc., that were not disfigured by Norval’s increasingly, awful squiggly jiggly Parkinson’s animated brush…
Which was why Norval could no longer write, or paint, anything that passed for a legible signature.
Someone told Norval NOT to sign the back of his paintings anymore to avoid awkward questions from suspicious buyers who might question: “Hey! If Norval’s signature and writing on the back, are so God-awful jiggly, how can the lines on the front of the painting be so steady and perfect? Something doesn’t seem right…”
This was a brilliant move because it left no tell-tale signs of a seriously debilitated artist, long past painting anything one could sell to anyone except a blind man.
This newly-instituted studio practice of BLANK BACKS, accounts for why Donald Robinson BS could say – under oath – that ALL “Morrisseau (studio)” paintings, painted (i.e. manufactured) for KRG, after 1990, were BLANK on the back.
And segue from that into the patent falsehood “that Norval never signed the backs of his paintings. That he had never seen it…” A Robinson falsehood that was embarrassingly unmasked as fraudulent by Defence lawyer Brian Shiller, before the Hon. Madam Justice Mary Anne Sanderson on Dec. 6, 2013.
Rewind: Those Black Drybrush Paintings – the BDPs
A typical 1970s BDP, of which Judge Martial found that there was “overwhelming evidence” that Norval signed thousands of these in exactly this way. This is celebrity ivory tickler Kevin Hearn’s painting, which he paid $20,000 for in 2005. Years later art terrorists sucker-punched the art collecting neophyte, and convinced him his painting was a “fake,” and that it would be a good idea for him to spend $200,000 in a lawsuit trying to prove it. When every single lawsuit that tried to do the same thing, at the behest of the same art terrorists has been utterly disgraced and dismissed. With every judge and every forensic expert, who have weighed in, having unanimously found ALL these alleged “fakes” to be authentic. Hearn is heading for a huge personal, financial and reputational disaster.
*** BDP is an acronym (for Black Drybrush Painting) I use to identify the thousands of Norval’s high period paintings from the 1970s and early 80s, which Norval personally signed on the back, in English, with a large title, date, copyright, and signature in black drybrush paint style. This was in addition to Norval’s Cree syllabic name, which was still on the front.
So since the mid-70s, thousands of Norval’s high-period paintings commonly boasted his huge and brash Black Drybrush Paint signature, title, and date on the back, in English, using the black paint that he used to do his outlines, but using a dry brush technique so it would dry fast and he could stack his art in his studio. This was a necessity because he often painted twenty, thirty, forty, or more canvases at the same time.
On Feb. 24, 2012, Wolf Morrisseau, Norval’s younger brother, who was his business manager in the 1970s, testified before Judge Martial that he had initiated the BDP practice, by convincing Norval it would make Norval’s “Indian art” appeal to foreign buyers who were not acquainted with his syllabic Cree signature on the front, and convincing him that a big bold English signature added on the back (the BDP) would promote overseas sales.
The BDP was born. A super idea which countless Morrisseau collectors thank Wolf for initiating. Some 70 determinations, by forensic scientists and handwriting experts, from 2008 onwards, using Norval’s BDP signatures, have, without a single failing, ruled all were authentic. Signed by Norval and by no one else. With DNA certainty. So totally dismissing as fraudulent, the self-serving false claims of the Robinsons and their cronies on the NMHS.
So Norval did it thousands of times, on all his best paintings, in the 1970s and early 1980s, until “someone” told him to stop, because by the early 1990s, it was becoming obvious that his signature was becoming way too jiggly, from the effects of his advancing Parkinson’s.
And clients, they feared, would start raising eyebrows, about the stark contrast in steadiness between the wobbly signature on the back and the firm artwork on the front.
With a BLANK backed Morrisseau, a collector has NO “DNA” that he can send to ancestry.com or any forensic scientist for a determination. You are stuck with a KRG sticky paper typo label from a motivated seller to supposedly convince you the art is genuine. Since the painter has been dead for years. Good luck!!!
ULTRA RARE – A typical Norval BDP (Black Dry-brush Painting) from his 1970s high point, signed, titled, and dated by his hand, in the black dry brush style. And all called fakes by Donald Robinson and Ritchie Sinclair. In spite of the fact that some 70 have been authenticated by top forensic experts. And this one, is the first Norval Morrisseau painting ever to be given a “beyond DNA certainty” authenticity rating of 100%, as being painted by Norval. So, who’s the fake…?
The BDP is Norval’s Stamp of Authenticity – Hell if Norval won’t stand behind his painting – with a big black signature that can be authenticated by a forensic expert – why bother buying it? Try and take the KRG sticky paper typo to a knowledgeable buyer when you decide to sell it. BLANK means that’s exactly what it’s worth.
A typo, especially one from KRG, can never ever be a substitute for the hand of the artist.
If you disagree, go ahead and try and take that – a Kinsman Robinson typo – to the bank, er I mean a forensic scientist to verify to see whether you bought a genuine Morrisseau from KRG, or actually ended up with a “composite studio knock-off” Burrowsseau, Vadasseau, Rosseau, or Michelesseau…
Or if you were really lucky, one where all of them took a crack at doing parts… Look for pizza drippings on the canvas front or back from the party where they made a day of it gleefully manufacturing their brand of “Morrisseaus.”
Fast Forward – This BLANK BACK directive, in later years, allowed Robinson (a directing principal at Kinsman Robinson Galleries) to claim to two incredulous judges – Martial and Sanderson – “that never once” had he seen a genuine Morrisseau with Norval’s huge black drybrush signature etc., on the back.
Judge Martial, who couldn’t believe his ears, after hearing and seeing a mountain of evidence to the contrary, thundered, in a 40 page written judgment (Mar. 25, 2013 in Hatfield v Artworld), that there was “overwhelming evidence” that Norval had signed thousands of his genuine originals that way in the 1970s and early 80s. (While also totally discrediting Robinson on many levels as not believable, credentialed, or trustworthy and totally consumed by self-interest.)
And Madam Justice Sanderson of the Appeal Court (Dec. 2013), in a judgment that blistered Robinson, agreed with Martial about BDPs. Being the second judge, besides multiple independent forensic experts ruling on some 70 examined, similar BDP signatures, to rule that both the painting and the signatures – both of which Robinson tried to claim were fakes – were, in fact, 100% authentic.
The Damning Truth About the Robinsons & BDPs
In the late 1990s word of Norval’s imminent death was starting to trickle through the art market. The death of an artist is always eagerly awaited because art dealers know it will jump the painting valuations of an artist who now can no longer paint.
A flood of Norval’s original BDPs started to flood the Toronto market, collected by shrewd art dealers who had scooped up thousands of paintings Norval had littered across small town Northern Ontario in the 1960s, 70, and 80s, desperately selling them door to door for $10 or $20, or $50 bucks apiece.
The Robinsons were first in line at auctions, desperately trying to buy all these BDPs up for a song, and resell them at KRG after jacking up the prices by 700%. They bid on some 100, paid $54,000 for 31 and realized they could never outbuy some 200 other art collectors and dealers who desperately wanted them too.
And not only Pop Robinson but “Pup” Robinson, Paul the son of Donald was enthusiastic about them, for selling to KRG clients.
In fact Paul Robinson himself, also, made a healthy income, by personally issuing and signing, multiple Certificates of Valuation of these Morrisseau auction BDPs, that clients like Matt Fountain and Jonas Plis had bought elsewhere at Potter’s Auction and wanted further authentication from the Principal Morrisseau Dealer, and self-styled world experts in Morrisseau art.
After a customer brought in two paintings for authentication, Paul Robinson signed the form and sent his Dad to join the mad rush to buy the mother lode of original Morrisseaus being sold at Randy Potter Auctions. Five weeks later, on Sep 29, 1999, Donald Robinson went there and bought five.
In fact the documentary proof is incontrovertible, that many months after his father had publicly denounced these Potter auction-sourced BDPs as ALL total fakes (May 18, 2001) his son Paul was still issuing Certificates of Valuation to multiple Potter BDPs (for Jonas Plis Oct. 20, 2001).
Hey, the money’s good, and besides, who will ever find out what I’m doing in the privacy of my business between KRG and a client…?
So who are you gonna believe, the Pop or the Pup?
With the flood of genuine Morrisseau BDPs siphoning off its clients, gloom settled over the Kinsman Robinson Galleries. A business disaster loomed dead ahead. The flood of cheap Morrisseaus at all the other galleries were hugely depressing the enormously bloated prices KRG was demanding for its Morrisseaus. It’s own clients like Mountain, and Plis, were now buying elsewhere. What to do?
Clearly desperate measures were called for.
“If I Can’t Have Her, Then Dammit, No One Else Can Either” – A common murder plot was the source for a new KRG strategy. “If we can’t buy them and make a buck from them, then we have to make sure no one else can either. So let’s just call all Norval’s high period 1970s BDPs fakes and discredit them everywhere, and in every way we can. And promote our KRG product as the only genuine and reliable Morrisseaus available anywhere.”
Some of these KRG-owned BDPs (Black Drybrush Paintings) Pop and Pup Robinson (Donald and son Paul) sold, and some they claim they gave to the Norval Morrisseau Heritage Society (NMHS)*** (in 2005) with instructions on how to use them to discredit and destroy the valuation of genuine Norval Morrisseau art which was flooding the market and destabilizing the high prices demanded by Kinsman Robinson Galleries for its own line of “Morrisseaus.”
But of course that is not how the Robinsons described it to the gullible recruits they appointed to the NMHS.
The Birth of a Vicious and Malicious Hate Crime
*** The Norval Morrisseau Heritage Society (NMHS) is a Toronto Kinsman Robinson Galleries branch plant operation, using a willing group of conspiring volunteer activists to help the Robinson family desecrate and devalue the genuine Norval Morrisseau art heritage holdings of their business competitors.
The NMHS was set up, in 2005, by Donald and Paul Robinson and KRG, in collaboration with Gabe Vadas, Norval’s self-aggrandizing, and self-declared heir, and his willing and enabling lawyer Aaron Milrad.
The NMHS was founded on a lie.
The NMHS was founded to spread a lie.
The NMHS was founded to rubber stamp a lie.
The NMHS was founded to aid and abet a business scam by KRG.
The NMHS has done great irreparable harm to Canada’s Indigenous art and artists.
The NMHS is the most reprehensible cultural organization ever to desecrate the Canadian cultural landscape.
Sucker-punching the Media – Every time I think of the NMHS, the voice of President Trump echoes through, about media types as malicious and “the enemy of the people,” full of “fake news” and staffed with “some of the worst, most dishonest people, I’ve ever met,” and warning that: “The Press is out of control; the level of dishonesty is out of control.” (Jan. 22, 2017, etc.)
It reminds me that the media constantly prints stuff that is fed to their mindless and gullible journalists by a whole host of conniving, and maliciously conspiring agents of misinformation, many getting privileged and uncritical access to the reporters only because they come dolled up as establishment silks, satins, suits, and snoots.
And festooned in their finery, and brandishing their Ph.D.s, and their elite status as important establishment toadies, one uncritical journalist after another, rushes into print with whatever nonsense they were spoon fed.
Winning for themselves elite status of their own, as honoured inductees into the Canadian Journalist Hall of Shame, including:
– The Star – Murray Whyte AKA “The Father of the HOAX”
– Globe and Mail – Val Ross, James Adams
– Postmedia – Anne Marie Owens, Robert Fulford, John Racovali, Tristin Hopper, Jacquie Miller, Katie Mercer
– CTV – Liz Travers, Beverly Thomson, Jeff Hutcheson
– Westbridge Pubs – Anthony B Westbridge
– Writers: James B Stevens, Armand Garnet Ruffo, Carmen Robertson
When President Trump assailed “the Fake News mainstream media,” as “some of the worst people I have ever met,” and the “enemy of the people,” guess whom he was talking about? It’s hardly a secret. He had been reading my blog…
Every journalist who wrote anything about Norval Morrisseau, or allegations of “fakes,” has been personally and professionally diminished, and discredited, and had his/her journalism debased by uncritical contact with these NMHS operatives.
The credit for this goes in spades to the members of the NMHS and the public utterances they have made, especially Aaron Milrad who has appeared on its behalf on television, radio, and in the print media. Uttering utterly preposterous stuff which is demonstrably false and he damn well knew it.
He claimed Norval denounced the fakes, hundreds of them and called them abominations. The intent was to do great irreparable damage to all Morrisseau art that did NOT pass through the hands of his NMHS and KRG colleagues, and get their approval.
That diabolical sifting process, alone, condemned thousands of paintings belonging to KRG’s business competitors to being declared “fakes.” Can you imagine the fate of those paintings, if they ever fell into the hands of Milrad and his NMHS cohorts?
Thanks Aaron, for that… – Lawyer Aaron Milrad and his longtime employer, Gabe Vadas, are single-handedly responsible for victimizing and ensnaring the Globe and Mail in the biggest and most embarrassing incident of journalistic malfeasance in its history. They viciously, maliciously, and completely falsely denounced as “fakes” genuine Morrisseau paintings belonging to Michael Moniz, to a witless, gullible, and journalistically malfeasant Globe reporter, Val Ross.
These two reprehensible men are responsible for making the last few months of her life on this earth a living hell. (SEE: Milrad sucker-punches the Globe)
The Biggest Lie of All – The claim of Milrad, Robinson, Baker and the other NMHS collaborators has always been that the NMHS was the brainchild of Norval Morrisseau and it was he who wanted it set up, and started to do so in 2005.
In fact it’s ALL a total and damnable lie by people who are sociopathically inclined and publicly saying stuff they know are all total and absolute lies.
In 1999 Norval Morrisseau had the worst debilitated mind and body of any leading Canadian personality in history. Norval’s family contended Norval was seriously Demented in 2001-02, three years after this photo was taken. They ought to know having been his caretakers for several months in that time. They say he was cruelly and coldly manipulated into disinheriting his children, and a gross victim of elder abuse in his declining years when his white handlers took him back. The British Columbia Supreme Court agreed, vacated the Alleged Will and restored half of all Norval owned, to his Aboriginal children. I kid you not, NMHS lawyer Richard H Baker, in recounting the so-called history of the NMHS, would go on to claim, that Norval personally founded the NMHS in 2005 – seven years after this photo was taken – and went to work to search out hundreds of fake paintings on gallery websites – probably on his laptop – then wrote up the NMHS Mission Statement, then surfed the internet for suitable candidates for membership, and kept it up sleuthing out hundreds of paintings on various websites, that they should target as fakes. And then issued seven Affidavits of Forgery appended with hundreds of photos he found while surfing the net, during 2004-2005, to KRG’s business competitors. WHAT A GUY! Norval “Lazarus” Morrisseau!!!
in 2005, seven years after this photo was taken,
So let’s look at the documentary record of the man they said set it all up in 2005.
By 2005 Norval was little more than a pulsing vegetable, a TIBWAP (The Insentient Body With a Pulse). And had been for years. And they all knew it, but tried to keep it hidden.
But independent observers and documentation noted Norval’s decline into a Dementia hell, made all the worse because he was trundled about like a sack of meat by his sociopathically mercenary white handlers to help sell his art at KRG shows, and as a prop at the National Gallery of Canada (NGC) gala in 2006.
– the 1997 Goofy Beardance video shows that eight years – that’s 8 years folks – before he supposedly “founded” the NMHS Norval’s talk had degenerated into unintelligible gibberish over half the time.
– in 2001, Norval was incarcerated and locked up in a terminal care facility because his caregiver Gabe Vadas could no longer manage the Dementia, Alcohol Dementia, and Parkinson’s debilitated, and longtime wheelchair invalid any more.
From the NMHS website – all claims lawyer Richard H Baker makes in his notorious letter – a preposterous list of all the things the Dementia-plagued Norval supposedly orchestrated, organized, supervised, approved, and set in motion, in 2005, five months after Norval spectacularly failed, to even recognize his old buddy Gary Lamont. And two years after CBC producer Paul Carvalho reported that Norval couldn’t speak a single word for his cameras, or “spoke” in a way that anyone could understand (in 2003-2004). We note one crucial detail: that the members were “handpicked” by Norval himself. His violently shuddering hands, from advanced Parkinson’s, would certainly go a long way to explain why his intended picks completely missed their target, so often, and accounts for why so many malfeasants ended up on this discredited committee.
– in 2001, Norval exhibited only short minutes of lucidity before drifting off, according to court testimony from Wolf Morrisseau, Norval’s younger brother, and that Norval confessed to him, at the same time, that he couldn’t remember when or if, he had painted a work or not. His memory was gone; his recall non-existent.
– in 2002, the LeBlanc video shows how totally a vegetable Norval had become, completely incapable of interrelating with anyone around him, and ignored by them because they knew “there was nothing there there” anymore.
– in 2003, CBC “Life and Times” producer Paul Carvalho, who spent hours trying to film his interview show with Norval, wrote despondently that Norval could only speak in a way no one could understand, and that he couldn’t speak a single intelligible word for his cameras.
– in 2005, Gary Lamont, a longtime close, drinking, carousing, smoking buddy from the 1980s, and for years his art dealer, sought Norval out in his Nanaimo, BC terminal care facility only to find that Norval couldn’t even recognize him anymore.
A shocking family photo of the dreadful toll that Dementia and Alzheimer’s takes on personal relationships. In 2005 an old buddy of Norval’s, Gary Lamont, tries to get a flicker of recognition out of Norval, only to discover, with shock, that “there is nobody there, there, anymore…”
“Norval Sets Up” the NMHS – Remarkably, right about here, so the NMHS timeline goes, Norval suddenly got this bright idea of founding the Norval Morrisseau Heritage Society, called for his laptop and madly started to type up his “Mission Statement” for the group. Then he began to surf the net looking for suitable candidates for membership, and was surfing dozens of art gallery websites from across Canada, and noting and logging in hundreds of “fakes” many were selling online.
It was a matter of considerable urgency as he was only a year-and-a-half away from dying… (For clarification See: notes above, for 2001, four years previously)
– in early 2006, Marlowe Goring, who in the 70s and 80s had been Norval’s framer in Ottawa and Vancouver, said Gabe Vadas brought Norval to his Qualicum Beach gallery in the back of a van. When the door swung open, there was Norval, said a completely shocked Goring, all filthy, drooling, with crumbs on his chest, and totally insensate and uncommunicative. And that he couldn’t even recognize his old colleague at all.
– in 2006, Christian Morrisseau reported, despondently, that his own father couldn’t recognize him anymore.
Christian had waited years too late to visit his father on the far side of the continent, and now was distressed to find that his Dad couldn’t even recognize or respond to his own son… (in 2006)
– Surreal, or Nuts or Both? – in 2007, Donald Robinson told Judge Martial (in sworn testimony in 2012), that he and the NMHS members were having meaningful and fruitful conversations and planning sessions with Norval on how to tackle further fakes by various art galleries. Robinson said there was nothing wrong with Norval’s mind or his memory, and he could communicate without problems with him and NMHS members.
So a stupendous lie founded the most disreputable heritage organization ever to desecrate the Canadian cultural landscape.
The Task – It was a fit beginning for a group that was tasked to do something equally disreputable, promote a fraud, and attack the Indigenous art and artists selected and targeted by the Robinson family and its KRG operatives.
NMHS operatives were trained by Donald Robinson as to which paintings he wanted them to discredit, devalue, and destroy, based on the Wanker 16, which he gave them to use as measuring sticks for deciding exterminations.
Calling All Idiots – This was brilliant. Get people all over the world to send in their paintings for “assessment” and “evaluation” by the Robinson family cabal of operatives, and their NMHS students. They would pick what was real and what was “fake,” and so marked for extermination.
Burn the Crap – Now that we know that KRG was doing the selection, and their many public pronouncements that there were thousands of fakes that needed their attention, almost all from Norval’s 1970s high period, we predicted huge NMHS bonfires to get rid of the “undesirables.”
Aaron Milrad said (at the founding party in 2005) he was more than willing to burn the stuff. So summon up visions of the Nazis doing book burnings, and you can envision what Aaron Milrad and his cohorts would look like, as they gleefully poured on the gas, and bent to the task, throwing in the offending canvases. Try to imagine their delight in watching the canvas curl and burn to a crisp.
Memories of a Good-time Nazi Burning Books
With gleaming eye, and fiendish mien
In unseemly haste – but rarely seen –
They tossed another artwork on the pyre,
And watched the canvas claimed by fire.
Groused Aaron, as he struck another off his list,
This would be easier if we were pissed… (the Poet Laurier)
This too, would have delighted the wealthy Eaton heiress – if she could only have seen it – who consigned an inheritance of major Canadian Indigenous paintings to an auction, derisively sneering, “I wouldn’t hang that shit in my house.”
Legal Protection – Milrad knew he, and his NMHS cronies, would end up in deep trouble for burning cultural property belonging to others. Not a problem for the Nazi book burners because they ran the place.
But things are a bit different in Canada.
So Milrad said he would take steps to protect himself and his fellow pyromaniacs, from legal consequences from those who didn’t like book burners, or painting burners. People submitting their paintings for “evaluation” would have to sign legal waivers. This would protect NMHS members should they give a painting “thumbs down” and commit it to the flames at the next NMHS kaffeeklatsch. (Westbridge Publications, Mar. 30, 2005)
You guess how many “fake” Morrisseaus, picked by the Robinsons, have been incinerated by the NMHS at their kaffeklatches from 2005-2017.
You can start with the Wanker 16, the KRG original instructional paintings donated by the Robinsons to help NMHS members to ID the Morrisseau paintings that should be torched.
Ask Aaron – Go ahead, if you dare! Ask Ruth, or Carmen, or Liz, or Greg, or Dickie or Aaron, to prove it ain’t so, and get them to show you their Wankers as proof…
I’ll bet they won’t, because they can’t. I smell smoke. Don’t you?
Guess how many more original Morrisseaus they have torched on command?
And try to guess the monetary value these malevolent establishment silks, satins, suits, and snoots, have destroyed at the behest of the Robinson family of Toronto.
Besides having experience in lighting fires, being bloody-minded and cold-hearted, and inured to destroying cultural property, not much else was expected of successful membership in the NMHS.
The Blathering Classes – It was a brilliant (if totally fraudulent, and ruthlessly amoral) innovative marketing tool dreamed up by Donald Robinson, who finally succeeded in doing something he’s qualified in. His MBA course work no doubt gave him a slew of “marketing initiatives” one can use to hype your business and boost your bottom line, and to destroy the competition.
Robinson well knew, that there was always a willing supply of witless, gullible, and pompositing silks, satins, suits, and snoots, from the blathering classes around who desperately needed their egos stroked, and were suckingly eager to “serve” on some shill organization or other, masquerading as some kind of heritage or “public service” organization.
And whom he – ever the master manipulator – could then use, like puppets on a string, to serve as KRG corporate toadies and provide a dignified cover – with their Ph.D.s and high profile status jobs in real life – for whatever crap he gave them to say, about what the Robinson family “provenance manufactory” was fabricating in their Yorkville KRG basement.
Suitably, all of them are from the blathering classes, only art administrators, art teachers, art bureaucrats, or lawyers. (Though not all are bereft of the necessary qualifications. One person who was very briefly a member, a Robinson friend and KRG collaborator, John Zemanovich, was a certified stockbroker.)
THEIR MEAL TICKET TO FAME & FORTUNE – A notorious photo of the NMHS and Norval’s white business partners, as they circle around his wheelchair. On the right is Gabe Vadas’ 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.” His idea of “evaluation” we believe, may explain that ominous looking gas can behind him. They all pretend to be “serving” Norval – whose mind is already in the spirit world – when in fact they are all serving Gabe and his wife Michele on the far left. Gabe, a white guy, has been using Norval’s Power of Attorney since Apr. 24, 1990, to run a malicious swath of destruction through Canada’s Aboriginal art heritage. On display are all his enablers. A notable collaborator is the National Gallery of Canada’s Greg Hill in the red shirt.
The others, hopelessly burdened with artsy-fartsy, art appreciation degrees, are just what the doctor ordered and perfect for what the job entails: kaffeeklatsching, “fronting,” and uttering KRG nonsense about Morrisseau art, which none of them seem to know anything about, seem totally incapable of learning anything about, and are totally uncredentialed or professionally equipped to deal with on any scientifically analytic level.
They have NO scientific credentials of any kind, not even a BS like Donald Robinson.
They have NO credentials (degrees, diplomas, or certificates) in forensic science.
They have NO credentials (degrees, diplomas, or certificates) in handwriting analysis.
They have NO credentials (degrees, diplomas, or certificates) in document examination.
They have NO credentials (degrees, diplomas, or certificates) in Morellian analysis from Giovanni Morelli.
They have NO credentials (degrees, diplomas, or certificates) in reading, writing, understanding, or examining, Cree syllabics, which Norval used to sign the front of his paintings. Norval was a bit of a con himself, since he had NO Cree in his DNA. But his long-suffering wife, who did, said it was a good marketing move.
The Empty Vessel – Which, of course, is EXACTLY the kinds of people Donald Robinson was looking for: uncredentialed dunces, but hugely eager to please. Complete “Sponge Bob and Bettys” all eager to soak up any available praise and social status, and add a new credit to their CVs.
Robinson DID NOT WANT INFORMED PEOPLE. He would do all the informing that was necessary.
He really didn’t even want THEM. They came as inconvenient, if you will, appendages to what he really wanted:
– their Ph.D.s, their high profile jobs at Carleton University, at the National Gallery of Canada, the Royal Ontario Museum etc.
Those two things, their high-falutin degrees and their elite jobs would lull any journalist into accepting and regurgitating any nonsense they would have to offer.
The Rubber Stamp at Your Service – The poster child for this is, of course, one Carmen Robertson Ph.D. from the University of Regina, in Regina, Saskatchewan, who says she was asked to join the NMHS in 2009. I don’t know why.
But then she claims to have Lakota-Scottish DNA… Or is that Scottish-Lakota DNA. I didn’t see the Ancestry.com print out…
In spite of this, or any related Morrisseau expertise she may have had, in the years since she joined she was never once, mentioned by Donald Robinson as an authority on Morrisseau he recognized, in any of his four – count ‘em four – expert reports he wrote in that time.
While he repeatedly recognized as Morrisseau “somebodies,” Ritchie Sinclair a school dropout and convicted art terrorist; John Zemanovich, a stockbroker, and Dr. Wang Ph.D. an American computer whiz…
Robertson Ph.D. only became noteworthy when Robinson’s own reports, ALL of them, were totally discredited and slanged as fraudulent by experts in various lawsuits.
Carmen Help! – Then Robinson realized how helpful her Ph.D., and her claimed Lakota DNA, could be to bolster his sagging fortunes and reputation.
He got her to write an “expert report” modeled on his, to slang a painting he picked for her, Kevin Hearn’s “Spirit Energy of Mother Earth.”
Her Indigenous DNA too, would be welcome, especially if she would make a prominent mention of it early in the report. And SHE SURE DID THAT folks, mentioning her Lakota DNA in the second line of her 76 page expert report… Wow!
A Wink and a Nod – Alas, but Carmen Robertson Ph.D., fails to make any mention of how her Lakota DNA has any possible bearing on her academic ability, or her reasoning and scientific analytical skills when tackling a job, and doing a forensic report on a painting, for which she has no background, no expertise, no training, anyway, besides a wink and a nod from Donald Robinson BS.
Other NMHS “empty vessel” types have, over the years, also done yeoman service under the unrelenting direction of Donald Robinson and KRG staff, filling them full of all kinds of fraudulent crap regarding Morrisseau “fakes.”
But knowing nothing, they could easily be inveigled into fronting for any crap they’re fed by the cackling Robinsons.
This has led to NMHS members – some possibly just mindless and dumb, other vicious and malicious – initiating monumental art frauds in their own right – ALL done on cue, just to please Pop and Pup Robinson, namely:
– in the Dr. Jonathan Browne “Grandfather Speaks” fiasco (2008) sabotaging and embarrassing him and his wife, and making fools out of them nationally, by convincing them that their genuine painting – it was later forensically authenticated – was a fake and they should speak out and slang the owner and art gallery that sold it
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, as a favour to Toronto’s Kinsman Robinson Galleries, who were targeting the Morrisseau collector and blogger.
– in the outrageously vicious, malevolent, and fraudulent Red Lake art fraud fiasco engineered by Greg Hill, Ruth Phillips, and KRG’s John MacGregor Newman, attacking as “fakes” four works later forensically authenticated as genuine Morrisseaus, and ordering a local art curator to dump them from a Morrisseau exhibition and catalogue, where they had already been entered and printed.
They were responding under the orders of KRG to target Ugo Matulic, who owned them, and for whom the Robinsons had a huge hate on. They would later launch a Million Dollar SLAPP suit against him as they ramped up the hate campaign against him and his genuine Morrisseaus. After using it to slang Matulic for over two years they suddenly dropped it, because – I believe – they were warned, by their own lawyer, Chloe Snider, to abandon it, or face a scorching finding by a judge, and a big time national embarrassment for Kinsman Robinson Galleries.
– in the fabricating of fraudulent information put into the National Gallery of Canada Retrospective catalogue to help Donald Robinson’s KRG business scam (2006)
A vicious and malicious and totally fraudulent Greg Hill calumny against the Truth published as a favour to advance a fraudulent KRG and Donald Robinson business claim. (National Gallery of Canada 2006 Catalogue, Greg Hill entry for 1991) NEITHER Greg Hill, or his fellow NMHS operative, and co-author of this catalogue, the notoriously curatorially malfeasant Dr. Ruth Phillips Ph.D,, can show you even A SINGLE FORENSICALLY OR JUDICIALLY DISCREDITED OR DENIGRATED MORRISSEAU FAKE. BUT both are documented as having made numerous totally vicious and malicious false calls on forensically authenticated Morrisseau paintings. GO AHEAD, AND ASK THEM – “Hey, you guys, if neither of you can document a single fake Morrisseau painting – and you’ve made so many documented mistakes with your calls – then how the hell can you document ‘an increase in the number of forged artworks appearing in the marketplace?'” Clearly, in Phillips’ case, Ph.D. stands for “the crap is Piled Higher and Deeper.”
– displaying of what was left of the near-dead body of Norval Morrisseau – a TIBWAP (The Insentient Body with a Pulse) – before an august body of pompositing silks, satins, suits, and snoots at the NGC gala in 2006, the worst case of elder abuse in Canadian history
– in viciously and maliciously, discrediting as “fakes,” three genuine Morrisseau paintings displayed in the Art Gallery of Ontario, as backdrops for a public show Kevin Hearn was hosting. They forced the removal of all three including his own genuine Morrisseau painting, “Spirit Energy of Mother Earth 1974”
– in viciously and maliciously, aiding, abetting, and approving the desecration, and devaluing as a “fake,” in Ottawa’s SAW Gallery “F is for FAKE” exhibition, a genuine Morrisseau painting ruled by two courts and a forensic scientist as 100% authentic (the exhibition adviser and consultant was Greg Hill, a curator at the National Gallery of Canada)
And best of all they would do all this for nothing.
Now do you know why an MBA is useful?
And a toadying clutch of willing establishment silks, satins, suits, and snoots in hand, are worth their weight in gold for laying low the competition?
All NMHS members were selected by the Robinsons in exchange for the Pop and the Pup being vetted as the only Morrisseau “experts” the appointees would accept or recognize as legitimate. NMHS lawyer Richard Baker wrote and published a letter to that effect, on behalf of Kinsman Robinson Galleries.
Donald Robinson BS, At Your Service – Astonishingly this witless group of toadying academics agreed to serve under and at the behest of the man who had been universally discredited by an endless list of justices, deputy judges, judges, and forensic handwriting experts as a discredit to himself, his family, his gallery, his “profession” whatever that was, to the artist he represented, to the Canadian art community at large, and to the corpus of Canadian heritage art.
And guilty – BIG TIME – of doing great irreparable harm to the Indigenous art and artists of Canada. And to the many honourable and responsible art dealers who worked hard to try to promote their art.
And of raising a son, Paul “Pup” Robinson, in the same mold.
Then in 2009, the Robinsons in collaboration with the NMHS, contracted Dr. Wang, a gullible and witless American professor – a statistician and computer nerd – to dummy up a computer model of some 35 Robinson BDPs that the Robinsons and the fawning, gullible, and toadying, NMHS now desperately wanted to call “fakes.”
And the KRG Wanker was born…
Those Wankers at Kinsman Robinson Galleries
***Wanker is an acronym I use to identify a specific group of 35 KRG bought and owned genuine Morrisseau paintings – from “WangKR” for Dr. Wang (of the University of Pennsylvania) a witless academic and junk science contractor, whom the Robinsons sucker-punched into devising a fraudulent computer model based on these supposed fakes, and KR for Kinsman Robinson, the small Toronto art gallery behind all these fraudulent activities.
Donald Robinson bought 31 of these genuine Morrisseau paintings – the “Wanker 31” – in 1999-2000 at Randy Potter auctions for $54,000, all being BDPs,*** and never, ever brought a single one back to Potter with a complaint, or asking for a refund for having been sold “fakes.”
(See below for the further adventures of Paul Robinson’s Wanker)
With the help of the duped Dr. Wang and the witless NMHS, Vadas and KRG set out to corner the market in Morrisseaus for themselves, and claim that they were the sole source for legitimate Morrisseaus, and that those owned and sold by their business competitors across Canada, were fakes.
To make it all happen, the Robinsons stuffed the NMHS with willing, witless, and gullible academic KRG toadies, and gave it a mission statement to ruthlessly police compliance in the Morrisseau market place with directives and instructions issued by the Robinsons and KRG, regarding approved paintings and those to be destroyed. In this way Robinson hoped to give a pseudo-academic face of legitimacy to the nefarious activities allied to his gallery that he was promoting.
Under the guise of “art heritage protection” they set about using the NMHS to ruthlessly destroy as “fakes” the genuine art of Norval Morrisseau that was not under control of KRG, so depressing the entire Canadian Indigenous art market.
They accused many Indigenous artists – including all the Indigenous family members of Norval Morrisseau, of being lowlife forgers. All without proof of course; white men slanging Indians do not need proof.
(The Robinsons of course, are notorious for their anti-Indigenous racism, having conspired in 2002, with white guy Gabe Vadas, to remove, without Norval’s knowledge – he was in northern Ontario with his Indigenous family at the time – 384 paintings (the notorious KR384) from Norval’s control in BC, and hiding them from his Indigenous family members and their lawyers, in the KRG basement. The Robinsons hid them there secretly, as a favour to their white collaborator, until years after Norval died, before returning them back to the white guy with whom they had conspired to hide the paintings for seven – that’s seven folks – years… (Source: Robinson’s own testimony. See: trial transcripts, Martial, Hatfield v Artworld, 2012)
And in 2017 that white guy has mysteriously disappeared, carrying off who knows how many of Norval’s paintings and his estate holdings; perhaps he’s hiding out, and renting a space in the KRG basement.)
Presenting the Norval Morrisseau Heritage Society (NMHS)
Normal activities of the NMHS, all of which involve “academic malfeasance” and racist anti-Indigenous activism of the highest order, by multiple NMHS activists include multi-level demonstrations of its totally racist, vicious, malicious, seditious, and meretricious behaviour in backing the worst fraud in Canadian history:***
***Frauds generally involve a small business ripping off a small select group of investors – end of story. The Morrisseau fraud is far beyond that, having not only a hugely destructive financial cost, but a hugely racist cultural genocide component, as well. Hence it makes it the worst fraud in Canadian history.
The Apostles of the worst act of cultural genocide in Canadian history.
This fraud has destroyed literally millions of dollars in art valuations of Norval Morrisseau’s art alone. And the reputation of the man who was recognized and feted as an artistic genius by international art experts, while Canadian art bureaucrats just sneered him off. These white men in suits preferred to consider him just a lowlife painter of Indian souvenir art, until he was literally on his deathbed in 2006.
Hence, the fraud and its multi-level enablers and promoters, has also hugely devalued the art of all Indigenous artists, by calling many crooks and forgers, including all Morrisseau family members. The cultural assassins have thus hugely destroyed the livelihood of ALL First Nations artists across Canada. It is the worst racist fraud of white men victimizing Indigenous people in Canadian history.
The members of the Norval Morrisseau Heritage Society are leading enablers of this racist fraud and Cultural Genocide, by:
– recklessly recognizing only one officially approved Morrisseau authenticating body or expert, in the world, namely, their founding agent, Toronto’s Kinsman Robinson Galleries and its owners, Pop and Pup Robinson, well known for having a long and racist antipathy to Norval Morrisseau’s Indigenous family members, calling them “all liars.” (before Judge Martial, 2012)
– recklessly recognizing as the only approving Morrisseau authenticating body, Donald Robinson’s KRG, and a man who has been totally scorched and discredited by multiple judges and forensics experts as having NO requisite academic credentials of any kind to back up what he says, and no personal integrity to boot, for saying anything credible on Morrisseau art or its valuation.
– recklessly refusing to submit its research data base paintings to independent fellow academic forensic scientists for analysis, and sneering them off in favour of backing, instead, the fraudulent claims of the most discredited faux “art expert” in world history. A man who had been discredited by several judges, and described as motivated entirely by overwhelming “self-interest.”
– recklessly discrediting and rubber-stamping countless genuine Morrisseaus as fakes at the Robinson’s and KRG’s direction (by Richard H Baker using his office as plot central, to plan the downfall of “Jesuit Preist 1974,” June 2009, in helping Robinson do preliminary vetting for preparing the latter’s notoriously fraudulent “faux” report trying to claim the painting was a fake; the “Wanker 35,” etc.)
– recklessly slanging as fakes, in private and in public, real Morrisseau paintings they very well know, or ought to know, are genuine, (Carleton University’s Dr. Ruth Phillips, the National Gallery of Canada’s Greg Hill in their notorious Red Lake Fiasco 2008, Dr. Jonathan Browne’s “Grandfather Speaks,” 2009, etc.)
– recklessly, viciously, and maliciously, terrorizing Morrisseau owners into believing their genuine Morrisseaus were fakes (re: Dr. Jonathan Browne (2008), Margaret Hatfield (2008), Red Lake curator Michele Alderton (2008), Kevin Hearn (2010) & scaring Sherry Brydson and Jessica Wilson, into aborting a Morrisseau show and book launch at Elmwood Spa Gallery in 2010, and terrorizing many anonymous collectors who wrote to the NMHS)
– recklessly engaging aggressive and willing lawyers (Aaron Milrad, Richard H Baker, etc.) to terrorize, and to try to enforce compliance with the fraud, on respectable, decent, and reputable art galleries and collectors, who have Morrisseau art, and launching media offensives to advance the fraud
– recklessly and wantonly fabricating and forging National Gallery of Canada catalogue entries to revise history and give cover to the fraud and KRG (Greg Hill 2006)
– recklessly and wantonly fabricating false toadying “expert reports” trying to allege Morrisseau fakes, in recklessly dishonest attempts to try to support and shore up Donald Robinson’s own multiply-discredited “expert” reports trying to claim genuine paintings are fakes. (by Carmen Robertson on “Spirit Energy,” with a damning, notoriously undated and multilevel discredited “faux” report, for which she has NO academic credentials (no degrees, diplomas, certificates, etc.) pertaining to expertise of any kind in: forensics, handwriting analysis, document examination, Morellian analysis, Cree syllabics)
Dr. Wang is mostly famous for having the notorious Robinson Wankers named after him for taking part in producing the most bogus junk scientific report ever to bedevil the Canadian fine art market.
– recklessly participating, aiding and abetting in engaging and paying Dr. Wang, a witless, gullible, and ignorant American academic, for a contract to produce a junk science computer model, fraudulently based on the Wanker 35, and programmed and designed by Donald Robinson BS to help promote the fraud – the utterly Infamous Wang Report (2009).
The Wang Report was, in the end, discredited even by the gullible academic who was contracted to fabricate it to promote an art fraud.
Dr. Wang wrote starchly, that his model COULD NOT be used for the purposes that KRG and the NMHS were using it, to tell fake Morrisseau paintings from genuine ones. Even though that is what the Robinsons did for years on their corporate website claiming that Wang had scientifically found and proved the Wanker 16 were fakes. (The Wanker 16 were the remains of the Wanker 31, which Donald Robinson says he failed to sell, so he gave them to the NMHS to use as templates to select other paintings for discredit, preparatory to giving them to Aaron Milrad to burn.)
But Donald Robinson BS has, of course, notoriously used junk science before, to try to legitimize his fraudulent activities, with his numerous “faux” “expert” reports trying to claim specific paintings are fakes. Just like with Dr. Wang, ALL have also been discredited by numerous judicial and forensic experts.
– ruthlessly being academically malfeasant in hiding research data from the public, and experts. In the worst act of academic malfeasance in Canadian history, this clump of toadying academic fraudsters refused to publish or make available for examination, their data base behind the Wang Report, the Wanker 35, despite repeated entreaties to do so.
NMHS operatives have utterly refused to produce the photos of front and backs of the Wanker 35 that would be evidence that what these KRG toadying academics said about there being “fake” Morrisseaus, was actually true, instead of a lowlife and fraudulent business scam, which I believe it to be and which Artworld lawyer Brian Shiller told the Hon. Justice Madam Mary Anne Sanderson it was. The NMHS refuse for only one reason; releasing the base data – the photos – would give forensic experts the damning proof that the paintings KRG and its NMHS lackey academics are saying are “fakes,” are in fact, completely genuine Morrisseaus.
– ruthlessly burning and destroying genuine Morrisseau paintings (the Wanker 16) AKA the research data behind their claims of “fakes” and “forgery.” The egregious academic malfeasance of the NMHS is far worse than just hiding research data from prying eyes. I am utterly certain that, far worse than that, the NMHS fraudsters have burned or destroyed their baseline data markers for the fakes – the Wanker 16 – to hide from the public, experts, and history, the incontrovertible evidence that proves they are total dupes of KRG. That they are totally discreditable academics, vicious, and malicious fraudsters, and in collusion with KRG are egregiously guilty of the worst act of cultural genocide in Canadian history.
Norval “the Prop” Morrisseau – This is the only photograph ever found that shows a few of the paintings Donald Robinson called fakes which he gave to the NMHS to use as benchmarks for which paintings they were to “burn.” Donald Robinson claims Norval was the director of events on this occasion. But in fact he was totally passive and comatose in his wheelchair. The real director, and he has been for over 17 years is Gabe Vadas, caught by the camera dominating the scene and pointing out the fakes etc. THESE ARE THE FAMOUS WANKER 16 PAINTINGS THAT FORENSIC SCIENTISTS WOULD LOVE TO GET A HOLD OF, BUT CAN’T. THEY HAVE BEEN LOCKED UP – OR ALREADY BURNED – TO PREVENT THE WORLD FROM DISCOVERING THE TRUTH: THAT THE ROBINSON & NMHS SO-CALLED FAKES, ARE IN FACT, GENUINE MORRISSEAUS. And helping sort in which order the paintings are to be burned is the National Gallery’s Director of Indigenous Art Destruction, Greg Hill in red.
– ruthlessly, heartlessly, and viciously, committing the worst act of elder abuse in Canadian history, by assisting in carting about the body of Norval Morrisseau – then with the most debilitated mind and body of any leading Canadian in history – to sales and promotional functions to give their fraudulent activities the appearance of legitimacy. And this for years after Norval had NOT been able to communicate with anyone on any level about anything, couldn’t recognize family members, and had not a clue of what was going on around him, and long after he had given up his Power of Attorney (Apr. 24, 1990) to Gabe Vadas and the fraudsters 17 years – that’s 17 years folks – before he died.
Aaron Milrad pushed Val Ross into believing all kinds of false allegations he made about Morrisseau fakes. His misinformation was so bad it forced the Globe to pay Michael Moniz, whose person and art was libeled, $25,000 as a settlement. The journalistic disaster foisted upon her by Vadas’ and Milrad’s false claims, hastened Ross’ premature death.
– conspiratorially arranging to have Gabe Vadas’ lawyer Aaron Milrad assure NMHS members legal protection, to prevent them from being sued or criminally charged for the fraud they were knowingly and willingly participating in inflicting on the art of Norval Morrisseau, against First Nations artists, and the people of Canada.
NOTE: Milrad is also on the public record as saying he and the NMHS are totally willing to burn any Morrisseau paintings that he, the NMHS, and the Robinsons deem objectionable. In effect to help protect the white fraudsters, Milrad is clearly willing to burn the evidence that not only proves, but would damningly expose the scam that has maliciously and fraudulently victimized Canada’s Indigenous artists. I believe he is being paid as a lawyer to do so by Gabe Vadas, or the Robinsons, or by an unknown third party or all of the above.
Stunningly this group of willfully toadying pseudo-academics, some claiming to have PhDs have just totally accepted the “Robinsons’ say so” as their sole and entire “proof of forgeries.”
Donald Robinson BS being, in fact, the most discredited “art expert or art examiner” in world history – by far – with countless scores, hundreds, even thousands of documented false calls regarding the authenticity of Norval Morrisseau paintings.
Dumb, Dumb, and Dumber – And in a further surreal footnote that underlines the art fraud they are willfully aiding and abetting, they have sneered off some 70 individual independent findings by academically trained and credentialed forensic scientists, who ruled that some 70 paintings the NMHS and the Robinsons claim are fakes, are genuine. With DNA certainty; and without a single failing authentication.
Isn’t this nuts beyond belief?
But then this NMHS HOAX is largely based in Ottawa, a town notorious to most Canadians as containing more lowlife creeps, crooks, and conmen and women, than any other town in Canada.
This infamous group of witless dupes, notoriously putting their academic prestige behind a racist fraud targeting and viciously and maliciously victimizing Canada’s Indigenous art and artists, deserves a specially hot place in hell for academics who are among: the doctors who gleefully did experiments on humans for Hitler and the NAZIs, the academic researchers who eagerly worked for the tobacco industry claiming that smoking is healthy for you, and chortling doctors who recommended thalidomide as a wonder drug for new mothers.
As of 2017, the NMHS remains, next to the Mafia, the most secretive and disreputable organization of business toadying academics, to pollute the Canadian cultural landscape.
They have at least a dozen Wankers to answer for, all handed over into their care, by the Robinsons of Toronto’s KRG, that they, citing Donald Robinson’s “expert” reports and opinion, claim are proven forgeries.
These discredited and toadying academics continue to refuse, utterly, to issue photos of these paintings to the public or submit them for independent scientific examination. All under instructions from the Robinsons and their KRG gallery to keep the damning evidence secret from the public and from the forensics and handwriting experts.
Why these academic dupes would ever have allowed themselves to be hoodwinked into committing such an outrageous and egregious act of academic malfeasance and cultural genocide is beyond me. Who is paying them Honoraria, travel expenses, etc., as they meet to promote the fraud and hide and destroy the evidence that would compromise and expose their racist, destructive agenda.
And it is certainly a lowlife landmark in the history of Canadian academic malfeasance, with few if any rivals.
It serves as a reminder that a PhD certifies no higher credibility, extra analytic ability, or a more lofty moral or ethical calling, just, as was the common skepticism among my undergraduate friends in the early 1960s, PhD meant “piled higher and deeper.”
Referring to manure, of which, thanks to my farm roots, I have pitched or spread my fair share, on many farm fields. So when I got to university, I already had a good education. I could readily identify the smell.
And can certainly do so here…
Rewind: Professional Artists Get Contract Work at the “Morrisseau Studio” – It’s important to note that several of these Morrisseau studio artists were NOT AT ALL “Morrisseau apprentices,” or beginning learning artists AKA “boy toys” for Norval, as had been his practice in his earlier years. Despite studio publicity put out, trying to minimize their painting roles in “helping Norval,” these were mature and accomplished artists in their own right, long before they went to work for the “Morrisseau studio” as sub-contractors helping to create new “Morrisseau” composite art.
Hell that’s why they were hired – to produce contract art, not learn how to paint with “benefits” to Norval.
Karl Burrows was a hugely skilled and accomplished artist, which is why they hired him, and claims he ended up, in the years after 1990, painting on contract, first parts, then many entire “Morrisseau” canvasses by himself. As well, he says he often signed countless numbers of others with Norval’s syllabic signature on the front, before shipping them off for retail sale to be fenced by Bryant Ross’s Coghlan Arts in Aldergrove BC, and Toronto’s Kinsman Robinson Galleries as “genuine Morrisseaus.”
And boy, did Norval ever need help from Karl and Bryant’s “helpful little brushes.”
By 1995 a lifetime of overindulging in booze, after-shave, Lysol, perfume, and drugs had addled his brain and his body beyond repair.
Permanently in a wheelchair and shaking erratically from Parkinson’s, Dementia and Alcohol Dementia, the artist was long past painting anything other than the shakiest doodles. (Note: the academic and medical literature has hugely documented the universality and connective link between Parkinson’s and Dementia.)
Luckily Norval could count on helpful friends that would come to include: Gabe Vadas, Karl Burrows, and Bryant Ross, who were all willing to pitch in to do their bit to keep the flow of composite-Morrisseaus, the Burrowsseaus, Vadasseaus, and Rosseaus going to clients of the Kinsman Robinson Galleries.
Manufacturing Provenance the KRG Way – The ever helpful and very busy Robinson “provenance fabrication operation in the KRG basement” – which is hugely documented elsewhere on this blog – would issue all future KRG sold paintings with Norval’s name on paper labels, helpfully typed up by his office staff and further embellished with a paper title and date, also provided by some inventive KRG typist. As to where they got the info, your guess is as good as anyone else’s.
It brings to mind WC Fields who had a way with words to describe what’s going on.
“If you can’t dazzle them with brilliance, baffle them with bullshit.” WC Fields
Just one of a number of Morrisseau paintings we have tracked to the KRG basement where it underwent a total make-over by KRG provenance fabricating art manipulators to hide its auction (and totally unknown actual provenance) source from KRG clients, by giving it a new name and hiding the back by gluing it down on board. And the original KRG internet ad flogged it as – I kid you not – “direct from the artist.” But this may have been a typo, when in fact what they meant to say was “direct from the KRG forger.”
This KRG provenance fabrication operation, by uneducated operatives in the KRG basement, produced numerous ludicrosities attached to alleged Morrisseau paintings it sold to clients.
Deep down in the KRG dungeon, often previously published and documented SOURCES were removed; TITLES were expunged, or changed; DATES were changed; SUBJECTS were changed. And ORIGINAL MATERIALS holding the paint were MASKED by being glued onto other materials.
In one case KRG brought in an “acrylic on paper,” then in the basement, glued it on to board to make it appear Norval had done it that way. They changed its provenance to read “acrylic on board” – a higher level of art – when it was still the same “acrylic on paper, now glued on to board,” in fact a lower order of desirability among collectors.
Gluing down paintings on other materials, unless it is done by the artist, is a practice that is hugely frowned on by collectors. Adding glue to paper degrades it, and the painting on the front, and also covers up and permanently destroys any writing the artist put on the back.
In another spectacular KRG idiocy, what came into KRG as a diving aquatic LOON, was transformed by the basement trolls into a high soaring THUNDERBIRD. All typed up on KRG provenance labels attached to paintings and some even published on its corporate website.
Sucker-Punching Art Database Sleuths & Researchers – All this was deliberately done to prevent or thwart sleuthing clients from discovering the original names and titles of KRG paintings on internet databases, and finding out what KRG had paid and from whom they had gotten the paintings.
Changing the identifier names – diabolically altering provenance – guaranteed there was never any paper trail anyone could ever track down. The new words all led to guaranteed dead ends.
Leaving KRG a free hand to say anything about its paintings, like that they came “direct from the artist, Norval Morrisseau” for a work they had, in fact, bought for next to nothing at a lowlife Waddington’s “Off the Wall” garage sale auction. Thus sucker-punching another KRG client with their “direct from the artist” hooey!
KRG Promotes it’s Fabricated Provenance to its Clients
Then KRG went one further, and tarted up its provenance fabrication operations with publicity to suck in the gullible public with a total idiocy, that no reputable person with any experience in the art collecting and retailing business believes, even for a second.
“… we would never recommend amassing such a (art) collection with no support. Provenance is everything in the art world.” (KRG Principal Morrisseau Dealer Blog May 8, 2008)
FINE ART AUCTION UNIVERSAL TRUTHS & REALITIES – If there is one universal truth regarding the millions of paintings sold by fine art auctions in Canada, let alone worldwide, it is that 99% of them have NO known or available or published PROVENANCE attached to them at all.
In other words, nothing could expose the dishonesty of Donald Robinson BS, as an art dealer, more than comparing his claim with the reality of the fine art market place where he has bought his art for decades.
In fact the very first thing EVERY fine art auction house does when it offers a painting for sale is to STRIP IT OF ANY PROVENANCE IT MAY HAVE, IN A DELIBERATE ATTEMPT TO HIDE THE NAME, LOCATION, ETC. OF THE PREVIOUS OWNER, IN ORDER TO PROTECT HIS/HER/THEIR PRIVACY.
This deliberate PROVENANCE DESTRUCTION is in fact, what greases the wheels of the fine auction business. What attracts clients is that ALL fine art auctions offer complete bullet-proof anonymity and identity protection to anyone who brings in even a single painting for sale: be they James, Jackie, a thief, a forger, or those laundering drug money, a Mafioso Don from Montreal, or a biker boss involved in human trafficking.
It is a fact well known by anyone who has ever tried to buy a painting – even; especially – at the most reputable auction houses: Sotheby’s, Bonham’s, Christie’s, Heffel’s, Walker’s, etc. Even third tier auctions, like Waddington’s, and the deservedly defunct Joyner’s, kept a painting’s provenance utterly and ruthlessly secret from the new buyer.
And this is the case with ALL fine art auction paintings, 99% of which are genuine enough originals. All auction houses are so ruthlessly non-disclosing, NOT to try to protect and fence out fakes. They are secretive only because they want to protect their consignor’s privacy, so they come back again, with more paintings.
Paper Gallery Labels – Ironically, Donald Robinson, who must have been an advisor to the mad typist in the KRG basement, would later claim that the lack of a paper label from a gallery indicated that the painting was a fake.
Now would you rather have a nice paper label typed up by the latest temp at KRG, or a huge blustering Norval BDP signature, title and date on the back of your painting? “Guaranteed original” is a useless promise at best; hell, even if a forger did it is still “guaranteed original.”
This errant piece of nonsense would be dutifully echoed by Ritchie Sinclair, who went to work for Donald Robinson BS – a man he called “My Mentor” – as the Kinsman Robinson Galleries enforcer, in 2008. He tried to use this Donald Robinson proof of fakes, in his defence, when sued by art galleries for Libel and Trade Libel later that year.
The Hon. Justice Thomas A Lederer
The Hon. Justice Thomas R. Lederer – dealing with the multi-dealer lawsuit v Ritchie Sinclair in Dec. 2008 – would have none of it, saying in effect, what Sinclair said about 1,000 paintings on his website being fakes, because they lacked these paper gallery labels on the back, was nonsense at best.
Justice Lederer said Sinclair’s claim was ludicrous since he admitted he hadn’t seen those painting in hand, and had just cribbed the 1,000 images from websites, which never included pictures of the backs of paintings… So Sinclair’s claims of these paintings being fakes because they were lacking the imprimatur of paper gallery labels, was laughable since he had never even seen the backs of any to make a determination. Making a liar, as well as a KRG toadying fraudster out of Sinclair.
KRG never expected anyone, like my HOAX blog, to come along and point out all the fabricated ludicrosities and telling falsehoods.
Norval, too, could have told KRG it was idiotic, but of course he had been in terminal care for years, and hadn’t been capable of communicating anything to anyone anymore. Which is, of course, exactly why the KRG provenance fabrication shop came into being… To “help” Norval out, again…
Go check your painting before it’s too late. If its BLANK on the back, ask the cleaning lady at KRG where she got the stuff that’s glued on the paper label that’s fading and falling off the stretcher.
“Fuck you and your provenance” says Tom Hoving, former MOMA Director, one of the 20th century’s top fine art experts and a specialist in fakes, frauds, and fine art forgers.
“Fuck off with your Provenance” – It is a wonderfully instructive Canadian example, of what world-renowned art authority, Tom Hoving of the New York Museum of Modern Art, snorted about the “provenance” issued by art galleries.
“Provenance is a laugh, the fact that it came from so and so, and so and so gave it to the prince of so and so. Fuck off! That can all be faked up… All of that stuff is superfluous and of no importance.” (TPF Hoving, Director New York Museum of Modern Art, quoted, The Forger’s Spell, Dolnick, p242)
Canadians were equally scorching:
“… 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
Despite what the Robinsons were trying to tell KRG’s clients, Norval Morrisseau’s best work was far behind him, in the 1970s and early 1980s, and long past, by the time the Robinsons started to represent him in 1990.
In fact the overwhelming majority of informed Morrisseau collectors and experts refuse to buy any Morrisseaus painted after about 1988 when Norval was in precipitous mental, physical, and artistic decline, and beginning his slide into his “wheelchair invalid period” of painting.
Said an old friend of Norval’s, Lloyd Comber, c 1987, “I noticed that his art wasn’t as good as it used to be.” (Stevens, Picasso, p193)
And Gail Fikis, for decades with the Thunder Bay Art Gallery, and now with the University of Manitoba, echoed numerous other knowledgeable art experts:
“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
The Robinsons, if you can believe, for some reason, buck the trend of everyone else, and try to claim that after Kinsman Robinson Galleries took over representing Norval, in 1990, he painted much of the best stuff of his life…
In fact, if truth be told, Robinson, Norval’s notorious art dealer, acting in tandem with his son, Paul Robinson, and their Kinsman Robinson Galleries of Toronto, has by far, the world’s worst record of having his so-called “expert” opinion testimony, and his “expert reports,” totally rejected by every judge he has ever appeared before.
In every single lawsuit in which he has participated, completely discredited as an unbelievable witness.
The World’s Worst and Most Discredited Art Expert – We rate his truly earth-shattering and disgraceful losing streak, as a so-called and self-proclaimed Morrisseau art expert – the worst by far of any art expert in world history – as, at least, 20 major landmark losses out of 20, that I highlight in this publication.
In the old days museums were the only victims of incompetence – willful or otherwise – by experts. Latterly only multi-millionaires, with cash to burn, like David Mirvish were the only victims. With Norval Morrisseau, truly the only “People’s Artist” Canada has ever produced, his art found its way into untold thousands of ordinary homes because he made it affordable. By maliciously calling thousands of them forgeries, KRG and the NMHS have willfully destroyed the art heritage of Norval Morrisseau, and the private savings, investments, and cherished art in the hands and homes of thousands of ordinary working class and middle class Canadians. AND DONE GREAT IRREPARABLE HARM TO CANADA’S INDIGENOUS PEOPLE BY UNDERMINING – WITHOUT CAUSE – THE INTEGRITY OF THE INDIGENOUS ART AND ARTISTS IN THE MIND OF THE PUBLIC.
And if you judge him by “the each” as they do in Newfoundland, then his total losing streak, in which he tried to denigrate genuine Morrisseau paintings he has fraudulently called fakes, is in the multi-thousands.
Whatever it is, Donald Robinson’s record of utterly false calls will NEVER be equaled let alone surpassed, in this world or the next, by any other fraudulent pretender to art expertise no matter how malfeasant he can try to be…
His truly unenviable reputation in the history of Canadian art is secure, and will be there for the Ages.
It could hardly be anything else since Robinson’s faux expert reports were all produced to publicize and promote the biggest racist fraud in Canadian art history invented by a man with no credentials in art, handwriting analysis, forensics, history, or document examination. Though he tried to claim to have them all, and publicly acted as if he did.
It can happen when you are entirely self-taught, or home-schooled, and you pick up all your ideas from one guy, the one you see in the mirror. Which is why multiple judges discredited him saying he was consumed with “overwhelming self-interest.” Too much time in front of the mirror can do that…
Resulting in a truly awesome bio of judicial and forensic expert rejections every time Robinson has opened up his mouth in print, in the media, or on the stand, on any of those topics, intending to tart up and promote his false claims about Morrisseau fakes, that are supposedly in the hands of other Morrisseau dealers. All done to help his son Paul boost the profitability of his own shop, while destroying those of his business competitors.
Let the Fraud Begin
Tellingly, the first ever salvo fired in this fraudulent art sales scam, was in 1993, against the self-same Joseph McLeod, accused in 2017, by the same scammers as making and selling fakes.
They picked Joseph McLeod and Maslak McLeod Gallery as a target because he was KRG’s main Morrisseau business competitor, and because McLeod was acknowledge in the Canadian art scene as the leading Norval Morrisseau expert – even by the Robinsons – having a link back to Norval, his family, and his art to 1959. (The Robinsons in contrast have always had a scornful disdain for Norval’s family – and all his Indigenous children, calling them “all liars.”)
(In fact McLeod affirmed that he remained in close contact with Norval’s Indigenous children the last time I spoke to him in 2013, so giving his Morrisseau knowledge an unbroken period of expertise that stretched back, unbroken, for 54 years…)
But tellingly, the scammers in 1993 DID NOT accuse McLeod of making, having, or copying fakes – as they would aggressively try to do in 2012. Instead they recognized as genuine his Morrisseau art he’d been selling, by then, for some 34 years, as totally authentic. Now they merely alleged that he was guilty of copyright violations, in copying images of genuine Morrisseau paintings he was selling, for use in his sales catalogues…
Something which is standard practice by ALL galleries and auctions, and which everyone had done for decades. Without challenge… until the scammers came along and thought they had found a way to target and bring down Kinsman Robinson Galleries’ chief competing Morrisseau art selling gallery, and the major Morrisseau business competitor of KRG.
This would also be the first ever SLAPP suit threat, to be used by scammers to advance the fraud, by recruiting willing lawyers to act against a target competitor. It would NOT be the last.
But the scammers would soon resort to more ruthless tactics to attack their business competitors, in order to “Pump and Dump” the art Kinsman Robinson Galleries owned and wanted to sell.
Let’s look at some highlights from Donald Robinson’s life and his silly but self-serving and malicious attempts at trying to be a different kind of art evaluator…
– “Robinson as Expert” Rejection #1 – by Justice Murray Alexander Mogan of the Tax Court of Canada, July 12, 1996 (in Ken A Whent v Her Majesty the Queen Tax Court Case)
Justice Mogan issues a scorching personal and professional indictment of Donald Robinson BS in 1996
Liar for Hire – Robinson hugely participated in trying to deceive Revenue Canada by preparing an “expert report” grossly overvaluing some 216 Morrisseau paintings, a paying client – Ken Whent and a group of Thunder Bay lawyers – had bought in 1984-1986 directly from Gary Lamont** and Norval Morrisseau, intending to immediately donate them to museums in a tax avoidance scheme.
Wow! – The lawyers had paid $130,000 for the lot. Robinson obliged and wrote his first ever “faux expert” report saying they were really worth – literally overnight – $1.105 million dollars.
**This is the very same Gary Lamont who has been mercilessly pilloried by Donald Robinson, KRG, Ritchie Sinclair, and his longtime business associate, the self-styled “virtual lawyer” Jonathan J Sommer, as the alleged Thunder Bay source of a totally fictitious Morrisseau forgery operation which this trio of diabolical plotters has invented, promoted, and publicized for crass personal gain.
Coming to Lamont’s rescue, Thunder Bay Lawyer Ken Whent, who bought the 216 Morrisseau paintings, wrote that he personally bought all the paintings – which Donald Robinson BS obligingly appraised at $1.105 million – directly from Gary Lamont himself who was Norval’s art dealer and close buddy at the time. Whent wrote that Norval himself was personally there with Lamont, approving each and every batch of paintings as they were bought. Clearly cementing the validity of, not only the hundreds of paintings coming directly from Lamont, but the art dealer as ultra closely allied to Norval and his art, personally and professionally.
How credible are three people to slang Lamont as a supposed art forger when he has a long, documented, and proven direct pipeline to hundreds of genuine Morrisseaus from his close buddy Norval – in fact all he wants – with a truly ridiculous and maliciously fabricated claim that he would have any possible interest or raison d’être whatsoever to also make cheap Morrisseau forgeries…?
The mind boggles at the fantastic fabrications spun by the distorted mindset of this trio of diabolical collaborators and plotters, who were determined to discredit the genuine Morrisseau art sold by KRG competitors.
Then, trying to stretch this farcical claim to even more preposterous lengths, witness this: during Donald Robinson’s testimony in the Hatfield trial, prompted by the merciless grilling of talented lawyer Brian Shiller, I heard and saw Robinson blurt out this ludicrosity, accompanied by a sly smirk, stating that just because he evaluated the 216 Lamont-sourced paintings for a million dollars didn’t mean he thought they were real…
This is the kind of mindset that apparently pays off with running an art business among the pompositing glitterati crowd that shops in the ritzy Yorkville area of Toronto.
So the Whent lawyers were more than happy with having paid big bucks to Donald Robinson, since he valued, for them, paintings they had only paid the artist an average of $602 for, to an astronomically pumped up value of $5,116 each… That’s an instant jump in valuation of 859% in the estimation of Donald Robinson and the Kinsman Robinson Galleries.
An Angry Justice – Justice Mogan was angry because he had expected Robinson to be honest in representing actual Morrisseau market values to him from 1984-86. Wrong, Your Honour. As Mogan was to discover.
In fact Mogan’s anger was compounded because his own research showed that, far from having hugely increasing values, Norval’s art was actually hugely tanking in the market place. Norval had lost his only regular gallery dealer, Jack Pollock, so for years there were not even any market valuations that Robinson could claim to have consulted. And Mogan snorted that, in fact, Norval’s relatives were selling his paintings in the streets of Thunder Bay for peanuts – some $30 or $40 bucks apiece – far, far below what even the lawyers had paid.
In a cautionary for the Ages, Mogan accused Robinson of just being “hypnotized” by his own gallery wish list of prices and overwhelmingly consumed by self interest.
KRG Pump & Dump – This kind of ruthless pump and dump valuation is commonly inflicted on clients of KRG where paintings it commonly picks up cheap, at second or third-hand auctions, are then routinely inflated and bloated in price by 600% or 700% – and in the Whent valuation by 859% – before offering them to its clients over the counter.
Wanker #1: “Warriors in Circle of Life 1974” – A good example of these gross pump and dump practices of KRG is illustrated by the very first Randy Potter auction Morrisseau the Robinsons bought on Sep. 29, 1999 for only $1,200 – the notorious KRG Wanker #1.***
Paul Robinson then boosted the price of his Wanker by 708% and tagged it for resale at $8,500, selling it a few months later, on Mar. 11, 2000 to one Jane Brown of Toronto.
(Fifteen years later, on Apr. 28, 2015 I saw both the painting Wanker #1, and the KRG invoice, signed by Paul Robinson, resurface at the home of Jane Brown.)
Needless to say, KRG’s lawyer clients were overjoyed to have made a financial investment that grew by 859% literally overnight!!! Thanks to Donald Robinson’s ruthless and obliging sleight of hand…
But someone else was not…
Joe McLeod is by far, the most senior and trusted Morrisseau expert on the planet, having a personal relationship to the artist, his work, and his family, that goes back to 1959, and which he maintains to this day.
Revenue Canada Hires Joseph McLeod – Revenue Canada blew up at Robinson’s bloated over-valuations, sought remedy in the courts, and hired its own Morrisseau expert, being the top Morrisseau authority recognized in Canada, one Joseph McLeod of Toronto’s Maslak McLeod Gallery. In 1996, Joseph McLeod, was still maintaining close ties to Norval Morrisseau’s Indigenous children, a relationship he had begun in 1959 when he became interested in the artist and started buying his art and selling it.
In 2017 McLeod had a direct link to the artist, his art, and his family that stretched back an unbroken 58 years.
And it was widely acknowledged that as a result of that, that he was universally considered the world’s top Morrisseau expert, by even Donald Robinson as late as 2000, as he admitted to Deputy Judge Martial in 2011.
It is utterly and damningly suspicious, vicious, malicious, seditious, meretricious, and the height of total stupidity, for the utterly discredited fraudsters, Donald and Paul Robinson, and Ritchie Sinclair and the latter’s longtime business associate, the self-declared “virtual lawyer” Jonathan J Sommer, allied to a gullible, witless, art collecting neophyte Kevin Hearn, to try to claim that McLeod was in fact involved in making, promoting, and selling cheap, lowlife pseudo-Morrisseau fakes or have an interest in doing so. (Source: 2012 Plaintiff’s Claim in Hearn v McLeod)
Working for Revenue Canada, in 1996 Canada v Whent tax case, McLeod, in collaboration with Donald Lake, another highly reputable and longtime Toronto art dealer and antiquarian, said in their professional opinion, the Morrisseau paintings bought by Whent were really worth $550,000 – that is, less than half what Robinson wanted them to be worth in his report.
(Compare: the lawyers had only paid $130,000 for the lot and planned to flip them only a few months after buying them.)
A clearly discerning and angry Justice Mogan agreed with McLeod and Lake, and ruthlessly cut Robinson’s preposterously bloated tax allowance valuations, in half, from $1.1 million to $660,000 while sternly scorching, at the same time, Robinson’s believability and his honesty as a credible art and Morrisseau valuator.
Mogan had the privilege of listening to Robinson on the stand to try to defend his preposterous valuations and the rationale behind them. He would have none of it, rebuking the art dealer multiple times in multiple ways for just deliberately and willfully ignoring information he “ought to have known.” Out of crassly mercenary self-interest.
NOTE: Donald Robinson clearly blamed Joseph McLeod for being behind his colossal personal and professional embarrassment regarding his bloated valuations and attempts to claim to being a credible Morrisseau expert.
This stern and public rebuff by a top Canadian Justice in a top Canadian court earned for Joseph McLeod, Donald and Paul Robinson’s lifelong roiling enmity. In the Mogan court was born the KRG vendetta to try to punish and sabotage McLeod and his Maslak McLeod Gallery in whatever way he and Kinsman Robinson Galleries could.
The Hon Justice J Edgar Sexton agreed with Justice Mogan’s scorching assessment of Donald Robinson as untrustworthy on Morrisseau’s art.
– “Robinson as Expert” Rejection #2 – by Justice J Edgar Sexton 1999 – supported Justice Mogan’s opinions regarding Donald Robinson BS and his bogus valuations etc.
Ken Whent and his lawyer investors were angered by Justice Mogan cutting the Robinson valuation in half. They appealed and Justice J Edgar Sexton handled it and issued his decision three years later.
The KRG anger at Joseph McLeod and his Maslak McLeod Gallery, no doubt escalated, when the Appeal of Robinson’s astronomically bloated valuation was denied by the Hon. J Edgar Sexton of the Canadian Federal Court of Appeal.
– “Robinson as Expert” Rejection #3 – by Chief Justice Julius Isaac 1999 – supported Mogan’s & Sexton’s opinions regarding Donald Robinson BS and his bogus valuations etc.
The Hon. Justice Julius Alexander Isaac vetted the opinions and conclusions of the other two justices who had concurred that Donald Robinson could not be trusted in what he said about the quality and valuation of Norval Morrisseau’s art.
Appeal judgments are routinely vetted by another Justice.
The KRG anger at Joseph McLeod and his Maslak McLeod Gallery escalated, when the Sexton Appeal finding of Robinson’s astronomically and fraudulently bloated valuations was confirmed after another review by the Chief Justice of the Federal Court of Canada, the Hon. Julius Isaac.
The first three outings in public, by Donald Robinson BS as a supposed trustworthy and credible Morrisseau expert, and he is discredited three times by three different eminent justices…
– “Robinson as Expert” Rejection #4 – by Randy Potter – 1999-2010 – Discredited Donald Robinson and Kinsman Robinson Galleries as so-called experts who are completely unable & unwilling to back up their malicious allegations of a single fake, of the 1800 he’s sold, without a single return or demand for a refund, even from the Robinsons of KRG
Probably no auctioneer has been so publicly vilified by Toronto scammers involved in art fraud, than Randy Potter who in the 1990s operated auction halls in Pickering and Port Hope, Ontario.
And I know, for a fact, that no one deserved it less……. (MORE TO COME)
– “Robinson as Expert” Rejection #5 – by James White resulting from Donald Robinson’s double-dealing on authenticating 23 BDPs White gave him to appraise for insurance purposes (Mar. 2001) – Resoundingly and totally discrediting Robinson’s claim to be an “honest broker” when he deals in Morrisseau paintings
Jim White an entirely reputable fine art dealer and longtime intimate of the Morrisseau family took 23 paintings to Donald Robinson for a routine “appraisal” NOT AUTHENTICATION… And was utterly stunned by the overnight and inexplicable and total reversal of the Principal Morrisseau Dealer’s assessment of his paintings.
Early in 2001, Norval Morrisseau, who had been in a precipitous decline mentally and physically, and in artistic freefall since the early 1990s, was finally shut away from all contact with outsiders, and locked up in a “terminal care” facility in Nanaimo, BC, by his longtime lover, business manager, and caregiver Gabe Vadas. Norval’s own son, Christian Morrisseau, and his family say it was a “mental hospital.”
Almost immediately Paul “Pup” Robinson, of Toronto’s Kinsman Robinson Galleries, went west to see what kind of stash of paintings remained in Norval’s estate. With Norval out of the way he struck a deal with Gabe Vadas, who had been aggressively wielding Norval’s Power of Attorney (POA) since Apr. 25, 1990. That’s how long Norval had been “out of it” legally.
By sheer co-incidence at the same time, James White, a highly reputable art dealer and longtime close friend of Morrisseau’s Indigenous family members decided to take 23 of his Morrisseaus for an appraisal value to Donald Robinson because he kept advertising himself the Principal Morrisseau Dealer and exclusive agent for Norval Morrisseau.
Attention Alert #1 – White did NOT take them to Robinson for “authentication” but for “valuation” for insurance purposes. Everyone knew the art was authentic. Even Donald Robinson who had paid $54,000 to buy 31 of exactly the same kinds of paintings White was bringing in for him to set a value on, NOT decide if they were authentic. Which was NOT THEN and NEVER WAS an issue in the past.
Attention Alert #2 – What you must also, know, now, and register in your brain before we go on, is that at this moment, in March 2001, there had never, ever been talk anywhere of any – even one – fake or forged Morrisseau painting by anyone – journalist, academic, forensic expert etc. – anywhere.
In the entire 50 year painting life of Norval Morrisseau, from c 1950 to c 2000.
NONE… NIX… NADA…
In other words, Norval’s art had exactly the same credibility at the end of his painting career, as that of every other white contemporary Canadian artist.
White was therefore NOT acting out of fear of fakes because there was no fear of fakes, for one simple reason. No one had ever said there were fakes. Not of Lawren Harris; not of Robert Bateman; not of Norval Morrisseau.
White was also acting out of concern for his clients. It is hugely standard in the high-end retail business that you supply a “Certificate of Appraisal” with a painting, a diamond ring, a Rolex, etc.
Just as you get when you buy a gold coin from the mint, or a commemorative plate from the Franklin Mint. Even Russian mail order brides come with a “Certificate of Authenticity,” and so many have demanded a “Certificate of Virginity” that they are now supplied automatically – after testing, of course.
It doesn’t acknowledge suspicions of fakery. It’s just that people have come to expect Certificates when they buy paintings, prints, coins, sculptures, Rolexes, etc.
So James White being a mindful and totally upright retailer, went to get a handful of such appraisal certificates for his paintings, from the man who bragged he was the greatest. White also knew Robinson’s Morrisseau prices were the highest in Canada.
So he could expect to get the best “valuation” from him.
In a sworn Affidavit, dated Mar. 9, 2005 James White stated:
– he took 23 Morrisseau BDP paintings to Donald Robinson personally “to be appraised for insurance purposes”
– that Robinson praised the paintings and advised him to be “well-insured”
– that Robinson never in any way indicated “problems” of any kind with the paintings
– two weeks later Robinson called saying all 23 Morrisseaus were not authentic and could not be appraised
– that this was NOT Robinson’s evaluation, but Norval Morrisseau’s, to whom Robinson had sent photos of all 23, and boxes appended to each, where Norval could sign YES or NO, after assessing the authenticity of the paintings
– Robinson first told White each painting had a separate set of boxes attached, allowing for an individual response for each painting as being authentic or not. And that Norval had signed each one NO.
– despite multiple demands from White and his lawyer to supply copies of these documents KRG’s lawyers refused to comply
– at no time did Robinson express a concern to White, or ask permission that any third party (allegedly Morrisseau) would be involved in doing the appraisal of White’s paintings
– Robinson indicated that one of White’s paintings would appear the next day (May 18, 2001) as a poster child as a “fake” in the “fake news” National Post article, posted by Murray Whyte WHO DID NOT verify his allegations with the alleged source, Norval Morrisseau. The article stated that Norval Morrisseau was “not available” for comment.
It would be the very first time in history that anyone, anywhere, had ever made any allegation regarding the existence of Morrisseau fakes of any kind, in the 50 year painting period of Norval Morrisseau.
And just in case you missed it, here it is again:
It would be the very first time in history that anyone, anywhere, had ever made any allegation regarding the existence of Morrisseau fakes of any kind, in the 50 year painting period of Norval Morrisseau.
Apparently there are some things a rat won’t do…
Donald Robinson’s Personal Worst – To me it’s unconscionable, unforgivable, and unethical in the extreme, that someone – Donald Robinson in this case – would take another businessman’s private property and give it to a media outlet to publish without the owner’s written permission, and slang it in public as a fake.
But it will tell you what this man is capable of, and willing to do, to help his son destroy their business competitors…
And to try to impugn, the highly reputable art dealer James White as a fraudster, because every time, from then on, that he tried to sell the painting that had been nationally slanged and advertised as a fake, every prospective client who saw it would respond. “Hell, I’m not buying that painting from you. I saw it on the Post. It’s a fake. And I’m damn well not gonna buy anything else from you either. You’re a goddam fraudster.”
Which is exactly why Donald Robinson did such an execrably unethical and immoral thing. It would kill off a business competitor.
Proving to all Canadians that if you walk into Kinsman Robinson Galleries, prepare to be ripped off.
And the Robinsons did one worse! They slanged Norval as the author who supposedly discredited his own paintings as fakes, immediately after Norval had been consigned to a “terminal care” facility AKA a “mental hospital,” according to Norval’s own son, Christian.
In time documents emerged including:
A Historic Letter or a Historic Fake? – There is a letter purportedly signed from Norval backing Robinson’s allegations regarding the James White paintings.
Hugely militating against it being authentic, as opposed to a lowlife forgery, concocted by vicious and malicious business fraud operatives is this: it is the only document – video, film, audio recording, or in print, – which I have ever seen, or found, or am aware of, in which Norval Morrisseau talks about, claims, or recognizes, that there are fakes “out there” or fraudsters faking paintings.
He purportedly says: “I did not paint the attached 23 acrylics on canvas.” (Years later, when Norval was even deeper into Dementia, all kinds of bogus Affidavits of Forgery, bearing his name, would be circulated by enabling lawyers working for the fraudsters. (These Affidavits were roundly discredited by Judge Martial in 2013.) Do you believe this one is any more credible?
A normal signature top, from when Norval was healthy in the 1970s. Below, maybe a Dementia-debilitated and Parkinson’s Twitch distorted signature from May 2001, or done by someone else to “help out” Norval who was, of course, long past giving a damn about anyone or anything…
ALL the allegations of fakes have ALWAYS come from the white men – the “greedy white men” so renowned in “Indian” folklore – manipulating the Indigenous Norval and his art, for their own benefit. Nothing from Norval himself.
The cultural divide between these people and Norval is reason enough to discount its authenticity. My long experience in being exposed to the “sharing” culture of Indigenous Canadians, and the “self-serving greed” of the dominant culture, tells me Norval, being a sharing kind of guy, would have welcomed copycats spreading the message about his people. Material greed was not what he was about.
In fact Wolf, Norval’s younger brother, testified to exactly that on the stand. That Norval would NOT have cared if people copied his art. He would have welcomed efforts by others to use his paintings to spread the gospel that Indigenous people and their culture were alive and thriving.
Ring dem bells…
Wolf said Norval DID NOT express any anger against people who did that. Quite the opposite.
Copyright infractions, illegal copying, etc. was totally a “greedy white man” thing, nothing that came out of the Indigenous culture in which Norval and Wolf were raised up in.
So Norval was culturally predisposed NOT to care, even if anyone chose to copy his art.
That’s why the letter strikes such an utterly false note.
Norval two years before he was asked to authenticate James White’s 23 paintings. Norval’s family contended he was crassly manipulated (by his all-white business handlers) into disinheriting his children, and a gross victim of elder abuse in his declining years. The British Columbia Supreme Court agreed, vacated the Alleged Will and restored half of all Norval owned, to his Aboriginal children.
Really Now? – Do you believe Norval in terminal care could mentally really even comprehend or respond to such a letter in 2001? To help you make up your mind, view:
– the 1997 Goofy Beardance video on YouTube from four long years before
– the 2002 LeBlanc video, showing Norval totally unresponsive and insensate while being used as a totally helpless and manipulated prop to sell art in Thunder Bay
– Do you believe, in 2001, that Norval was in any condition to be able to appraise 23 of his past paintings as fake or not? And respond to the illiterate letter sent for his response by KRG. (The signature was redacted by KRG to hide which member of the Robinson family was so illiterate and sloppy in such a serious business transaction.)
The totally weird Donald Robinson KInsman Robinson Gallery appraisal for 23 paintings brought in by Jim White, that started the whole HOAX of “thousands of fakes by umpteen forgers in May 2001. What is “appaise” supposed to mean. and what are “acylics.” Wouldn’t that confuse Norval? Would you buy art you can trust, from a place like this?
– Do you believe that the Robinsons ever even sent the alleged letter and photos to Norval, whose Dementia-debilitated and declining condition, as shown in the videos, they were very well aware of?
– If you don’t believe he was capable, then who forged this alleged letter from Norval? Only two possibilities exist: either Gabe Vadas in Nanaimo, or someone in Kinsman Robinson Galleries, which, of course has a long-standing, well documented, and very active “provenance manufacturing operation” in their basement.
That All in or All Out Checklist – A two page document exists bearing Norval’s name, and TWO BOXES, one to check to accept ALL 23 paintings as real, as a lot, and a second box to reject ALL 23 paintings as NOT real. When Robinson had initially claimed there was a box for each painting, which would have been at least 23 pages, if true.
– This document clearly betrays someone motivated by a global purpose, who had already made up their mind to impose a global response from Norval, or whoever was responding on his behalf. And does not want an individual response to each painting based on its individual merits.
– No forensic expert would ever do that. No legitimate appraisal authority would ever do that.
– Only a devious fraudster would, designing a document to elicit a directed response, only providing a way to reject all 23 items or accept them as a group
– And only someone who damn well knew that asking for multiple individual responses from Norval was far beyond his capability, in his death-bed in the terminal care facility.
– Now who could that profile fit the best?
What Donald Robinson Didn’t Say
Six months after Pop Robinson denounced all Morrisseau BDPs from Potters as fake, son “Pup” Paul was still authenticating them as genuine and collecting thousands of dollars for doing so. Neither Robinson ever figured their private documents would become public.
By “coming out” in May 2001, Donald “Pop” Robinson was also hiding a secret of his own son, Paul “the Pup” Robinson.
Six long months after Pop Robinson had slanged all 23 of James White’s Randy Potter-sourced BDPs, as totally worthless fakes, and told the Post there were hundreds more “out there,” his own son “Pup” Robinson authenticated and appraised for high values, TWO of exactly the same kind of Randy Potter-sourced BDP paintings for KRG client Jonas Plis, on October 30, 2001. Paul gave each a “fair market valuation” of $7,500.
Folks, yah can’t make this stuff up…
And then it gets worse…
Stealing the KR 384, Behind Norval’s Back – Norval’s Indigenous children decided to raid the “mental hospital” where Norval’s crafty white business partners had shut him up and locked him away. In December 2001, they carried Norval off, a half continent away, to Thunder Bay, Ontario.
Panic now set in among the Robinson/Vadas conspirators. Clearly the Morrisseau family and their lawyers were on a roll. They had successfully liberated Norval. Next they would no doubt try to liberate Norval’s paintings which numbered in the hundreds.
Within weeks – while Norval was away, and unknown to him – the Vadas/Robinsons boxed 384 of his paintings (the notorious KR384) and quickly and secretly hid them, safely away from Norval, his Indigenous children, and their lawyers, in the Kinsman Robinson Galleries’ “basement.”
(Source: Donald Robinson’s own inadvertent blurting out while passionately giving evidence on another matter. I couldn’t believe my own ears. This part of the transcripts was never transcribed and the court reporter was incredulous when I told her it was missing. She looked again and found the missing evidence documenting Robinson spilling the beans.)
It’s called theft folks.
And they were not returned to Noral ever, even after Vadas kidnapped Norval back to BC. The white guys lost trust in Norval. KRG kept the paintings, in their gallery basement, for seven long years, not returning them to Vadas until two years AFTER Norval was safely dead.
Now do you know why the most commonly used denigrating Indigenous language words in Canada are “greedy white man?”
Fast Forward – Eight years later, one Ritchie Sinclair – a one-time contract lover of Norval Morrisseaus – went to work for Kinsman Robinson Galleries as its fraud enforcer, almost a year after what little had been left of Norval, was safely dead.
In October 2008, within only days, in October 2008, Sinclair posted 1,000 paintings belonging to KRG’s main business competitors, as “fakes” and slanged their owners with vile, racist, and defamatory words.
On Nov. 21, 2008 five highly reputable fine art dealers – including James White – filed an action to sue Ritchie Sinclair and asked the courts to grant an interlocutory injunction to shut down the racist, vicious, malicious, seditious, and meretricious website.
On Dec. 8, 2008, the Hon. Justice Thomas R Lederer, citing free speech concerns, refused to grant the injunction until the allegations had been tested in court. But he made Sinclair post a warning disclaimer on his website.
Legal Disaster Plays into the Hands of the Fraudsters – Justice Lederer virtually assured the Plaintiffs that if they returned to court, in a couple of months, they would be victorious.
He said Sinclair’s website was in flagrant violation of the rules of Fair Comment and that he had no underlying facts or documentation of any kind to substantiate his “opinion.”
An incredulous Justice Lederer said Sinclair even put up 1,000 pictures as fakes, that he hadn’t even seen in person, or examined in hand. And he was making statements about the backs of the paintings of which no pictures had even been published, or seen by Sinclair.
He said Sinclair was clearly guilty of libel and making slanderous statements.
Talk about signaling a coming court victory to a Plaintiff…
But it was not to be. The five dealer lawsuit fell apart.
The five litigants soon discovered what most Canadians have known for a long time: that middle class and working people cannot afford Canadian justice. Only the rich and powerful can, and so stay out of Canadian jails: Conrad Black, Mike Duffy, Pamel Wallin…
They were being hugely hosed by the law firm that represented them all, and were getting very little or less for all that money. And those fees promised to rise to astronomic levels with preparing for a possible trial. The costs would probably bankrupt one or more.
The Plaintiffs, dropped out one by one, and the lawsuit dwindled to only one remaining person of principle and resolute integrity, James White, who had originally consigned the painting, “Wheel of Life 1979” to Artworld for selling. It sold it to Margaret Hatfield who, years later was cajoled by the Robinson/Sinclair cabal into suing Artworld for having allegedly sold her a “fake.”
“Great Canadian Cultural Hero” James White
Notorious Racist “Art Terrorist” Ritchie Sinclair
Alone of the five dealers, James White stuck to his principles, and carried on his lawsuit against Ritchie Sinclair for libel and slander.
Sinclair was not able to find a single witness who dared to show up to show support or to give evidence that White’s paintings were fake – which they were not – or that White was a forger or a purveyor of fakes – which he was not.
Not even Donald “No Show” Robinson, who had slanged White’s art to the Post, showed up in court as a character witness for Sinclair, or to give testimony to support Sinclair’s allegations. Robinson clearly knew how far he could get with any of that, under the withering scrutiny of a judge.
Why did “No-Show” Robinson refuse to bring in the documents related to Norval Morrisseau’s supposed YES and NO boxes, or the letter by Norval? They were his supposed proof that Ritchie Sinclair was honest and truthful – hell they proved, didn’t they? what he claimed, that Norval said so – and that White was a conniving purveyor of fakes – as Robinson clearly tried to tell the world.
Talk about a damning and telling fear of being “outed” because Robinson knew he was involved in a scam, exploiting a near-dead Indian, and using fabricated documents to terrorize his business competitors that would likely be exposed as fakes the minute a judge laid eyes on them, and heard the testimony about the circumstances that gave them rise.
In the end an angry Deputy Judge CW Kilian hugely scorched Sinclair with the maximum penalty for Libel and Slander, and then some… saying:
“His comments were made recklessly with total disregard for the truth or their consequences… I award the Plaintiff $25,000 in general damages for defamation and slander of title. Because of his reckless false allegations disseminated on a worldwide media… l would have awarded $10,000 punitive damages were it within the jurisdiction of this court.” (Deputy Judge CW Kilian, Toronto, Aug. 5, 2015)
In effect Judge Kilian found that Ritchie Sinclair was doing great irreparable harm to the Indigenous art and artists of Canada.
James White had been vindicated by winning a total victory and leaving the discredited and dishonored fraudsters eviscerated by a Canadian court, and others, afraid to show their faces, or their claims, hiding in their basements, clutching their fake documents in their quivering fingers.
– “Robinson as Expert” Rejection #6 – by credentialed forensic scientist and handwriting expert Brian Lindblom authenticating 5 BDPs for Joseph McLeod’s Maslak McLeod Gallery (Jan. 24, 2002) & 1 BDP for Joseph Otavnik (Mar. 13, 2007) – Resoundingly and totally discrediting Robinson’s claim of fraud, forgery, & 100s of fake Morrisseaus
On Jan. 24, 2002, independent forensic handwriting expert Brian Lindblom, dealt a total body blow to the Robinson family, owners of Kinsman Robinson Galleries, and who were claiming there were Morrisseau fakes “out there,” hundreds of them.
In 2001, Donald Robinson BS had invented the Morrisseau “fakes” fraud, and fed it to the witless journalist Murray Whyte, who had published all the crap in an article in the National Post, without vetting the allegations with the supposed source, Norval Morrisseau, who he wrote, was “not available.”
McLeod Fights Back With Forensic Science – Joseph McLeod, proprietor of Maslak McLeod Gallery, and long considered the world’s top Norval Morrisseau art expert, with experience dating back to 1959, was planning a Morrisseau Retrospective for 2002 at his gallery.
He knew, as KRG’s main business competitor, that he and his paintings would be targeted by KRG art terrorists, with their newly invented claims that everyone had fakes except KRG…
In a pre-emptive strike, McLeod sent 12 Morrisseau paintings to Brian Lindblom, an independent forensic scientist and handwriting expert for analysis. Lindblom had done forensic examinations and handwriting analysis work for federal and provincial police forces countless times.
On Jan. 24, 2002 Lindblom reported that seven of McLeod’s Morrisseaus were confirmed as authentically signed by Norval Morrisseau, and by no one else, with DNA certainty. Lindblom found or detected NO fakes or forgeries, or hints of either.
(Because of Norval’s drybrush technique, the other five signatures were deemed too indistinct for Lindblom to want to make a determination. The “fingerprints” if you will, were too faint, or smudged to say anything for certain. Meaning there was just not enough “DNA” to do verification.)
It was the first time anyone had ever sent Morrisseau paintings to an independent forensic handwriting expert for analysis.
And the results were thunderous and absolute. That in every case where a scientist had enough data, or “DNA” to do testing, they all came back – without a single failure – as authentic Morrisseaus, seven out of seven times.
Nothing less than a huge and disgraceful rebuff to the Robinsons and KRG and their unsubstantiated slanging claims against genuine Morrisseau paintings. A credentialed scientist, Brian Lindblom, had failed to find even one “fake.”
A Reminder: Remember, that Donald Robinson had bought 31 of these same kinds of BDP paintings, for $54,000, only a couple of years before… They were all similarly signed in black drybrush paint on the back. And he and his son Paul were selling many of them to KRG clients. His son Paul, also, had for years, signed official KRG “Certificates of Appraisal” for countless other BDP paintings of the same kind, as genuine Morrisseaus, for big amounts.
The fraudsters, realizing they were losing the battle against the forensics, then turned to pseudo-legal alternatives, namely issuing “Affidavits of Forgery” supposedly signed by Norval Morrisseau, who was practically on his death-bed.
Seven such Affidavits of Forgery would be sent to the main KRG competitors, warning them of the direst legal consequences if they did not Cease and Desist, immediately, dismount hundreds of Morrisseau paintings from their corporate websites, and stop selling them.
Tellingly, and damningly, not a single Affidavit had an original Morrisseau signature. All were copies or Xerox Norval signatures.
Brian Lindblom expressed the opinion, as a credentialed document examiner of long experience, that these Affidavits looked like they were all “cut and paste” or “scissors and paste” fabrications. Bringing up sad images of a drooling Norval on his death-bid cutting and pasting them together.
As well, the Affidavits were totally inconsistent, in what they claimed about different paintings and often contradicted each other. (This was ultimately confirmed in 2013 by Deputy Judge Paul J. Martial who discounted their believability.)
In spite of these dire threats, not one person or gallery complied in any way with the demands of the fraudsters. All firmly refused to dismount any paintings, and continued to sell them as before. Not one person or business was ever sued for non-compliance.
This confirmed the Affidavits as being the equivalent of lowlife SLAPP suits designed to terrorize people with false allegations that the perps very well knew would never hold up in any court.
Otavnik Fights Back With Forensic Science – In 2007, the fraudsters attacked Joseph Otavnik’s Morrisseau paintings as “fakes,” after he had placed them in an auction.
Otavnik sent two paintings to Brian Lindblom to analyze. On Mar. 13, 2007 Lindblom authenticated the signature on one as done by Norval Morrisseau, and by no one else. (The other signature he deemed too faint to analyze.)
On April 16, 2007 Otavnik filed a lawsuit for trade libel against Gabe Vadas (and Norval Morrisseau) who defended the allegation of “fakes,” saying Norval Morrisseau told him they were fakes.
At the pre-trial conference the judge informed Vadas that he had to prove they were fakes since he had made that claim. Which took Vadas aback; he thought his word, on behalf of the bedridden Morrisseau, and his Power of Attorney (POA) that he had wielded since 1990 was good enough to win in court.
Knowing he could never prove they were fakes, and knowing that he could never produce Norval – who was literally on his death-bed and hadn’t been able to communicate anything to anyone for years, immediately settled.
Inexplicably, Vadas didn’t seem to want to drag the drooling and doped up Morrisseau from his death-bed, to testify before a judge.
Otavnik got everything he asked from the fraudster, including $11,000 in damages, which was the auction estimate for the painting Vadas had fraudulently discredited and devalued.
So another stunning rebuff to the fraudsters and their allegations of “fake” Morrisseaus from an independent analysis by forensic scientist Brian Lindblom.
– “Robinson as Expert” Rejection #7 – by credentialed forensic scientist and handwriting expert Brian Lindblom re: – “Father & Son 1977” Nov. 5, 2008 – Discredited Robinson “Expert Report” #1 of 2008, trying to claim “Father & Son 1977” was a fake
The Globe & Mail’s Journalistically Malfeasant Val Ross – On Feb. 9, 2007, the Toronto Globe published a feature article by its witless, gullible, and malicious Senior Arts Columnist, Val Ross, saying – not alleging – that small-time Toronto art dealer Michael Moniz, was selling fake Norval Morrisseau paintings, thereby openly and deliberately libeling Moniz, accusing him of fraud, and slandering his paintings.
Donald Robinson’s “expert report” claiming “Father and Son 1977” was a fake, was just trashed outright at the urging of CTVglobemedia’s lawyer Peter Jacobsen who told the corporation to pay Moniz for its journalists libeling and defaming his genuine Morrisseau painting.
The malicious article was hugely illustrated with the Moniz painting, “Father & Son 1977,” so the slanging was not just with words but by putting a fraudulently discrediting image of a Morrisseau “fake” into the public eye.
The only source quoted for this malicious, fraudulent, defamatory and libelous story Gabe Vadas, Norval’s longtime lover, and Toronto lawyer Aaron Milrad, Vadas’ longtime legal affairs handler. The two were aggressively using Vadas’ Power of Attorney from Morrisseau, which he had controlled since 1990. At this time, Norval, whom the duo claimed to have consulted, was a vegetable.
In fact it had been over two years since an old buddy of Norval’s – Gary Lamont in 2005 – and Norval’s own son Christian in 2006, both reported independently that Norval couldn’t even recognize either of them anymore…
In June 2007, Moniz filed a lawsuit against media giant CTVglobemedia for libeling him and slandering his art. Its lawyer, Peter Jacobsen, filed a defence on July 20, 2007.
A justifiably angry Moniz took three of his maligned paintings, including “Father & Son 1977,” to a forensics expert to analyze in preparation for a Libel and Trade Libel lawsuit he planned to launch against the Globe and its vicious and malicious reporter Val Ross***.
***Another Shocker – It was only years later that Moniz realized another side to Val Ross’ nastiness, when he saw her photo in her obit. He came to the shocking realization that it was she who was the anonymous woman who mysteriously accosted him at the auction where he bought “Father & Son 1977,” and aggressively and disdainfully snarked at him out of the blue, “So you think you bought a real Morrisseau…?” The verbal assault from a total stranger, floored Moniz at the time.
He suddenly realized it had been Val Ross, herself, who had clearly already been pumped full of fraudulent allegations by Gabe Vadas and lawyer Aaron Milrad, the two discredited “experts” she quoted in her article calling Moniz a crook and his art, forgeries.
Ships Passing in the Night – I too was in the auction hall that day, doing Morrisseau research, saw and photographed “Father & Son 1977” front and back, but at the time did not know either Moniz or Ross.
From 2003-2005, Vadas and Milrad were involved in attacking business competitors of Toronto’s Kinsman Robinson Galleries, with seven different Affidavits of Forgery they had fabricated. These have since been proven to be utterly shot through with countless errors as well as including – you won’t believe this – with many forensically authenticated genuine Morrisseau paintings. In February 2007, Vadas and Milrad fed the same kind of fraudulent information to Val Ross, convincing both her and her employer, that Michael Moniz was a fraud artist and seller of fakes. The gullible journalist, failed to practice due diligence and rushed into print with her libelous and defamatory – second-hand Vadas and Milrad allegations. When Moniz got proof from forensic scientists that the paintings were real, Vadas and Milrad ran for cover. The Globe lawyers told their client to pay up and not risk the wrath of a judge for the Globe’s libel and defamation.
Brian Lindblom Authenticates – The bilious and malicious Val Ross was already months in her grave, when Brian Lindblom, a certified and credentialed Canadian handwriting expert and document examiner, verified that “Father & Son 1977” was authentically signed, with DNA certainty, by Norval Morrisseau, and by no one else, affirming as totally genuine, a signature Robinson, who has no related credentials of any kind, tried to claim was a fake on the back of a forgery.
Meanwhile Robinson had created his own type of “expert report” for CTVglobemedia lawyer Peter Jacobsen, trying to claim “Father & Son 1977” was a fake. (The copy, of this report, which was later buried from public access, with a gag order, was acquired through an Access to Information application to the RCMP.)
Brian Lindblom with years of experience working for the RCMP, was the first forensic scientist whose forensic work exposed the Hoax of the fraudsters, and to discredit their claim of thousands of forgeries by umpteen diabolical forgers, and conspiring art dealers.
Lindblom, with a long record of working as a handwriting expert and forensic examiner for the RCMP and other Canadian police agencies had been the first forensic expert to prepare and submit a scientific report verifying that a Morrisseau painting some tried to claim was a fake was genuine.
In fact Lindblom verified three for Moniz in 2008, to add to those he had earlier forensically authenticated for Otavnik (one in 2007), and McLeod (seven in 2002.)
So Lindblom’s report, verifying “Father and Son 1977” as a genuine Morrisseau, utterly discredited the crap that a trio of art fraudsters – Gabor Vadas and his lawyer Aaron Milrad, allied to Robinson and his phony “expert report” – had used to hoodwink the witless and gullible Globe journalists and editors into believing “Father and Son 1977” was a fake.
Lindblom ruled with finality that, in reality, the Moniz-owned paintings were completely authentic and all signed by Norval Morrisseau and no one else. Making total liars, for a start, of the trio of dastardly art market manipulators. And witless and gullible idiots of a senior Globe journalist, Val Ross, and her supervising editors.
A Great Canadian Cultural Hero, Michael Moniz, who won a landmark out-of-court settlement and some $25,000 from a Toronto Globe defamation suit he launched. But the stress of the Globe’s ruthless delays in settling, and then repeatedly breaking the agreement, took a fearful tool on this small time art dealer an killed him at 48 in 2013. But not before ruining his business, his marriage, his health and bankrupting him first….
Moniz Sues CTVglobemedia – Michael Moniz filed a landmark lawsuit for Libel and Trade Libel against the Globe, Canada’s “national newspaper,” featuring the credentialed Lindblom’s report as his evidence of gross journalistic malfeasance.
Vadas, Milrad, and Robinson fled for the hills, leaving the Globe to suffer the consequences of believing – without any other verification – this dastardly trio and their vicious, malicious, seditious, and meretricious allegations about Michael Moniz and his Morrisseau paintings.
Lindblom, was the very first of a line of credentialed forensic handwriting experts and judges in years to come, who were to totally discredit as a fraudulent charade, a coming line of manufactured Donald Robinson “faux-expert” reports, each desperately, and vainly, trying to claim a Morrisseau painting was fake in front with a fake signature on the back.
And so utterly discrediting personally, and as a believable or credible art expert of any kind, the man who created these so-called “expert reports,” in an attempt to fool judges. And thus also, hugely discrediting the people with whom he surrounded himself to promote his nefarious and fraudulent schemes.
Leaving Donald Robinson BS totally exposed as the real fake in this greatest fraud in Canadian art history.
– “Robinson as Expert” Rejection #8 – by Toronto Globe & Mail Lawyer Peter Jacobsen – Feb 2009 – Discredited Robinson “Expert Report” #1 of 2009 in which Robinson was trying to claim “Father and Son 1977” was a fake
(source for a copy of Robinson’s “expert” report on “Father & Son 1977” was an RCMP Access to Information Request)
Peter Jacobsen one of Canada’s top experts on libel and defamation advised CTVglobemedia to settle out of court with Michael Moniz, for an estimated $25,000 for falsely libeling him and defaming his genuine Morrisseau paintings as fakes.
On the one hand – In late Nov. 2008, lawyer Peter Jacobsen and the Toronto Globe & Mail, were presented by Plaintiff Michael Moniz, with an Expert Report by top Canadian forensic handwriting examiner Brian Lindblom, who ruled with scientific certitude, that the signature on the painting, “Father & Son 1977,” which Robinson, Vadas, and Milrad called fake, was in fact, with DNA certainty, authentically signed by Morrisseau, and by no one else, on the back with black drybrush paint (so a typical Morrisseau BDP).
On the other hand, Jacobsen had a Globe news article, by its leading arts columnist, Val Ross, saying the painting, “Father & Son 1977,” being sold by Michael Moniz was a total fake. Journalist Val Ross was brandishing information sole-sourced*** only from Norval Morrisseau’s legal representatives, Gabe Vadas, and his longtime business associate and legal agent “Aaron Milrad, a Toronto lawyer who acts for the artist and the Norval Morrisseau Heritage Society.” (Val Ross, Toronto Globe, Feb. 9, 2007)
***Note: There is no evidence Val Ross ever even tried to contact Norval Morrisseau, the alleged “source” cited by Vadas and Milrad, as claiming the paintings were fake. Norval was in fact on his death-bed and only months from death.
The “Father of the Fraud” – Val Ross was guilty – exactly like Postmedia’s journalistically malfeasant Murray Whyte had been in 2001, of just blindly publishing libelous and slanderous second-hand hearsay journalism which he/she just blithely regurgitated from self-serving businessmen, without doing due diligence and going to the original source for verification.
Murray Whyte could well be called “the Father of the Fraud” as he initiated and gave life to the fraud in the media, which would then be viciously and maliciously recycled by other mainstream media journalists, completely without evidence or substantiation, in the coming years.
Murray White is hugely responsible for doing “great irreparable harm” to the art and artists of Canada’s Indigenous people.
Verily, as scorched by President Donald Trump: “The media are the enemy of the people,” and are “some of the worst and most dishonest people in the world.” (President Donald Trump)
This collection of collaborating individuals boldly stood together, to accuse a small time, small potatoes art dealer, Michael Moniz with selling fake Morrisseau art on ebay and elsewhere.
Clearly, a slam dunk for Globe lawyer Peter Jacobsen. Right?
Calling for a black and white decision. No ifs, ands or buts… One side was utterly right; one side utterly wrong. One side righteous; one side crooked. Jacobsen now clearly knew, with utter certainty, that an art fraud of some kind was going on. But by whom?
One side was telling the truth, the whole truth and nothing but the truth; the other side was clearly involved in a tawdry, lowlife scam, knowingly and deliberately denigrating, desecrating, and devaluing the genuine art of Norval Morrisseau, and involved in a scummy art fraud.
On one side, Jacobsen had a struggling nobody, a small-time, mail-order art dealer, and sometime taxi driver, from a working class address in Toronto, armed only with a forensic report from a handwriting expert, Brian Lindblom.
On the other side, Jacobsen had an august line-up of leading lights from the fine art elites of Canada, dressed in the finest silks, satins, and suits, with the finest academic credentials, living at the best addresses, and working for Canada’s leading academic and art institutions. And solidly and unequivocally buttressed up with two of Canada’s leading lawyers dealing in fine art, Aaron Milrad, and Richard H. Baker.
Obviously a totally easy slam dunk for Jacobsen…Right? And for you too?
And then it gets even easier for Peter Jacobsen.
Court testimony made clear that lawyer and NMHS member, Richard Baker, worked hand-in-hand with Donald Robinson and Ritchie Sinclair at his office to make a common front to declare “Jesuit Preist 1974” a forgery as Donald Robinson wanted. A top Canadian scientist and a stern judge independently found the diabolical trio utterly wrong, wrong-headed, and obviously unqualified to pass judgment on either the painting or the handwriting on the back. Clearly they are guilty of cultural genocide to an unforgivable degree.
The Richard H. Baker NMHS Letter – Jacobson was already in possession of a letter, sent to him by and signed by Norval Morrisseau Heritage Society (NMHS) lawyer Richard H. Baker of Toronto (and dated Jan 9, 2008, a year earlier). Giving him valuable additional information that would have made it utterly clear who the crook was in the fraud, and how to make a decision.
In the letter, fellow lawyer Richard H. Baker, clearly affirms a multi-level collaboration among all his colleagues involved with the NMHS:
– that the NMHS incorporation was handled by Norval’s legal agents
NOTE: These are: Gabe Vadas using Norval’s Power of Attorney (POA) which he had appropriated on Apr. 24, 1990, and aggressively wielded to enrich himself, off Norval’s estate, since then. “I’m deserved of it all” he told the CBC in 2004 – and his longtime enabling and collaborating business partner, and legal agent, and his paid mouthpiece, lawyer Aaron Milrad.
– that the NMHS has already registered 1,700 Norval Morrisseau works, and
– has made no determination of authenticity on any others, though it has the power to do so
– is a secret society, and that
– “The Society was created at the request of the late artist.”
– “Its mission is to ‘research, document, and promote the artistic achievement of Norval Morrisseau, and to protect the integrity of his art.’”
– that the NMHS has not recognized “any outside experts or galleries capable of authenticating Morrisseau art.”
– that the NMHS only “recognizes the Kinsman-Robinson Gallery in Toronto is a trusted dealer of Norval Morrisseau’s art.” and that,
– “The Society has no reason to believe that Mr. Morrisseau was at any time incompetent.”
The Collaboration Confirmed – In short Baker has affirmed, what the Globe already published, that Baker and the NMHS were collaborating and working with Aaron Milrad AKA the late artist’s solicitor, and Gabe Vadas POA. Vadas had managed all Morrisseau’s private, business, artistic, financial, and legal affairs since he appropriated Norval’s POA in 1990. Hell, Baker admits these two business associates gave the NMHS life!. It wouldn’t even exist without their legal intercession.
Damningly, the evidence from a whole slew of silks, satins, suits, and snoots, seemed to be piling up against the small-time art peddler and taxi driver.
A slam dunk for Jacobsen…? Not yet… He wanted to be absolutely sure… so…
After receiving the Lindblom Report in Nov. 2008, which essentially backed up the Plaintiff’s side that claimed – ludicrously you say? – that all these fine NMHS people around the dying Norval, were lying and involved in a self-serving fraud, Jacobsen commissioned his own “expert report” from Donald Robinson, the man recommended by Baker in his NMHS letter.
NOTE: Norval died as Baker was drafting his letter to Jacobsen. But hell, everyone knew that Norval had been completely mentally “gone” for years before he died, as was reported by family members and friends who managed to visit him, in Nanaimo, BC, where his white handlers had confined him in terminal care since 2001. So, by 2007, Norval had not the slightest clue, or involvement with, what his white handlers were doing in his name.
Another Fraud Victim – The Globe’s senior arts journalist, Val Ross, died a month after Baker drafted the letter. Mercifully she would never know the disastrous fall-out from her article. But its unraveling clearly hastened her demise and death. Jan Wong, her fellow Globe journalist and friend at the time, reported Ross was popping pills constantly to stay stable in a workplace that had become utterly hostile to her.
(Jan Wong, “Out of the Blue.” Jan would herself become a victim of the same vicious and malicious Globe executives who authored the stress that brought premature deaths to Ross, and Moniz.)
In the meantime, Jacobsen was waiting for something else to help him make up his mind on who was telling the truth, and who was the lowlife liar, and who had ensnared the Globe and Mail in its biggest libel and slander case in modern times. Just to make sure the Globe had a fool-proof and unshakable case when it went to trial to defend itself, its journalism, and allegations made by its feature arts columnist Val Ross against Michael Moniz and his Morrisseau paintings.
Peter Jacobsen was waiting for the Donald Robinson Kinsman Robinson Gallery “expert” report on “Father & Son 1977.”
It would become the very first of several “expert reports” Donald Robinson BS would make over the next few years, trying to claim a Morrisseau painting was a fake.
Robinson’s Report plopped on Jacobsen’s desk, a few months later, either late on March 8th, or early on March the 9th, 2009.
A copy of this Robinson “expert report” I have, obtained with an RCMP Access to Information Demand, shows that Jacobsen was an active agent in producing the Robinson report on “Father & Son 1977,” from Robinson, as the Globe’s lawyer is credited, by Robinson, as providing research materials for Robinson to do his work.
“IN THE INTERESTS OF TRUTH AND JUSTICE”
In fact Robinson says Jacobsen hired him as an “expert witness” to appear on behalf of the Globe in court…
“I have been retained by counsel for the defendant as an expert witness…. My role is to assist the court on matters within my expertise. I believe that I give my opinion and speak not for my “side”, but as a professional art dealer on behalf of my profession, in the interest of truth and justice. (signed) Donald C. Robinson, BaSc, M.B.A., P.Eng, 8 March 2009.” (Report – The Authenticity of an Alleged 1970s Norval Morrisseau Painting, by Donald C Robinson, 8 March 2009)
Note: Three eminent justices from the Federal Tax Court of Canada (1996), and the Appeal Court of Canada (1999), had already ruled that Donald Robinson BS could not be trusted regarding the paintings of Norval Morrisseau in that “he has a hopeless conflict of interest in trying to be objective about the quality or value of Morrisseau’s work.” (Justice Murray Alexander Mogan, Tax Court of Canada, July 12, 1996.)
This means the Globe, clearly emboldened and encouraged by Vadas, Milrad, Baker and the NMHS to hire Robinson to establish if the painting is fake, commissioned Robinson and paid him to make his best case for his “side.”
This shows that Peter Jacobsen and the Globe were conscientiously determined to leave no stone unturned to get at the Truth by commissioning an “expert report” from the “best people.” Let that lead where it may…
The Robinson Report, when it came, stuck a dagger into “Father & Son 1977,” into Brian Lindblom, and into Michael Moniz as a lowlife crook and purveyor of fake Morrisseaus.
It claimed in excruciatingly pseudo-scientifically-embroidered detail that “Father & Son 1977” was a total lowlife fake. That forensic and handwriting expert, Brian Lindblom, was therefore wrong, as wrong can be. And Robinson was, you remember, the only “outside expert” that the NMHS recognized as “capable of authenticating Morrisseaus” in the entire world. In their eyes, Lindblom didn’t make the cut.
I do not believe that any lawyer ever received a more totally discrediting and devastatingly damning multi-level “scientific” broadside that so virulently destroyed the authenticity of an item as fake, than Peter Jacobsen read on the morning of Mar. 9, 2009, from Donald Robinson denouncing “Father & Son 1977” as a total fake and the handwriting expert as hopelessly wrong and misguided.
It was nothing, if not a thunderously clear confirmation, from the “best people” from Canada’s fine art establishment, exactly as the Globe article had previously claimed, that Moniz was a lowlife crook dealing in Morrisseau fakes, exactly like all the silks, satins, suit, and snoot friends, boosters, and colleagues of Kinsman Robinson Galleries had been claiming all along.
The Robinson Report totally discredited the painting, and Brian Lindblom’s report, and by extension, Michael Moniz.
An absolute and total slam dunk for Jacobsen now, for certain…
And so it was. And what an earth-shattering surprise!
The Report had stuck a dagger into Donald Robinson BS.
I believe that, literally, within only hours of receiving the Robinson “expert report” calling Moniz’s painting “Father & Son 1977” a fake, Jacobsen and the Globe executives, were forced to come to a sobering and shattering decision: that the Robinson Report, not “Father & Son 1977” was fraudulent, and that both it, and Robinson, were the only fakes in the room.
Note, this was NOT just one lawyer making a decision. Obviously it was a group of the top executives at both the Toronto Globe and its umbrella CTVglobemedia corporation, who would have had to weigh in with an opinion, that would reflect on a billion dollar corporation. And they obviously, unanimously, reached a number of earth-shattering conclusions:
That the Globe had viciously and maliciously libeled a decent and completely innocent working stiff, and fraudulently slandered his genuine Morrisseau art.
The Globe had committed the worst act of journalistic malfeasance in its history.
The Globe’s feature arts reporter, Val Ross, and her Globe editors, had been ruthlessly victimized and sucker-punched by a gang of fraudsters into taking part in, and promoting the worst art fraud in Canadian history.
That the fraudsters were incontrovertibly exposed, as a vicious and malicious and knowingly complicit, august assortment of the finest silks, satins, suits, and snoots, from Canada’s elite fine art establishment, allied to and doing the bidding of Gabe Vadas who ran the Morrisseau studio of composite art, his business and legal agent, Aaron Milrad, and his longtime conniving business operative, Donald Robinson and his Kinsman Robinson Galleries.
That two top art industry Toronto lawyers, Aaron Milrad and Richard H Baker, had not only knowingly and aggressively fronted for the fraud, but aggressively and professionally promoted it, and aggressively tried to do their damndest to sucker-punch the Globe reporter and editors, and its lawyer Peter Jacobsen, into getting Canada’s national newspaper to go along with the fraud.
That two top art industry Toronto lawyers, Aaron Milrad and Richard H Baker, were in gross violation of the Law Society of Upper Canada’s rules on ethics forbidding lawyers from fronting for frauds, or aiding and abetting people they knew were involved in crooked, unlawful, or criminal activities.
That, in light of the highly credentialed Brian Lindblom’s Expert Report, both the Globe’s “expert witness” Donald Robinson – who had no formal credentials at all in the field or subject – and his “expert report” were utter lowlife fakes, which they could never present in any court and expect to win anything other than utter shame and discredit from any judge. And public humiliation as the reward.
For them it was a slam dunk…
They dumped Donald Robinson BS as their “expert witness.” And dumped his “expert report” in the trash.
The Globe executives and its lawyer Peter Jacobsen clearly saw they were ensnared in a fraud, which their hapless journalist and its negligent editors had been sucker-punched into helping promote and inflict on the Canadian public and one small Canadian art dealer.
Clearly, and quite justifiably, fearing the obvious outcome of a trial – and within a matter of only a few hours after looking at the Robinson report on Mar 9, 2009 – CTVglobemedia executives and its lawyer Peter Jacobsen, decided, virtually instantly, to settle the Libel and Trade Libel lawsuit launched by the painting’s aggrieved owner Michael Moniz, and to pay him off with $25,000, the maximum he asked for.
The Globe agreed to expunge the vicious and malicious article by Val Ross from its archives and the internet.
The Globe signed off on the deal on Mar. 10, 2009.
Up Yours! – It was the second time independent experts (after Lindblom) discredited and dismissed, with obvious contempt, Robinson’s faux “expert report” and his claims about the Moniz painting “Father & Son 1977.”
But it would not be the last. Over the next few years Donald Robinson’s fraudulently fabricated “expert reports” and his testimony on the stand supporting them, would be universally and ruthlessly rejected by every judge and forensic expert forced to take a whiff of either…
The Globe executives, guided only by their intelligence and rational analysis took a giant leap of faith... but would be proven totally right, and completely exonerated by history. In years to come, a long list of other forensic experts, and judges came to exactly the same damning conclusion about the same bogus claims, the same fraudulent support materials, and the same conniving fraudsters.
But there was no hurrah at the Moniz household… only a deathly silence… Read on…
Looking at the Baker Letter Again…
Urban legend holds that, unlike lawyers, there are some things rats won’t do…
Putty in their hands… A full two years BEFORE his white handlers finally consigned Norval to terminal care… And eight years before lawyer Richard Baker wrote, saying he did “not believe Morrisseau was at any time incompetent.” Flying in the face of testimony and first hand experience of Norval’s former friends and family who said the total opposite had been the case, and for years…
From a whole list of compromising evidence, we pick a single case in point, the last line of Baker’s letter, saying – “The Society has no reason to believe that Mr. Morrisseau was at any time incompetent.”
In fact the truth is – like everything else claimed by this disreputable group – something far different. That in fact, Norval was so far gone, mentally and physically, by 2001, that in desperation his white handlers confined and secreted him – blocking all visitors – into terminal care, in Nanaimo, BC, early that year.
Norval’s Indigenous family members, friends, colleagues, and journalists who managed to get past the blockade set up by Norval’s white handlers, to prevent access to Norval in the last decade of his life, were universally agreed that Norval was in precipitous mental decline from at least 2001 on. Norval’s own brother Wolf testified in court that in 2001 Norval had only minutes, not hours, of rare moments of lucidity left to him.
Video clips from 2000 on, show Norval utterly mentally vacant, and disconnected from his environment, and not really capable of communicating, or even speaking intelligibly in his last five or six years. Gary Lamont, an old buddy, said Norval couldn’t even recognize him in 2005; Norval’s son Christian confirmed the same thing a year later.
Lawyers acting for Norval’s Indigenous family members even filed intercessions saying Norval had been mentally incompetent for years, and was being used and abused by his white handlers for lowlife, selfish purposes.
And then it gets worse.
No Show Donald Robinson BS – When on Feb. 1, 2006, Norval was feted at a gala in Ottawa, by a sea of satins, silks, suits, and snoots, and personally honoured as the first Indigenous artist to have his own retrospective by the National Gallery of Canada it was the capping moment for the career of a great artist. And I would suppose, for the man who had claimed for the past 16 years to be his Principal Morrisseau Dealer, and his only authorized dealer.
But Donald Robinson DID NOT SHOW UP. He shunned his artist at the moment of his hour of greatest national recognition. Shunned the man who was his, his son’s, and his gallery’s biggest meal ticket of all time. Shunned an artist who had put millions into his, and his son’s pockets…
Everybody knows why: Donald Robinson very well knew that Norval wouldn’t have a clue what was going on, or who was there or not. That he had been totally out-of-it for years. And would never know his Principal Morrisseau Dealer shunned him. That therefore the comatose Morrisseau could never exact revenge and business blowback.
Defending Donald Robinson – At least Donald Robinson can be commended for his display of honesty. He had a personal hate on for the man and his Indigenous family. In 2012, in court, he spoke of a meeting he had had with them all in Thunder Bay – Norval and his kids. And he spat out “they’re all liars,” with a vehemence that took everybody aback. I saw and heard it, from ten feet away.
In fact, to cement the obvious, at the National Gallery of Canada gala, when Norval was rolled out for a photo op in his wheelchair, Norval spoke NOT A WORD, either to any journalist, or to the assembled crowd of silks, satins, suits, and snoots, seated expectantly, before him. A white guy, Gabe Vadas did all the talking for him, as he had since 1990. While Norval snored, with his eyes closed beside him. Because he couldn’t.
In fact, I believe Michele Vadas drugged Norval – she was in charge of his meds – before rolling his body out for the crowd, so he wouldn’t do something embarrassing like moaning, or lolling his head about, hanging his tongue out, drooling incessantly, or staring like a tortured and Demented soul, which he was at the time.
Most of what was Norval had died years before. Only a quivering mess of body – an insentient body with a pulse – was left.
I consider what the National Gallery of Canada (NGC) did to Norval, dragging him off his deathbed for a self-serving photo op, to cover up its hugely malfeasant ignoring and denigrating – for over a century – of Canada’s Indigenous art as unworthy for national display among white artists, a totally unforgivable and racist national disgrace.
They would NEVER do that with a white patient in terminal care.
It’s the worst and most vile example of elder abuse in Canadian history.
Lying to the Media; Lying to the Judge – In utter, total and stark contrast with Robinson and his NMHS toadies, who said they had great and seminal intellectual conversations with Norval only months before he died… in Dec. 2007… And Robinson actually said this under oath, in front of a judge.
What the hell were Baker and his NMHS silks, satins, suits, and snoots smoking, at their plotting kaffeeklatsches…?
And then it gets worse…
The Principal Conspiracy promoting Lawyer has repeatedly sought out the media spotlight, to make himself the center of a public debate, by deliberately stoking the fires of controversy with his wild and totally fraudulent claims of thousands of forgeries by a syndicate of diabolical forgers. Listening to him and printing his fraudulent allegations, landed the Globe in its worst incident of journalism malfeasance in its history and cost it $25,000 to settle a lawsuit for libel and defamation.
“Late last month (end of Jan. 2007 – ed), Milrad couriered a letter to eBay’s San José, Calif., headquarters saying: ‘Before any purported Morrisseau works are accepted by you for sale, it is imperative that you and the seller have the work reviewed by the (NMHS) committee and the artist himself to avoid lawsuits.”
Milrad damn well knew Dementia had totally destroyed Norval’s mind years before, and that he hadn’t been able to recognize anyone for years, and hadn’t been able to communicate or say anything intelligible to anyone for years. The documentation for this is incontrovertible and from multiple independent sources.
For example, Paul Carvalho, the CBC TV producer of “The Life and Times of Norval Morrisseau,” reported, in anguish, that in 2003, Norval Morrisseau couldn’t say a single word when he tried to film him for his one hour documentary biography. (Filming for this television broadcast was done over two years.)
“This is it – the man is fading, he’s nearly gone. My subject is in a wheel-chair and cannot speak in a way we can understand. I used recreations…” (Stoffman, Toronto Star/Chronicle Herald (Halifax, NS) Feb 24, 2005)
Norval was essentially a vegetable at this time and probably had been for a year or more before. And he was in this debilitated state of mental incompetence, four years before Milrad told ebay “the artist himself” would personally vet paintings.
When Milrad very well knew that there was no way in hell that any vetting of any painting had been done by “the artist himself” for well before that. In fact Norval’s brother, Wolf Morrisseau, testified in court, that in 2001 Norval told him, in the few minutes of lucidity left to him in a day, that he couldn’t remember or recognize what paintings he had painted in the past.
Still in 2008, after Norval’s death Richard H. Bakers, speaking for all the Vadas and NMHS cronies, said none of them ever saw any mental deterioration or incompetence in Norval, and that they had “no reason to believe that Mr. Morrisseau was at any time incompetent.”
Jack Pollock would have known what was going on: “… what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.” (Jack Pollock, Norval Morrisseau’s longest (1962-1981) & most successful (12 shows) dealer, Dear M, 1989, p182)
In effect both Baker and Milrad are condemned by their own documented words as wielding what was essentially a “dead Indian” like a bludgeon to terrorize Kinsman Robinson Galleries’ business competitors into submission.
I call it the worst case of elder abuse in Canadian history. By “greedy white men” exploiting a disabled and Dementia-disabled, bedridden old “Indian” for personal gain.
As urban legend has it, there are some things a rat won’t do…
I believe the Baker letter, and the Ross disclosure, are stunners for what they say about a significant number of lawyers, and the legal profession, as represented by Baker and Milrad (both representing the Norval Morrisseau Heritage Society). A Society, made up supposedly, of well-educated professionals, who Jacobsen and the Globe, obviously concluded, were clearly helping to promote a lowlife art fraud conspiracy.
Talk about a couple of high-class boys from Toronto joined at the hip for nefarious and fraudulent purposes, let’s call that racist anti-Indigenous cultural genocide and libelous and slanderous business practices. Just to make a buck…
Extract – Rules of Professional Conduct for Lawyers
– Law Society of Upper Canada
Dishonesty, Fraud, etc. by Client or Others
3.2-7 A lawyer shall not knowingly assist in or encourage any dishonesty, fraud, crime, or illegal conduct or instruct a client or any other person on how to violate the law and avoid punishment.
3.2-7.1 A lawyer shall not act or do anything or omit to do anything in circumstances where he or she ought to know that, by acting, doing the thing or omitting to do the thing, he or she is being used by a client, by a person associated with a client or by any other person to facilitate dishonesty, fraud, crime or illegal conduct.” (Quoted Law Society of UC)
And in the whole art world this disreputable group – Vadas, Milrad, & the NMHS – “recognized” and “trusted” only a single “outside expert” capable of authenticating Morrisseau art, the Kinsman-Robinson Gallery of Toronto.
Who was now both personally and professionally, totally, utterly, and irremediably disgraced and discredited by the Peter Jacobsen and Globe decision, which clearly recognized that Robinson, his KRG Gallery, and their NMHS toadies were involved in a gross art fraud with the self-declared Morrisseau heir, Gabe Vadas against anyone they perceived to be a business competitor.
It was clear the art terrorists were also targeting the mainstream media to cajole them into going along with them, and their scam, and promote it by getting journalists to slang innocent victims like Moniz, and to give the fraud traction and media respectability among the witless public.
These art terrorist assaults on the media (Globe, Star, Postmedia, CBC, CTV, etc.) also included attacks against bloggers intent on exposing the whole sordid mess.
Cyber Terrorists – On Mar. 25, 2013, a few months after I started this blog, I was the victim of a cyber attack – which I successfully rebuffed – from both Kinsman Robinson Galleries AND Aaron Milrad, acting separately, but in obvious concert only some three hours apart.
A couple of months later blogger Ugo Matulic also emerged resoundingly and totally victorious and exonerated, with his claims that the Robinsons were involved in a conspiracy and an art scam, when KRG, without preconditions or caveats of any kind, suddenly and totally, aborted its infamous Million Dollar SLAPP suit which it had ruthlessly and publicly promoted against him over the previous three years.
Shame on You Dickie – The Globe firing of Donald Robinson BS as an “expert witness” and dumping his “expert” report in the trash was a huge slap in the face for lawyers Aaron Milrad, and Richard H Baker, and their group of KRG toadies on the NMHS. And a colossal embarrassment and indictment of their truthfulness and honesty.
It should have been a huge and sobering wake-up call, privately, for Baker and his group, whose letter was, by implication, derisively trashed by the same CTVglobemedia executives who trashed the Robinson report. They obviously recognized that Robinson’s report was hopelessly contrived, and fraudulent, as well as utterly self-serving. And the Baker letter supporting it just as maliciously fabricated, and disgracefully fraudulent.
Dickie Joins KRG to Pick on “the Preist” – But what the hell, only a few months after being totally discredited and slapped down as a trustworthy or honest Morrisseau “expert,” by an assembly of the top executives at CTVglobemedia and their lawyer, NHMS lawyer Richard H Baker had already picked the next target and a new painting to discredit: Joseph Otavnik and “Jesuit Preist 1974.”
The Pit Bull Turns – And only a few weeks after being totally personally and professionally disgraced by the CTVglobemedia settlement, the same Donald Robinson was crafting another vicious, malicious, and fraudulent “expert” report as a favour to Ritchie Sinclair, and targeting the self-same Joseph Otavnik through the back door. Robinson would even appear in court on Sinclair’s behalf – in vain – to try provide cover for the racist art terrorist and try to discredit Otavnik and his painting.
Disgrace Becomes a Habit for the Robinsons at KRG – Only some four weeks after being personally and professionally disgraced by CTVglobemedia settling with Moniz, Donald Robinson and Kinsman Robinson Galleries were disgraced once more, by being forced to settle out of court with Joseph Otavnik, rather than dare face a judge. On Apr. 27, 2009, the Robinsons and KRG gave Otavnik all he wanted, and removed all endorsements and promotions of Ritchie Sinclair from all KRG corporate websites.
Now why would Pop and Pup Robinson do that, and give in to a man they called a fraudster, and a painting they called fake, instead of holding fast to their convictions and laying them and their evidence in front of a judge at trial?
So early on, Donald Robinson is documented in multiple ways, and in multiple guises, while trying to pose as a reliable “arm’s length” so-called “expert witness.” In fact, he proves himself to be a ruthless and entirely self-centred and self-serving partisan by attacking, by hook or by crook, anyone whose Morrisseau art selling business is considered a business competitor by his son Paul Robinson and his KRG gallery.
Meanwhile, it all went to hell – again – for the hapless working stiff, Michael Moniz, because of another lawyer…
Peter Jacobsen Turns Tail
It now became the Globe and its lawyer Peter Jacobsen’s turn to front for the fraud and cover for the fraudsters in another loathsome way.
For years to come.
Having found themselves hugely malfeasant in many ways, the Globe and Peter Jacobsen were now ruthlessly determined to hide all traces of it from the public…
“You Make Me Gag Peter Jacobsen” – Peter Jacobsen now forced a gag order on Michael Moniz, forbidding him from publicly clearing his name of the outrageous libel committed against him by the Globe, and preventing him from telling anyone about how he was an innocent victim of the Globe and its damning part in fronting for the fraud, that destroyed his business, his marriage, and his health.
“Up Yours, Michael Moniz” – In private, Jacobsen, ruthlessly chose to crush Michael Moniz, with a gag order and choke him, literally to death, to prevent him from speaking out on a well documented art fraud, or exposing the gross journalistic malfeasance by the Globe in promoting the fraudsters and libeling Moniz, and totally hamstringing his ability to speak out, and clear his name in public.
In public, Jacobsen paraded himself as something else.
“I am a tremendous advocate of free expression, but I think that where it can do a lot of harm to the whole concept of free expression is if we’re going to allow people, with impunity, to make statements that are blatantly untrue, and they won’t back them up…
“The only chill is going to be in making false and extremely damaging statements and I think that is where the line is drawn between free expression in our society and defamation.
“There is nothing to substantiate these statements, that we know of.” (CBC, The Current, April 1, 2014) (referring to Hudak’s false claims regarding Premier Wynne)
Jacobsen well knew there was a fraud, falsely claiming that fake Morrisseau paintings were “out there,” knew he had damning proof and evidence that substantiated it, knew the Globe was grossly malfeasant, and had been a witless and willing accomplice in promoting the fraud, and knew that fellow lawyers, Aaron Milrad and Richard H Baker, were a party to the fraud.
Still he knowingly covered it all up by crushing the totally blameless victim Michael Moniz with a despicable gag order, because, hey that’s what lawyers do, and the money’s good…
The Murder of Michael Moniz
Moniz had no choice but to sign the gag order since he was under enormous pressure to pay the forensic scientist. And his lawyer who also wanted to be paid, was urging him to accept the deal.
All to no avail. On Aug. 5, 2009, only months after receiving his payout, Michael Moniz was forced into personal bankruptcy.
I call it continuing to front for a fraud, part 2.
I have only the most utter contempt for what the Globe and Peter Jacobsen went on to do on this file to Michael Moniz. With their years of journalistic and legal machinations, trying to cover up the fraud, and to evade public responsibility for backing fraudsters, by committing an egregious act of journalistic malfeasance, and refusing to issue a public apology, they destroyed Michael’s business, caused his bankruptcy, killed his ability to earn a living, and destroyed his art, his marriage, and his health.
The Globe sociopaths, in fact, went on to lie to Moniz’s lawyer about expunging its fraudulent article. Moniz had discovered the infamy a year later when it resurfaced, therefore breaking the terms of the contract and invalidating the gag order. Moniz’s lawyer wrote an angry letter to Jacobsen.
The Infamous Computer Glitch – I have an email copy, sent from Peter Jacobsen to Michael Moniz’s lawyer, again running cover for the Globe, and the fraud, by saying the re-publishing of the libelous article was only the result of a “computer glitch” not Globe editors being malicious or malfeasant, again.
Jacobsen may get away with uttering such nonsense to a prepubescent teen. But as one who has been computer literate since 1981 when I bought one of the first IBM PCs, it is, at best, a laughable, ludicrous, and totally preposterous explanation. Deliberate malevolent intent by a sneering Globe editor is a far more likely explanation. Moniz was victimized all over again and remained gagged… but the article was eventually removed…
“Up Yours, Moniz” – But a year later, the offending article was being published again… Imagine the psychologically destructive effect on Michael Moniz, who was desperately trying to put his life back together.
The years of stress deliberately inflicted on him by the Globe and its lawyer, Peter Jacobsen, Moniz told me only weeks before he died, had totally destroyed him, and I am certain caused his premature death, at age 48.
As we parted for the last time – it was also the first time I ever met or talked to him – he gave me the most crushing handshake I have ever received in my life.
I had published only weeks before an article describing him – a man I had never met or talked to, to keep my journalistic distance – as a Canadian cultural hero for launching his fight on behalf of the authenticity of Norval’s art. Moniz knew his days were numbered, that he was drowning, and he was clearly desperate to grab onto something decent in our society…
When Michael suddenly died, only weeks later, I attended his funeral. It’s the first funeral I attended in probably 40 years. I thought Canada and Canadians should be represented at the burial of a Canadian cultural hero.
Michael won his lawsuit; his Morrisseaus were vindicated. But lawyer Peter Jacobsen – who promotes himself publicly as a “strong promoter of free speech” enforced a gag order on Michael. He could not publicly act to save his reputation. What kind of “win” is it when the stress of a lawsuit against a vicious and malicious corporate giant wrecks your business, your marriage, and your health? Only weeks before he died a harried and quivering Michael Moniz told me he could never recover from the physical, financial, and mental destruction the fraudulent “fakes” allegations had inflicted on him. He was found collapsed of a seizure at 48, days after he died alone in his apartment. (Above Joseph Otavnik says goodbye and notes the price paid by those who fight the fraudsters who do “Great Irreparable Harm to the art and artists of Canada’s Indigenous people.)
“The media is all fake news” said Donald Trump, and are “the enemy of the people” and are “some of the worst, most dishonest people in the world.”
In this instance Trump could easily be talking about the dastardly Globe and Morrisseau group of plotters and fraud enablers: they murdered a totally innocent and respectable Canadian art dealer, by viciously and maliciously libeling him, slandering his art, and destroying the little business that supported him and his wife, and then gagging him so he could not set the public record straight, and restart his life…
And then, knowing he had no money left to pay lawyers, just willfully broke their agreement and republished their fraudulent article, again, and again… re-victimizing him again, and again…
In covering up for the despicable fraud, and what I call the Morrisseau HOAX, in this way in 2009 and after, the Globe and Peter Jacobsen ensured that the racist fraud and fraudsters could carry on below the radar.
Thanks to the Globe and Jacobsen cover up, the art fraudsters remained unexposed, and were free to victimize other gullible, witless, and/or uniformed Canadians: Dr. Jonathan Browne, Margaret Hatfield, Kevin Hearn, John McDermott, subjecting them to public ridicule, and ripped off for scores of thousands of dollars wasted in legal fees without any benefit.
And enabling the fraud, and the fraudsters, with impunity, to continue to do great irreparable harm the Indigenous art and artists of Canada.
What Jacobsen did was also provide “cover” for two malfeasant lawyer colleagues of his, instead of reporting them to the Law Society of Upper Canada, for their active participation and promoting of a fraud and representing fraudsters.
Even the Law Society of Upper Canada does little or nothing, it seems, to enforce its own rules and regulations on ethics on offending members, or prevent any of its “over the line lawyers” from carrying out actions that most Canadians regard as fraudulent, unethical, immoral, or criminal.
And for doing stuff even a rat wouldn’t do…
The Globe/Jacobsen tactic played a key part in ensuring that the art of Norval Morrisseau and of other Indigenous artists became a pariah among collectors, and its valuation continue to plummet, causing distress among many Indigenous artists who had previously supplemented their meager incomes with art sales. Especially those who live in remote regions where few jobs are available.
It merely affirms, in spades, what most Canadians have known for a long time, that Toronto has a higher concentration of creeps, crooks, and conmen in suits, than any other place in Canada, with the possible exception of Ottawa, where some members of the Norval Morrisseau Heritage Society hide out…
– “Robinson as Expert” Rejection #9 – by Joseph Otavnik v KRG for promoting art terrorist Ritchie Sinclair on its corporate website – Apr. 27, 2009
In October 2008, Ritchie Sinclair, as part of his enforcer duties for Kinsman Robinson Galleries had mounted his racist, vicious, malicious, and fraudulent website less than a year after the death of Norval. He started to attack, in the vilest language, not only the paintings, but by name, the painting’s owners, and people and galleries who were trying to promote Indigenous art and artists. But who also happened to be Kinsman Robinson Galleries’ main Morrisseau business competitors.
Sinclair’s defamatory website featured hundreds of low resolution jpegs of Morrisseau paintings he had just cribbed from various websites of art dealers targeted by the Robinsons. Then Sinclair ruthlessly slandered their paintings and maliciously libeled their owners, and launched racist attacks against Indigenous artists and Morrisseau family members.
Anti-Indigenous racism has always been a key motivating factor in the fraud. At KRG Norval’s Indigenous family members were always Public Enemy #1. The Robinsons had always hated Norval’s Indigenous kids because they were trying, with their lawyers, to wrest control of the estate of the mentally debilitated Morrisseau, from Gabe Vadas, his white lover who said he – not Norval’s kids – deserved it all.
The Robinsons agreed. Hell, they wanted to ensure the millions of potential sales from the estate’s stash of paintings, would flow from Vadas to KRG, not to Norval’s damn kids, so they plotted with Vadas, the white guy, against them. (For seven years after 2002, and for long after Norval died, KRG and Vadas conspired to hide 384 Morrisseaus – the infamous KR384 – in the KRG basement, in total secrecy from Norval and his Indigenous family members.)
On Dec. 22, 2008 Joseph Otavnik sued both Kinsman Robinson Galleries and Ritchie Sinclair for libeling him and slandering his Morrisseau BDP paintings, including “Jesuit Preist 1974” as lowlife forgeries – Ritchie Sinclair on his website, and the Robinsons and KRG for eagerly promoting Sinclair and his vile website on the KRG corporate blog and providing all its clients with a hot link.
Only a few months later, on Apr. 27, 2009, Kinsman Robinson Galleries, alarmed that its gallery would be subjected to a public trial, arm-in-arm with Ritchie Sinclair, the worst racist art terrorist in Canadian history, in unseemly haste, quietly settled with Otavnik for an undisclosed amount of money.
Why didn’t the Robinsons do the honourable thing, and stand up for Sinclair – the KRG enforcer – if they truly believed what Sinclair was publicizing on his website was honest and truthful? Tellingly, rather than daring to face a judge with allegations they knew to be fraudulent, KRG and the Robinsons totally backed down.
KRG also capitulated totally and removed all promotional references and links to Ritchie Sinclair and his vicious and malicious website. Donald Robinson has taken great care over the years, to try to insulate his son Paul from being contaminated by his father’s openly racist and fraudulent activities, and prevent blowback against KRG.
Clearly, from the beginning, the family plot has been, that when the shit ultimately hits the fan, then Paul’s defence will be, “Well unfortunately, my dad did all that. Neither I nor my gallery KRG, had anything to do with any of it.” The quick and total capitulation to Otavnik is proof of all that.
The Robinsons, as they would do again, had hung it’s aggressive fraud enforcer out to dangle in the wind alone. He would be in the dock alone, to face Otavnik’s charges in 2010.
But Donald Robinson did him a big favour by hunkering down in the KRG basement and writing madly.
On Sept. 10, 2009 Robinson finished his second fake “expert report,” this one of Otavnik’s “Jesuit Preist 1974” calling it a fake. It took him six months of “research” he claims, and totaled 114 pages. And he did it free for his enforcer.
We cannot recall – can you? – when any expert in any field spends six months researching and writing an “expert report” for free for anybody. What is the dollar amount that an expert would charge for six months dedicated work? Is it $100,000 or $200,000?
Can you guess what the motive is here?
And then, in March 2010, Robinson who had settled out of this lawsuit a year earlier, showed up in court to present his report and support Sinclair, the most vile art terrorist in Canadian – perhaps even world – history.
But Judge Godfrey resolutely refused to accept the views and personal sworn testimony of either Ritchie Sinclair or Donald Robinson, or Robinson’s “expert report” calling “Jesuit Preist 1974” a fake, and ruled that their allegations had NOT damaged or devalued the authenticity of “Jesuit Preist 1974,” for one thing because Otavnik had not tried to sell it…
Days of testimony, months of work preparing an “expert report” all totally and completely wasted to no effect whatsoever except utter and total failure to advance the fraud and discredit a painting.
Judge Godfrey advised Otavnik to get a forensic handwriting expert scientist to affirm the authenticity of his painting.
– “Robinson as Expert” Rejection #10 – by Prof. James K Wang – 2009 – Discredited Robinson claims of his own “Wang Expert Report” and his personal sworn testimony given by him on the stand trying to claim “Jesuit Preist” was a fake
In July 2009 Donald Robinson hired three American statisticians and computer nerd professors to create a special Morrisseau “fakes detection” computer model for him, on contract.
You may ask, why would Kinsman Robinson Galleries go to American academics, who are notoriously ignorant about Canada and Canadians, and who have probably never even heard of Norval Morrisseau, instead of going to Canadian experts who were hugely informed…?
Junk Science is Big Business – Businessmen have solicited contract work like this forever, using big pay packets to make willfully compliant and greedy toadies out of academics to mock up some pseudo-science cover for some lowlife scheme or other. The Nazis hired Dr. Mengele to prove Germans were superior, and Jews inferior; Big Tobacco funded countless scientists to prove smoking is good for you; and Big Pharma funded countless doctors to advise expectant mothers that thalidomide is just what the doctor ordered.
Hmmmh… maybe there’s something we can do here to pump up our Morrisseau fakes allegations…
……………. MORE TO COME
– “Robinson as Expert” Rejection #11 – by Judge MD Godfrey, in Otavnik v Sinclair – Jan. 11, 2011 – Discredited Robinson “Expert Report” #2 of Sep 10, 2009, and his personal sworn testimony given by him on the stand trying to claim “Jesuit Preist 1974” was a fake
Some ten months after Norval died, in Dec. 2007, an unknown starving artist named Ritchie Sinclair, emailed blogger Ugo Matulic that he was going to rebrand himself as a Morrisseau expert, to try to boost his flagging art career.
Ritchie Sinclair, a Faux-nishinaabe Indian impostor/impersonator who is a cultural appropriator gone mad, complete with long Daniel Boone tresses, a Malabar Davy Crockett costume made out of rat skins, and a turkey feather he plucked from the butt of a protesting fowl. He’s now 60, and still a starving artist, and a bad actor…
In effect, this starving artist was trying to build on a sexual relationship he had with the Indigenous artist, an older man, when Sinclair was young, in 1979. So, after September 2008, this totally white man, now a starving artist in his 50s, would always refer to himself as “Ritchie ‘Stardreamer’ Sinclair, Protégé of Norval Morrisseau,” and walk around with long hair, beads, a buckskin jacket, and wave about a turkey feather, to effect his pseudo-Aboriginal disguise. He was going to attempt to see if, as an “Indian” impostor/impersonator, his new life would be more successful.
It’s cultural appropriation gone mad…
In October, in this disguise, he went to work for Kinsman Robinson Galleries as its fraud enforcer. He put up his notorious racist, vicious, and malicious website, slanging 1,000 Morrisseau paintings as fakes, and their owners as forgers or sellers of fake art.
The Robinsons quickly accepted Sinclair, in his “Indian” costume, as their Morrisseau “expert” and promoted and published a live link to his website on the KRG corporate website.
NOTE: But tellingly the Robinsons did NOT appoint Ritchie Sinclair to the NMHS, a personal slight which angered him, as he complained to Joseph McLeod, of the Maslak McLeod Gallery.
On Dec. 22, 2008, Joseph Otavnik launched a lawsuit against BOTH the Robinsons, KRG, and Ritchie Sinclair, for libel, trade libel, and for defaming his Morrisseau painting, “Jesuit Preist 1974,” as a fake.
On Mar. 10, 2009, in a parallel but separate lawsuit launched by an internet art dealer, Michael Moniz, against CTVglobemedia, Donald Robinson’s “expert report” on “Father & Son 1977,” was disgraced, discredited, and rejected by CTVglobemedia executives and lawyers, as fraudulent.
Shortly after, on Apr. 27, 2009, Donald and Paul Robinson and KRG, were disgraced again, when they suddenly chose to settle the Otavnik lawsuit out of court – instead of honorably deciding to put their evidence regarding ”Jesuit Preist 1974” as a fake, and their support for Sinclair’s racist and hate-filled website, in front of a judge. Instead they chose to capitulate, and meet all the terms demanded by the Plaintiff Joseph Otavnik.
They removed all mention of Ritchie Sinclair from the KRG website and agreed NOT to use their corporate website to promote Sinclair and his vicious and malicious website in future.
Otavnik now prepared to face only Sinclair in court, suing him for trade libel***, after Sinclair was completely abandoned by “My Mentor” Donald Robinson and KRG, and left to swing in the wind alone… in Otavnik v Sinclair.
*** Note: “Trade libel” means falsely defaming goods a person is selling.
Shame on You Dickie: Part 2 – NMHS lawyer Richard H Baker, now appears again.
Baker, had, of course, been the point man who, a year before, had sent, to CTVglobemedia executives, a glowing NMHS letter of endorsement, for Donald Robinson and KRG.
When the CTVglobemedia executives and their lawyers disgraced Robinson and his “expert” report for “Father & Son 1977,” Baker and the NMHS shared the shame and professional discredit for recommending him as the only reliable Morrisseau “expert” in the world.
In fact, thanks to the credentialed Brian Lindblom expert report, verifying that “Father & Son 1977” was a genuine Morrisseau painting, signed by Norval Morrisseau and no one else, CTVglobemedia had completely rejected and discredited Robinson as a truthful and reliable “Morrisseau expert” on any level.
CTVglobemedia realized that its journalists had committed the worst act of journalistic malfeasance in the Globe’s history, by having listened to this ruthless band of fraudsters. The media giant paid off Michael Moniz $25,000 because they had libeled him, called him a fraudster, and slandered his painting, “Father & Son 1977.” All based on gross misinformation fed to them by Vadas, and NMHS lawyers Milrad and Baker.
Now Baker was determined to avenge the personal and professional rebuke visited on him and his collaborating colleagues by the disgraceful rejection of Donald Robinson as an expert. And he planned to do it in relation to the upcoming trial of Otavnik v Sinclair.
As part of the trial preparation, on June 29, 2009, Otavnik delivered “Jesuit Preist 1974” to NMHS lawyer Richard H. Baker’s office for inspection.
The Plot Thickens – On or about June 29th, 2009, Baker hosted three of the worst, and most discredited art terrorists in Canadian history, for a secret fraud party at his private downtown Toronto office. They were there to represent the Robinson family’s Kinsman Robinson Galleries, owned by Paul “Pup” Robinson.
On hand, for the plot party with Dickie, were: Donald “Pop” Robinson, Paul’s longtime KRG business associate, John “the Pard” MacGregor Newman (KRG Associate Director) and Ritchie Sinclair (KRG Fraud Enforcer). I suspect Pup Robinson was sorry to miss the Robinson family fraud fête, but hell, someone had to mind the store…***(Source – Court Trans/Otavnik v Sinclair, Mar. 18, 2010).
Behind the walls of Dickie’s office, I can imagine the diabolical plotters madly cackling as they grouped around “Jesuit Preist 1974” and gleefully planned its destruction.
Donald Robinson Fabricates False Expert Report #2: Jesuit Preist 1974 – They hit on a secret and diabolical master plan to discredit Otavnik and his painting, and set Donald Robinson in motion to write another one of his “expert” reports, calling “Jesuit Preist 1974” a lowlife fake. So continuing to promote a HOAX, for the sake of the KRG bottom line.
But you ask, didn’t Robinson just agree, in a court settlement reached with Otavnik on behalf of his KRG gallery, a couple of months before, not to slang Otavnik and his painting anymore, and not promote Ritchie Sinclair’s vicious and malicious website which still pilloried “Jesuit Preist 1974” as a fake?
“… what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.” (Jack Pollock, Norval Morrisseau’s longest (1962-1981) & most successful (12 shows) dealer, Dear M, 1989, p182)
Helping My Buddy Ritchie – In early 2009, Robinson had spent months grinding out a 75 page “expert report” on “Father & Son 1977,” presumably for big bucks from CTVglobemedia. Experts, valuing their work and expertise, ALWAYS charge big bucks for doing this, and then charge separately, for appearing in court.
Now, only months later, Robinson was doing the work for free, for the man who, in exchange, was working diligently as KRG’s longtime fraud enforcer, Ritchie Sinclair. No wonder the grateful Sinclair called the older man “My Mentor.”
On Sept. 10, 2009 Robinson finished what would be his second “expert report.” This one called Joseph Otavnik’s “Jesuit Preist 1974” a fake. It had taken him six months of “research” he claims, and totaled 114 pages. And he had done it for free, for Ritchie Sinclair.
We cannot recall – can you? – when any expert, in any field, spends six months researching and writing an “expert report” for free for anybody. What is the dollar amount that an expert would charge for six months – i.e. half-a-year’s dedicated professional work? Is it $100,000 or $200,000?
Can you guess what the motive is here?
The Trial: Otavnik v Sinclair: 2010 – Donald Robinson would go on to testify for Ritchie Sinclair before Judge Godfrey, a trial I watched and followed both inside and outside court, as Robinson, and Sinclair and his roommate, Garth Cole, would huddle in a conspiratorial conclave.
The exact spot where I observed the giggling trio planning Ritchie Sinclair’s perjury before Judge Godfrey 10 minutes later…
In one celebrated mini-drama Judge Godfrey announced a ten minute break, and he and Sinclair agreed that Robinson would come in at that time to take the stand. During the break I sat in the hall 15 feet from where Sinclair, Robinson, and Cole stood laughing and conspiratorially joking away before going down the elevator. When court resumed, a few minutes later, Judge Godfrey said he was ready to hear Mr. Robinson now, Sinclair stood up and said, “Aaah. I’m sorry your honour, but Mr. Robinson was sick and had to go home.”
In Otavnik v Sinclair, before Judge Godfrey, Ritchie Sinclair told lie after lie – better make that serial perjury – claiming at one time,
– that he was a graduate of George Brown College,
– that he was a “native artist,” – here’s that fraudulent DNA-based claim to authenticity stuff, claimed by so many who want to be taken as legitimate voices for Indigenous causes… AKA “I am, and you’re not, so there…”
– that he had a close working relationship with Norval Morrisseau for over twenty years. (Referred to by the Morrisseau family somewhat differently, as “a short-term boyfriend of Norval’s”)
His claims are ALL ALWAYS utterly false of course. But then Sinclair and Robinson have always lied the way normal human beings breathe.
A One-Liner Bio from a Friend
The biggest hoot of the trial came for me when Sinclair, all puffed up and blowing about his art accomplishments with Norval, bumptiously asked Donald Robinson to tell the judge “who I am” and all he had done…
I watched, as Sinclair, expectantly, strode purposefully to his desk to sit back, while he obviously waited for Donald Robinson to wax pontifical at length, about the artistic accomplishments and biographical kudos of one “Ritchie ‘Stardreamer’ Sinclair, Protégé of Norval Morrisseau.
“SINCLAIR: Q. Um, could you tell the court a little bit about who I am, Mr. Robinson, and what you know of who I am and my relationship with Norval Morrisseau?
DONALD ROBINSON. A. Well, I understand that you were, you were once, but you knew Norval Morrisseau a number of years, and that you were painting with him. I am not sure what else I can say.
SINCLAIR: Q. Do you remember the first time that you and I met with Norval Morrisseau at your gallery? Um, I walked in and you said, ‘who is this Mr. Sinclair?’ In 1989, ’90, maybe ’91?
DONALD ROBINSON. A. I don’t remember that…”
(Court Trans/Otavnik v Sinclair: Mar 18, 2010 p130)
Donald Robinson and his KRG fraud enforcer Ritchie Sinclair, (who calls Pop Robinson, “My Mentor”) have been hugely and totally discredited, without a single failing, by some 12 court decisions and lawsuit settlements, not to mention scores of forensic reports by three top Canadian handwriting experts.
Astonishingly, the best Robinson could manage – literally, only a minimal one liner – before stopping and saying “I don’t know what else I can say.” Not a bad answer to describe Sinclair’s bio; even he can’t remember which year it was supposed to be… Since he has to make it up and memorize it himself.
I can well remember Sinclair’s own opening line on the stand, a revealing and telling, “Well my story is…”
Ritchie Sinclair wasn’t the only astonished person in the court. Sinclair was after all, the Kinsman Robinson Galleries’ chief fraud enforcer, done tours through KRG, was photographed in KRG doing TV interviews, and doing KRG “staff training” there (of Paul Robinson and John MacGregor Newman). And Sinclair was the man mentioned as an expert in the Robinson expert report, and the man who had the biggest racist, vicious and malicious website in the world denigrating Indigenous art and artists. And which had been promoted on KRG’s own corporate website (until Otavnik’s lawsuit ended that in April 2009.)
And Sinclair was the man for whom Robinson had crafted a huge 114 page “expert report,” that took him six months to do – for free.
And all he could utter in court, was a one-liner as a bio for Sinclair.
It was nothing, if not stunning.
Was Robinson afraid that every line he spoke about Sinclair would be a lie? Or ensnare him and his son’s gallery in a disgraceful blowback for appearing to side, in such a public fashion, with Sinclair, the most racist and discredited art terrorist in Canadian history?
There was a court reporter listening; court transcripts do become published…
It all served to underline, in the starkest terms, possible from the mute mouth of Donald Robinson, the man whom Sinclair picked to speak on his behalf, that Ritchie Sinclair was a nobody from nowhere.
And the less said about him, the better.
Robinson made not even a minimal attempt to try to defend Sinclair’s abominable activities or back him as being a victim of false criticism… Here was his chance to expand on his opening line in the Acknowledgement section of his new “expert report” praising Ritchie Sinclair.
Instead he chose to duck – big time.
But Sinclair had his purposes – like on the Acknowledgments pages of Robinson’s expert reports when Robinson felt he needed – however grudgingly – to broaden his base of support.
Judge Godfrey Says, Sorry No Fake! – In the end, Judge Godfrey resolutely refused to accept the views and personal sworn testimony of either Ritchie Sinclair or Donald Robinson, or Robinson’s junk science “expert report” calling “Jesuit Preist 1974” a fake. He ruled that their allegations had NOT damaged or devalued the authenticity of “Jesuit Preist 1974,” for one thing because Otavnik had not tried to sell it…
Days of testimony, months of work preparing an “expert report” all totally and completely wasted to no effect whatsoever, except utter and total failure to advance the fraud and discredit a genuine Morrisseau painting.
Judge Godfrey advised Otavnik to get a forensic handwriting expert scientist to affirm the authenticity of his painting.
That was done a year later. The finding by another credentialed forensic document examiner and handwriting analyst – Kenneth J. Davies – concluded that “Jesuit Preist 1974” was authentically signed by Norval Morrisseau, with DNA certainty, and by no one else. A separate finding that discounts any forger or attempt at forgery by anyone.
Another nail in the coffin of Donald Robinson’s reputation and his junk science report on “Jesuit Preist 1974.”
– Rejection #12 – by John Goldi of the “Dastardly Duo” aka A Desperate Drowning Man Grasping for Straws: The Damning “Acknowledgements Page” in the “Expert Report” for “Jesuit Preist 1974”
The “Jesuit Preist 1974” Robinson Report, dated Sep. 10, 2009, would feature an innovation not included in his first expert report, done for CTVglobemedia only a few months before: namely an “Acknowledgments” page of people whose advice and Morrisseau expertise Robinson claimed to value.
The Acknowledgement page would be hugely telling and damning over the years, because it would reappear in all the last three Robinson “expert reports,” and betray the same revealing Donald Robinson opinions:
– it would elevate Ritchie Sinclair from a 30 year nobody, to a “somebody” in Robinson’s eyes, in all three reports, and
– it would deliberately, and repeatedly, snub as a total nobody – as having no merit worth mentioning in the same breath as Ritchie Sinclair – in the world of Morrisseau art, one Carmen Robertson Ph.D. Completely ignored in all four of Robinson’s “expert reports” – 2009, 2009, 2010, 2012.
On Mar. 10, 2009 when Robinson submitted his “expert report” for “Father & Son 1977” to CTVglobemedia lawyer Peter Jacobsen, he was super confident, brash, and needed no “friends” or supporters, thank you… The self-described Principal Morrisseau Dealer could do it all by himself. And damn it, he was indebted to no one…
There was no acknowledgement, thanks, or recognition to a single person, outside his own head. Which, judged by his own standard, that he would follow in ALL his subsequent reports, was a clear stunningly deliberate narcissistic omission.
Only to have CTVglobemedia executives completely disgrace and discredit him and his grossly over-the-top junk science “expert” report as totally unconvincing, within only hours of receiving it. They chose to believe instead, the totally countering forensic report by trained and credentialed handwriting expert Brian Lindblom.
It must have hugely crushed the egomaniacal Robinson.
Who now desperately started looking for friends, and supporters to add to his bio.
And found them on his Acknowledgment page…
Which now started out, “I am indebted to Norval Morrisseau…”
Why do that now, when Robinson didn’t do it six months before? Presumably because Norval had been dead for years and couldn’t hear… So why do it now?
I can guess. He was desperate for supporters even though he had to find them in the graveyard, like cold-blooded politicians looking for votes. And Robinson had been so used to dragging the “dead” Norval around, for years, on his wheelchair, to promote sales at his gallery, he now thought it useful to drag his body onto his Acknowledgements page as well.
The Growing List of Supposed Supporters
The man who didn’t need anyone else, after he was slapped down, had now started looking for and creating allies and supposed supporters, to list on his newly created Acknowledgments page. These would include Norval, KRG paid employees, John Zemanovich, Dr. Wang, and Ritchie Sinclair.
Thanking the Stockbroker John Zemanovich – Donald Robinson thanked Zemanovich – apparently a stockbroker – on his Acknowledgements page.
In 2009, Donald Robinson found him to be a willing dupe to join with the Robinson family, KRG, and the NMHS in helping to concoct the junk science report that the Robinsons contracted from Dr. James Z. Wang at Pennsylvania State University.
Zemanovich’s support was also gratefully acknowledged by Dr. Wang.
Shortly thereafter, John Zemonovich’s name appeared as the latest NMHS appointee, obviously by a grateful Donald Robinson, who, after his CTVglobemedia disgrace of a few months before, was clearly in desperate need of new friends and supporters.
A number of us howled in protest at the transparent self-serving fraud, through the Matulic blog and emails. Zemanovich, the stockbroker, now clearly damaged goods because of the protest, was removed from the NMHS, as quickly as he had been appointed.
A replacement was found, someone called Carmen Robertson Ph.D. (For those of you who haven’t been to university, this means the crap is “Piled Higher & Deeper”)
Thanking the Notorious Dr. Wang – Since Robinson had been brutally slapped down by a report from a scientist, on Mar. 10, 2009, he went out to look for one of his own to help him promote his ongoing fraud.
Robinson soon found him in the gullible and witless persona of Dr. James Z. Wang, a computer whiz at the University of Pennsylvania. Wang, mentally light years away from Canadian issues, in the remote USA, was an eminently suitable candidate for Robinson’s “garbage in; garbage out” style of computer programming.
Robinson well knew that he couldn’t get away with it, by using a Canadian professor who might well be too aware of the Morrisseau HOAX being perpetrated in Canada, and would refuse to play patsy for cash.
The witless Dr. Wang would end up being sucker-punched into producing the worst and most infamous junk science report ever produced by anyone in Canadian history. Superimposing a pseudo-scientific face of academic legitimacy, on a lowlife fraud.
Wang would later, end up disowning his own report, and the illegitimate use it was being put to by Donald Robinson and Kinsman Robinson Galleries, as their infamous “scientific tool” for detecting Morrisseau fakes.
Wang wrote to a respondent that his report COULD NOT be used to differentiate genuine from fake Morrisseau paintings. Which, of course was the only use that the Robinsons and KRG wanted to use if for. (See: “Wang” – elsewhere in this report)
Thanking a Nobody from Nowhere: Ritchie Sinclair – Robinson now also mentions Ritchie Sinclair for the very first time in an expert report. Hoping to bolster his own discredited and flagging bio. And thereby launching an entirely new fraud.
In his first “expert report #1” on “Father & Son 1977,” completed for CTVglobemedia only a few months before, Robinson made NO mention of Sinclair either as being a Morrisseau expert he recognized, as of Mar. 10, 2009, or of having any knowledge worth mentioning.
The omission reflects strongly the feeling of rejection and anger felt in the fall of 2008, by the recently self-rebranded Morrisseau “expert” Ritchie Sinclair, toward Donald Robinson. Indigenous art gallery owner Joseph McLeod testified (in Otavnik v Sinclair) that Sinclair expressed to him his anger towards Donald Robinson for NOT having appointed, Ritchie Sinclair, the self-important and self-described “Norval Morrisseau successor,” to the Norval Morrisseau Heritage Society.
Which astonished McLeod, then in his early 80s, who was considered the leading Morrisseau expert, with expertise on the artist and his art going back to 1959. His retort at Sinclair’s angry outburst: “Who the hell is this guy Ritchie Sinclair anyway? Who’s ever heard of him?”
From March to September, 2009, Sinclair’s expertise had certainly not changed or improved since Norval had been dead for ages. But on Sep. 10, 2009, he now appears on Robinson’s Acknowledgments page, in the second paragraph, immediately after the long-deceased Norval’s entry.
So Robinson suddenly dreamed up Sinclair’s expertise, because he found it useful to do so, after being ignominiously slapped down personally and professionally by CTVglobemedia executives and lawyers. Certainly NOT because Sinclair had gotten smarter, since he was a school drop-out in 1979.
Inventing A Historical First – So Donald Robinson became the first person in the entire Morrisseau world – other than the self-important and narcissistic Sinclair himself – to ever mention Ritchie Sinclair’s name in print.
The Robinson Report on “Jesuit Preist 1974” would be the very first time in world history, that anyone, anywhere, had ever published the name Ritchie Sinclair, as in any way related to or having any connection to Norval Morrisseau, either the man, or his art.
Which is a truly astonishing publishing fraud, all by itself, since, in the in the entire 30 years since Sinclair had first met Norval in 1979, no one else had ever heard of, or reported anyone called Ritchie Sinclair as part of Morrisseau’s life or art. Not even once, in any book, article, monograph, or catalogue.
Not as a collaborator; not as benefactor; not as a working partner of any kind on any level; not as a friend; not as an apprentice…
And certainly NOT as a “protégé.”
In fact there is NOT even a single photo extant showing the two artists (Sinclair and Morrisseau) together in a working painting relationship. A truly amazing and telling indictment of what Sinclair claims was supposed to have been a “close and long-term working relationship.” (When in fact there are lots of such photos of others who did have such a close working painting relationships with Norval, including: Jack Pollock, Brian Marion, Gary Lamont.
But for Sinclair…?
Nothing… nix… nada… by Norval, or from anyone else, writing about Norval in 30 years…
Regarding an artist with whom Sinclair likes to say he had a close working relationship for over twenty years… (For almost all of which – except for some months – the duo lived thousands of kms apart.) So much for the man who says he was Morrisseau’s equal in the Woodland school of art and his designated successor.
Much later, when an aggressive Brian Shiller in court, asked Sinclair on the stand, why KRG had never held a show for him in its gallery, the narcissistic Sinclair shot back with what amounted to “well, they can’t have two Morrisseaus represented in the same gallery.” On the stand he said: “They already represent Morrisseau. I would be competition.”
So nothing… nix… nada… on Sinclair anywhere…
Till Pop Robinson came along and put his name at the top of the Acknowledgments page, on Sep. 10, 2009.
In doing so Robinson was launching, aiding and abetting another total fraud, to rebrand Sinclair, a former lover of Norval’s, and latterly a total nobody, and a starving artist, as a made over “Morrisseau expert.”
He praised Norval in the first paragraph; and reserved the second paragraph for Sinclair, “to recognize Ritchie Sinclair for his efforts to identify Norval’s true artistic legacy.” Strange kudos for a Sinclair, who was considered by everybody else in the Morrisseau world, as a racist, vicious and malicious anti-Indigenous art terrorist and latterly also a serial perjurer, and convicted libeler, and convicted slanderer of Indigenous art.
(For judicial descriptions of Ritchie Sinclair as a fraudulent fabricator of biographical information, see: Justice Thomas R. Lederer (McLeod et. al. v Sinclair) 2008, Deputy Judge Paul J. Martial (Hatfield v Artworld) 2013, Justice Alphonse T. Lacavera (Regina v Otavnik) 2013, Justice Mary Anne Sanderson (Hatfield v Artworld Appeal) 2013, Deputy Judge CW Kilian (White v Sinclair) 2015. See: Killian Judgment 2015)
So Robinson therefore had no basis, none, nix, nada – outside his own head – for mentioning Sinclair. But, hell isn’t this exactly what he has the most expertise in, dreaming up Morrisseau “fakes,” that don’t exist anywhere else…?
So dreaming up a fake Morrisseau “expert” is no big deal for him either.
Please Respect my Privacy! – In total anonymity is where Sinclair’s name should have stayed – deservedly undisclosed – to conceal a private matter, which was, of course, that Sinclair, then a young man, had become the short-term boyfriend of the much older and famous Morrisseau, who was notorious for having a penchant for young boys.
In fact Sinclair had been hired, in late 1979, off the big bad streets of Toronto, by Wolf, Norval’s younger brother, to service the artist, and Wolf had driven him to Buckhorn to Norval’s love nest in the woods there. Morrisseau family members call Sinclair “a short-term boyfriend” of Norval’s. (Source – Morrisseau family reports; Wolf Morrisseau, testimony, Hatfield v Artworld, Feb. 24, 2012)
Norval, enviously documented as a notoriously gay guy, by Jack Pollock, who shared the same passion, had, of course, hundreds of such young boys and men at his disposal as his “apprentices” and “protégés.” The others, mercifully exercising proper personal discretion, opted to keep their heads down below the radar of history. (Jack Pollock – “Dear M: Letters from a Gentleman of Excess, 1989)
“Puleeeze believe me when I say I am an Indian artist. My friends call me “Anang Inaabandaan.” The 100% white man, Ritchie Sinclair all duded up in one of his many Davy Crockett costumes flaunting his shamanistic turkey feather in the face of CBC’s “Four Doors” art experts who weren’t at all taken in by him, or his “Faux-nishinaabe” art, which they called “amateur” and poor copycat Morrisseau, and found as convincing as his Malabar costume.
Sinclair chose to keep his up… And to aggressively thrust himself into the national media spotlight, with his flashy persona as a cross-dressing Indian impostor/impersonator. And to re-surface decades after he “knew” the famous artist, as some kind of Morrisseau wannabe, in order to try to rescue from damning anonymity and obscurity, his failing art career.
And Robinson well knew that this was the sole basis for Sinclair’s so-called expertise on Morrisseau.
But then Robinson needed non-family supporters, and anointing Norval’s former short-term lover Ritchie Sinclair, as his newly-found Morrisseau expert, betrayed how truly desperate he was to find people willing to climb aboard his terrorist train.
In all three “expert reports” that follow the first, Donald Robinson republishes Sinclair’s promo at the top of the Acknowledgment pages, in 2009, 2010, and 2013.
A Damning Tale of Another Fraud: “the Missing Link” – For an author who is so ruthlessly insisting on promoting a total nobody to the top of his Acknowledgments page – and persists in the madness in ALL his subsequent “expert reports” – what is just as surprising, and and even more damning, is who is missing from Robinson’s list, over and over, in 2009, in 2010, and in 2012…
Astonishingly, Robinson makes no mention whatsoever of one Carmen Robertson Ph.D. in his “expert report” of “Jesuit Preist 1974” dated Sep. 10, 2009, or ever after…
None… nothing… nix… nada…
Confirming of course exactly what he thought of Carmen Robertson Ph.D., as a “Morrisseau expert” in 2009, and ever after…
Nothing… nix… nada…
In fact his opinion would not change with the passing years.
On July 7, 2010, Robinson, again, makes no mention, whatsoever, of one Carmen Robertson Ph.D. in his “expert report #3” on “Wheel of Life 1979,” but he does praise Sinclair’s expertise, again.
In the Hatfield v Artworld trial, that report was entered as an “expert report,” and defended, under oath by Robinson. Sinclair was also examined on the stand. Both men would be hugely disgraced and discredited by both judges who heard the case and the Appeal, as totally lacking in the credentials and expertise they claimed to have. And their claims utterly rejected. Leaving both men judicially exposed as art fraudsters.
And still nothing had changed, two years later, in 2012 when Kevin Hearn filed a Plaintiff’s Claim alleging his painting “Spirit Energy of Mother Earth 1974,” a purchase from Maslak McLeod, was a fake.
Kevin Hearn – He Can Tickle the Ivories but He Can’t Read – While doing a stint as a “Celebrity curator” at the Art Gallery of Ontario, celebrity keyboard tickler Kevin Hearn, was asked to display his Morrisseau painting “Spirit Energy of Mother Earth 1974.”
Which stroked Hearn’s ego hugely, but would end up gutting his pocketbook, and destroying for the Ages, his reputation in Canadian art history. Because, rather than reading and researching, he chose to follow the lead and direction of a group of judicially discredited art fraudsters intent on doing great irreparable damage to the Indigenous art and artists of Canada. That’s now part of his resumé.
Monstrous AGO Curatorial Malfeasance – Hearn’s painting had been suddenly removed from display, c June 18, 2010, only days after it went up, on June 11, 2010, after “someone” slanged it as a fake to AGO officials. And the AGO staff, from AGO Director Matthew Teitelbaum, and his Curator of Canadian Art Gerald McMaster, on down, dumped it, and so “dumped on it,” without explanation.
“Gut Instinct” McMaster – When Kevin Hearn later talked to Gerald McMaster about the shocking AGO dismounting of his art, he said McMaster called the paintings “questionable” but offered no proof for this. This supposedly educated AGO Curator of Canadian Art told Hearn he was going by “gut instinct.” I’m not sure where McMaster got his degree in “gut instinct.” Probably at the same internet academy where Robinson and Robertson got their degrees in “Morellian Fantasy.”
McMaster also asked Hearn if he could keep his painting for a few months to do further “investigation,” and have a “colleague” look at.
Talk about compounding your curatorial malfeasance exponentially…! Because I believe the colleague he was referring to was none other than Greg Hill, a fellow Indigenous curator and art bureaucrat at the National Gallery of Canada, with a long and documented record of vicious and malicious curatorial malfeasance in helping Kinsman Robinson Galleries “discredit, devalue and destroy” genuine Morrisseau paintings wherever he could get his hands on them.
In fact we now know that it was the NMHS who told the AGO to dump the three McLeod-sourced Morrisseau paintings, and I believe Greg Hill was the point man for that, for self-evident reasons.
Two top Indigenous art bureaucrats who rose to the highest levels of two leading Canadian heritage institutions, only to use their positions to enable white fraudsters to destroy the art heritage of Norval Morrisseau, and spread distrust in, and undermine – among the population at large – the integrity of ALL Indigenous art and artists.
Can you imagine how Kevin Hearn’s painting would fare in the hands of these two grossly curatorial malfeasants?
(Source: All these disclosures were found in the “Hearn Papers,” including the babbling emails that AGO executives and Hearn exchanged in June-July, 2010 and part of the court record in Hearn v McLeod)
When Joseph McLeod repeatedly wrote to ask proof of any kind for what they had done to dismount, discredit, and desecrate his painting, and to put it in writing, he was met with a wall of silence.
Teitelbaum and McMaster BOTH ran, like hell, for the exits, after first promising they would respond. Like two mischievous and malfeasant kids throwing rocks at windows and then running from the cops to escape the consequences.
But their malfeasance is NOT that silly, or excusable. Both these adults, in key positions of power and setting public policy, did great irreparable harm to the art and artists of Canada’s Indigenous people.
I believe it’s the worst act of curatorial malfeasance – involving the AGO Director Matthew Teitelbaum and his Curator of Canadian Art, Gerald McMaster – in Canadian history.
Gross Academic Malfeasance at Red Lake – A forensic scientist exposed Greg Hill’s (and Ruth Philipps’) incompetence as Morrisseau authenticators, but wilful talents as art terrorists, when they ordered this work removed from an exhibition of Norval Morrisseau’s work in Red Lake, ON, in 2008. And then with their passion for pyromania, well developed from NMHS burning parties, they ordered the huge print run of the catalogues, where four of these forensically authentic paintings were illustrated, to be burned, and reprinted without them… And folks this was some bonfire because the catalogues were not pamphlets, but huge 9″ x 12″ catalogues of 155 pages… All done by these grossly malfeasant academics, at the behest, and to please, Donald Robinson, the most discredited art “expert” in world history. All done to get even with blogger Ugo Matulic who owned the targeted paintings and had contributed them to the show. And had been gratefully accepted by the local curator, Michele Alderton. Till the big heavies from Ottawa hit town and started to throw their weight around, on behalf of the anti-Morrisseau fraudsters.
Well, since National Gallery of Canada Curator Greg Hill knowingly and deliberately published an outrageous piece of totally false information in a Morrisseau Retrospective catalogue, entirely for the benefit of one Donald Robinson. And then went on to commit the worst act of elder abuse in Canadian history, by propping up a completely comatose and virtually dead Norval Morrisseau – or what was left of him – in a wheelchair, before a sea of silks, satins, suits, and snoots at an NGC gala, to promote the sale of paintings the Robinsons had for sale in Toronto. The list of vicious and malicious Hill attacks on genuine Morrisseau art is too long to note here.
I believe Gerald McMaster should have his Order of Canada removed, because what he did to discredit genuine Norval Morrisseau art ranks in infamy with the malfeasance of other disgraced and “defrocked” OC officers, like Art Impresario Garth Drabinsky, and Conrad Black.
Disclosure: I don’t believe it will happen because these two elite white fraudsters were “defrocked” because they victimized white people. Teitelbaum and McMaster only victimized a Demented and long dead Indian.
The Ottawa crowd of silks, satins, suits, and snoots, who decide such things don’t give a damn that Morrisseau is the only Canadian artist who ranks with Picasso, as an innovative genius who also invented, all by himself, a new language of artistic expression.
Hearn, an art collecting novice had bought his beautiful Morrisseau from Maslak McLeod Gallery five years before for $20,000. Now Teitelbaum and McMaster had made it worthless. Or as Donald Robinson would say of such paintings, “worth nothing, zero.”
Huge curatorial malfeasance, by staff under Art Gallery of Ontario Director Matthew Teitelbaum discredited, and devalued three genuine Morrisseau paintings and enabled a fraud that undermined the integrity of all Indigenous art and artists in the mind of the Public.
Disclosure – Matthew Teitelbaum managed to reclaim some of the tarnished reputation he and his senior staff so richly deserved for the utterly malfeasant way they mishandled the Hearn Fiasco of 2010, in slanging three genuine Morrisseau paintings, and the reputation of Canada’s senior Morrisseau art expert and his gallery.
Several years later I discovered that the AGO was hosting multiple web pages from Ritchie Sinclair.
(The Hearn papers make clear Sinclair himself was the point man for directing senior AGO staff to dismount the Hearn painting, while McMaster dumped the other two. It’s nothing if not astonishing that multiple executive types, from Teitelbaum on down, all sporting multiple fancy university degrees, fell so easily into the clutches of Sinclair, a school dropout. His grades were so execrable, he dropped out, to save his mom the embarrassment of having to read his truly awful report card, so leaving his education career topped off by two or three years in high school.)
When I discovered the continuing malfeasance of the AGO in promoting this racist art terrorist and fraudster, I emailed Teitelbaum my protest. And said little other than “read my blog.”
Literally within only hours all traces of Ritchie Sinclair disappeared from the AGO site.
So Teitelbaum joined John McDermott, who also, after reading this blog, instantly dropped his lawyer Jonathan J Sommer and forbade him from continuing his own lawsuit against Joseph McLeod.
This public dismounting of Kevin Hearn’s painting, led – he claims – to his public embarrassment. He then compounded the embarrassment by filing a lawsuit, NOT against the offending parties, who had removed the painting without cause or evidence, but against the man universally considered the world’s senior Morrisseau expert, Joseph McLeod, whose expertise in Morrisseau art dated back 51 years to 1959.
Surreal? Or just nuts?
Hearn apparently must have thought so too, for inexplicably, he didn’t serve his lawsuit against Joseph McLeod, owner of Maslak McLeod, until over two years later, on Oct. 17, 2012. The case is slated to go to trial in late 2017.
Hearn did this without doing even minimal research on Ritchie Sinclair, with whom Hearn engaged in an email relationship, instead of reading the ton of damning factual evidence that is published on the internet that documents Sinclair as an Indian imposter/impersonator, and a racist, vicious, and malicious anti-Indigenous art terrorist. Hearn should have told him to STFU and get lost.
So ensnaring himself in the worst financial disaster of his life, and a richly deserved, dishonorable spot for Eternity, among those who have discredited and debased Canada’s Indigenous art heritage.
To his own discredit, celebrity ivory tickler Kevin Hearn allowed his name to be used, repeatedly, for years, by fraudsters to dignify fraudulent, vicious, and malicious falsehoods they supplied to the mainstream media, about so-called “fake Morrisseaus,” when, in fact, ALL the forensic experts, and all the judges who had looked at their so-called “proof,” without a single exception, totally discredited their claims and their so-called expertise. Denouncing with utter and unanimous finality, that what they were saying in court and in the media, about Canada’s Indigenous art and artists, was false and fraudulent.
And of course, horrifically damaging to Canada’s art heritage, and the ability of Indigenous artists to eke out a legitimate living from their art.
Hearn can tickle the ivories, but apparently is not much of a reader… or a researcher. Like putting a name like “Ritchie Sinclair,” someone he seems to be relying on, into Google and see what turns up…
(Sinclair has boasted and intimated in multiple places that he “is deeply involved” in preparing the Hearn case for trial (to Ottawa, ON, SAW Gallery director Jason St-Laurent, among other media outlets, and posts). I have, over the years, in multiple courts, watched Sinclair having a close advisory role to lawyer Jonathan J. Sommer, with whom he has had a long business association, dating back to 2009 when Sinclair dropped the hapless Hatfield into his lap… The experience would cost her some $60,000 in legal fees, for which she lost the case, won eternal shame for herself, and debased and devalued her own painting.
Besides doing great irreparable harm to the art and artists of Canada’s Indigenous people.
Sinclair of course, besides being a cross-dressing Indian impostor/impersonator, is a serial perjurer who was convicted of Libel and Trade Libel stemming from his racist slanging of Morrisseau paintings, and fined the maximum by an irate Judge CW Kilian in a Toronto court in 2015.)
So it will end up costing Hearn an estimated $200,000 in legal fees – ten times the cost of his painting*** – as a result of willingly and gullibly becoming pliable putty in the hands of a group of multiply-judicially discredited fraudsters. (***Source – Brian Shiller, Statement of Issues, Nov. 26, 2015, pre-trial conference)
The great irreparable harm Hearn’s vicious, malicious, and meretricious lawsuit has done to Canada’s First Nations art and artists is incalculable and irreversible. By allowing his name to decorate a specious lawsuit in the mainstream media, that slangs them, year after year, in pursuit of a fraudulent claim which has no Cause of Action.
Who is there, who would NOT call this Hearn lawsuit pursuit a mindless insanity…?
When, in fact, Margaret Hatfield had been down this very same road, with the very same discredited people, the very same discredited allegations, and the same discredited so-called evidence, and it cost her some $60,000 in legal fees for trying to claim a $10,000 painting was a fake.
It was nothing, if not nuts, for Hearn to go on, after an independent forensic expert, and two judges declared Hatfield’s painting – whether she wanted to believe it or not – was a 100% genuine Morrisseau painting, front and back. That her allegations of “fake” were therefore fraudulent. And scorchingly, that Hatfield and her team were the only fakes in the room.
It was a stern reminder I saw and heard the Hon. Madam Justice Mary Anne Sanderson point out forcefully, to lawyer Jonathan J. Sommer, to set him straight when he meekly tried to say, during the Appeal hearing, that there was a “cloud of title” regarding “Wheel of Life 1979,” a claim he had never made during the five day Martial trial. In her firmest manner she rebuffed him saying, “There is NO cloud of title if a court finds a painting authentic.”
Now Hearn hopes the very same discredited team will do for him what they so resoundingly failed to do for the witless Hatfield. Their allegations, claims, and witnesses, having won the complete and total rebuke from two judges in two courts.
Hatfield’s wrong-headed, vicious, malicious, and totally meretricious lawsuit have ensured her, for the Ages, a dishonored place in Canadian history, as a willing anti-Indigenous art terrorist who did great irreparable harm to Canadian Indigenous art and artists.
And Kevin Hearn seems desperate to sidle up to her, in the Canadian Gallery of Art Infamy.
Dumped by John McDermott – Unlike another celebrity art collector, top Canadian singer, John McDermott, who was also viciously ensnared by the same people, and making the same claims, about Morrisseau paintings he owned.
In that case, after doing some personal research on this blog, McDermott quickly bailed out of what he immediately saw – only days after filing his case – was a completely fraudulent lawsuit designed to drain scores of thousands of dollars from his bank account, and was nothing less than a racist attack designed to do great irreparable harm to Canadian Indigenous art and artists. And without a single hesitation, John McDermott abandoned the case, and dumped the lot of the fraudsters and his lawsuit in the trash.
History will forgive John McDermott for a small, momentary, nod to a crafty lawyer, but not Kevin Hearn.
“Expert Witness” Donald Robinson – Incredibly, and despite his multiple judicial disgraces in that role, Donald Robinson was tasked to become Hearn’s “expert witness,” accompanied by his “expert report #4” on “Spirit Energy of Mother Earth 1974,” dated Feb. 3, 2012. In it Robinson again acknowledges the racist art terrorist Ritchie Sinclair as a Morrisseau “expert” to whose “Morrisseau expertise” he still apparently feels indebted…
It’s Robinson’s largest expert report to date, boasting 178 pages. He probably soaked his wealthy benefactor, Kevin Hearn, a pile for producing it.
(Accounting for a big chunk of the $200,000, the Defendant’s lawyer, Brian Shiller***, believes this specious lawsuit may be costing Hearn. (Source – Brian Shiller, Statement of Issues, Nov. 26, 2015, pre-trial conference – ***Brian Shiller is the resoundingly winning lawyer in all the Morrisseau-related actions he has helmed against the fraud and the fraudsters, by my count involving some four successful outings.)
Even though Robinson has now more than doubled the size of his first “expert report,” – from 75 to 178 pages – he still makes no mention of one Carmen Robertson Ph.D….
Nothing… nix… nada…
Confirming of course exactly what Donald Robinson still thought of Carmen Robertson Ph.D. as a “Morrisseau expert” in 2012.
A total nobody from nowhere. Not even worth mentioning in the same breath as Ritchie Sinclair, AKA Mr. Nobody from Nowhere…
I Dream of Morrisseau – But then she’s only an arts prof, camped out near some prairie slough, somewhere in far-off Saskatchewan, who says she only started to “research” Indigenous art in 2001…***
*** Compare: I taught Canadian art history as an Ontario high school teacher in the 1960s. In the mid 1970s, while living in a remote sub-arctic Dene community, I became friends with Sheila Burnford, her husband, and their daughters (all from Thunder Bay, ON.) Burnford, a top English and Canadian writer, authored “Incredible Journey,” made into a famous film made by Disney, and was a close buddy of Susan Ross. The duo were together when they introduced Norval Morrisseau to Jack Pollock in 1962. And the rest they say…
My hands-on Morrisseau painting research started in September 1999, learning by example from the horse’s mouth, Donald Robinson, because Mr. Morrisseau was “not available.”
Robertson’s research started at exactly the time Norval’s caregiver Gabe Vadas, consigned the Dementia-plagued artist, as a closely guarded shut-in, to terminal care in far-off Nanaimo, BC. (Which Norval’s siblings and his son, Christian, who went there in Dec. 2001, to release him and kidnap him, called a “mental hospital.” – website bio, Dec. 17, 2008)
NOTE: With what was left of Norval, now (in early 2001) secreted and locked up in a guarded institution, this is the exact moment in time that the fraud allegations by the Robinson/Vadas cabal started, with Donald Robinson making the first claim in the National Post on May 18, 2001. In which the malfeasant journalist Murray Whyte, noted that “Norval Morrisseau was not available” to confirm the allegations. Whyte didn’t let that stop him and just published “fake news” alleging “fake” Morrisseaus, hundreds of them…
Whyte’s irresponsible journalism did great irreparable damage to Canada’s Indigenous art and artists, and emboldened other lazy, witless, copycat journalists to follow suit.
President Trump I believe, was referring to Whyte and his clones when he lambasted the mainstream media as “fake news” and “some of the worst, most dishonest people I’ve ever met.”
He’s right, of course. It sums up succinctly exactly what ALL Canada’s mainstream media have done with their viciously, racist, malicious, and meretricious writings alleging Morrisseau “fakes,” as if there was even an iota of proof for any of it. When there is not. And the real evidence is ALL against it.
Robertson never writes that she ever knew Morrisseau, or met him. Or contacted the only reliable source for her “research” on so-called Morrisseau fakes. Or having had seminal conversations with him, in person, by phone, skype, texting, or email. So failing to get it from the horse’s mouth, where a legitimate journalist or academic gets the real dope, Carmen Robertson Ph.D. was forced to make it all up…
It’s NOT a skill she ever learned in school; it’s a skill she was tutored in by her conspiring cronies in the NMHS, the most discredited and disreputable arts organization in Canadian history, of which she says she became a member in 2009, and a willing collaborator. A totally secret and covert group feverishly dedicated to doing great irreparable harm to Canada’s Indigenous art and artists.
Uncovering Another Fraud – When I went down to the University Avenue court house (in March 2017) to research the court files for the upcoming Hearn v McLeod trial, I made a truly astonishing discovery.
Huggingly close beside Donald Robinson’s voluminous “expert report” was another “expert report” also calling “Spirit Energy of Mother Earth 1974” a fake.
(Robinson was retained by Hearn as his “expert witness.” Amazingly none of the team had seen fit to tell Hearn that Robinson and ALL THREE of his previous “expert reports” had been hugely and totally disgraced and discredited in multiple courts. Hopefully Hearn only paid a couple of bucks for “report #4” because, like all the others, it’s totally worthless, other than as a document illustrating the History of Fraud in Canada.)
Two peas in a pod; a happy coincidence?
Guess by whom the second report is written? I kid you not, by someone called Carmen Robertson Ph.D….
It would seem to me, that if Donald Robinson is to be believed, as being an honest and trustworthy source for information, you could rightly deduce that when he had someone else write an “expert report” on the Kevin Hearn painting “Spirit Energy of Mother Earth 1974,” in parallel to his own, he would turn to Sinclair, whom he had praised in all three of his expert reports.
Especially since Sinclair appears to have played a key and active role in having the Hearn painting bounced from the Art Gallery of Ontario (AGO) as a fake. Sinclair’s aggressive activism is hugely confirmed by five massive volumes of “evidence” documents attached to the Hearn Plaintiff’s Claim. Especially the emails between Hearn and Sinclair, which I was astonished to find, were included. Talk about a “smoking gun” with Sinclair’s fingerprints all over it.
And mysteriously backed up by Sinclair’s abominably disgraceful transcripts from 1979, when he dropped out of an entry level course at George Brown, out of desperation it appears, trying to flee from what looks like a slate of embarrassingly near-failing grades.
Exposing Carmen Robertson Ph.D. – Still, despite Sinclair’s key activism – as amply illustrated by numerous documents filed by Jonathan J Sommer – the second “expert report” in the case, is NOT by Sinclair, but by one Carmen Robertson Ph.D.
Well, the first, Sinclair, is the one consistently praised as a Morrisseau somebody, at the top of three expert reports by Donald Robinson; the latter, Carmen Robinson Ph.D., is the one he just as totally and completely ignored, as a Morrisseau nobody, in all three…
When a picture is worth 10,000 words…
The Robertson/Robinson Report –That complete nobody was Carmen Robertson Ph.D. who, over the years, Robinson had not considered an equal of Ritchie Sinclair, worthy enough to get even a passing mention, on the same page where Sinclair got the lead-in paragraph in the Acknowledgements, right next to encomiums for Norval.
In Robinson’s documented calculating eyes, for years, she had been a Morrisseau nobody. Now he – a truly desperate man – suddenly found a use for her.
REWIND – After Robinson was slapped down, disgraced and discredited by CTVglobemedia and lawyer Peter Jacobsen, he quickly found a use for Ritchie Sinclair, John Zemanovich, and Dr. Wang on his Acknowledgments page.
Then more years of disaster and disgrace for Donald Robinson and his expert reports.
In 2011 his “expert report” for “Jesuit Preist 1974” was totally ignored – make that rejected – by Judge Godfrey in Otavnik v Sinclair.
In 2013 his “expert report” for “Wheel of Life 1979,” as well as his sworn personal testimony given on the stand, in the Hatfield v Artworld trial, was utterly dismissed and disgraced, by Deputy Judge Paul J Martial, and the Hon. Madam Justice Mary Anne Sanderson, in two courts. A legitimate forensic scientist, and handwriting expert, Dr. Atul K. Singla was, again, key in disgracing a junk science report by pseudo-expert Donald Robinson.
Which makes it THREE Donald Robinson “expert reports” out of three, that have been utterly disgraced as fraudulent and dishonest junk science fabrications by a variety of experts. In fact Robinson’s “expert report #3” was rejected by two different judges – Martial in the trial; Sanderson in the Appeal.
If ever Robinson needed a lifeline to try to salvage what remains of his tattered reputation in the cultural history of Canada, it was now.
Because, who, in his right mind, would possibly believe that his last “expert report” for “Spirit Energy of Mother Earth 1974” would be any better received by independent judges and experts than his previous wholly disgraced trio of fabrications?
So he found a use for somebody called Carmen Robertson Ph.D. who had been completely ignored by him, as a nobody before.
Desperate people resort to desperate measures.
Carmen Robertson Ph.D. – AKA “Piled Higher & Deeper” – comes literally out of nowhere, and starts to write an “expert report,” for the hapless Kevin Hearn, slamming his painting “Spirit Energy of Mother Earth 1974” as a fake.
It’s a huge 76 page opus called, “Expert Report: Analysis of the Art of Norval Morrisseau, and ‘Spirit Energy of Mother Earth 1974,’” in the style of Donald Robinson, and includes a multi-page colour addendum.
Not, I would have thought, a good idea since ALL three previous Robinson “expert reports” have been totally demolished, and discredited by every forensic expert or judge who’s had the misfortune to have had to look at them, read them, and consider their validity… finding they had:
None… nix… nada…
I Try Dating Carmen Robertson Ph.D. – In fact trying to decipher when this conspiracy, between twin authors was hatched, is intriguing. Robertson has inexcusably, but craftily – I know it’s deliberately – NOT DATED her massive report that’s filed with the court.
The Plot Thickens – As a longtime historian, used to poring over historical documents, for decades, I have never seen a document like that, anywhere, without a date. Not a book; not a legal document; not a monograph; not a newspaper article; not a letter; not a gas receipt… Not even any of Donald Robinson’s four “faux expert reports,” which are ALL carefully dated, in multiple places.
This total oddity is the very first thing that struck me when I picked up Robertson’s large Report, while researching the Kevin Hearn v McLeod documents in the downtown Toronto courthouse.
What Robertson Knew, and When She Knew It – So Robertson’s utterly glaring omission is deliberately devious. Especially for a highly trained academic who should know better.
The most recent date mentioned in her bio is 2014, meaning that at least by 2014, Carmen Robertson knew all about ALL the developments regarding Morrisseau “fakes” – including forensic findings and multiple judicial decisions – because they were hugely exposed in hundreds of documented pages on the internet. It means big time, that even though she DID NOT DATE her report, she cannot plead ignorance of these landmark decisions and events.
Making it preposterous, beyond belief that none of them are listed in her bibliography or evaluated, commented on, or integrated into her research. Why not?
She saw them and deliberately sneered them off. Why would she do that? For whom would she do that, if it’s obviously not for her own self-respect as an academic?
It’s deliberately trying to hide the fact that Carmen Robertson’s report is a devious, latter day addition – probably 2016 or 2017 – to try to hide from the judge the conspiratorial plotting it came out of. It was clearly NOT part of the original court document submission, when Robinson’s own “expert report” was filed in 2012, but a later – much later – desperate effort and utter fabrication. And not dating it allows the plotters to say just about anything, about how it came to be, and when. Except for damming reminders from investigative journalists.
And so hiding the fact that it is NOT the Robertson Report at all, but the Robertson/Robinson Report. Methodologically, it is a clear and transparent clone. Robertson is an attentive student.
So I set out to date it, by looking for a clue in Carmen Robertson’s latest, 2016, book, “Mythologizing Norval Morrisseau Art and the Colonial Narrative in the Canadian Media.” Her bibliographies are notorious for including every minimal article she has ever written, for anyone, anywhere, no matter, when or where.
Her book “Mythologizing” – on Norval Morrisseau art – was published in 2016. At that time Robertson notes three articles as written by her – not books – as important for including in her bibliography: a six-pager from 2005, a thirteen pager from 2012, and a 25 pager from 2015. That’s it folks; that’s all. Three minimal articles, was the best she could come up with to support her claim to Morrisseau related research.
Tellingly, and damningly, there is NO mention by the book’s press time of 2016, that she had published, was researching, writing, or planning, her massive 76 page tome: “Expert Report: Analysis of the Art of Norval Morrisseau, and ‘Spirit Energy of Mother Earth 1974.’” Even though it was double the size and length of the combined weight of all three other articles she had written in the past and thought important to include as part of her research bio…
For someone who notoriously publishes bibliographies exhaustively replete with every cough, sneeze, and burp, she makes as an academic, why does she NOT mention this huge tome?
Can you guess why? Because her “expert report” WAS OBVIOUSLY NOT IN THE WORKS IN ANY WAY, by publication time of her book in early 2016…
So if you want a date, for when her huge tome of an “expert report” was fabricated, you are left with the obvious conclusion. She started for some reason, or at someone’s suggestion, researching, planning, and writing it sometime late in 2016, and then had somebody run it up to the Toronto courthouse to file it and have it stuffed in the court records box.
The Hearn v McLeod case was filed in 2012, obviously without the Robertson Report. A pre-trial conference was held in 2015. So much later, somebody decided that Donald Robinson’s “expert report” from 2012 was so much damaged goods that it was sorely in need of help from someone. So was Robinson; hell all three of his previous reports had been discounted, disgraced, and discredited by judges and forensic experts.
And someone remembered one Carmen Robertson Ph.D., who just might be just the person willing and eager to do the con job for the group.
The need for another non-Robinson “expert report” in the Hearn box had escalated. Robinson’s Hearn “expert report” had been written on Feb. 3, 2012.
2013 And All That… – 2013 brought multi-level disgrace and discredit to the Robinson name and to the Kinsman Robinson Galleries and their co-conspirators.
– March – the scorching Martial judgment brought the ultimate disgrace, humiliation, and discredit to BOTH Robinson, personally and professionally, and his “expert report” and to his KRG enforcer and his tandem buddy, Ritchie Sinclair
– May – the Desperate KRG Abandonment of the Million Dollar SLAPP Suit against blogger Ugo Matulic, I believe at the insistence of KRG’s own lawyer, Chloe Snider, after Day 1 of Discovery, and the Martial Judgment, addend another layer of utter disgrace
– May – the lambasting of Ritchie Sinclair as unbelievable on the stand, and the acquittal of all charges against Joseph Otavnik, by Justice Alphonse T. Lacavera, gutted what little credibility Sinclair ever had, personally or professionally. Lacavera scorched Sinclair, saying his words were totally contradicted by his actions. That, folks, is an Honourable Justice calling a witness a liar on the stand.
And I kid you not – only seven months later, another Justice, in Superior Court, noted exactly the same thing about Donald Robinson – Sinclair’s buddy – and made a sarcastic reference to that effect in her scorching judgment.
– Oct. – the completely embarrassing dumping, by celebrity singer John McDermott, of the KRG/Robinson/Sinclair/Sommer team, and the lawsuit they foisted on him, disgraced the group, big time – if that were now possible – even more
– Dec. – the scorching Sanderson Judgment totally eviscerated the claims, the integrity, the believability, the trustworthiness of the group and the fraudulent allegations they were trying to foist on the public just to make a buck.
And Carmen Robertson Ph.D., folks, knew the details of ALL this…
And then, in 2014 it gets worse… for the Robinson team… and for Carmen Robertson Ph.D.
The Growing Disgrace of Bell Media – In 2014, the group’s fraudulent activities – through Ritchie Sinclair – on CTV, courtesy of incompetent employees, and which I brought to Bell Media’s attention, first embarrassed CTV, then disgraced CTV, then forced it to dismount some seven publications promoting the group’s allegations which it had mounted on numerous internet platforms, and forced CTV to defend itself in court.
SAW Gallery Dismounts & Apologizes – In 2014, the team of fraudsters, backed up by Robinson’s faux “expert report,” tried to slang “Wheel of Life 1979” as a fake in Ottawa’s SAW Gallery “F is for Fake” exhibit. Resulting in more shame for Sinclair and Robinson, when the gallery was forced to take it down and apologize in the Ottawa Citizen for calling a genuine painting “fake.” (Longtime business associate of the dastardly duo, in making spurious allegations of fake Morrisseaus, lawyer Jonathan J. Sommer, refused to affirm or deny whether he was a party to any of this when I asked him for a response.)
And Carmen Robertson Ph.D., folks, knew the details of ALL this too, for it had been widely published.
The Killing of Canada AM – In 2015, my ramped up and unrelenting pressure from my blog and me in court, ultimately forced Bell Media, out of a desperate act of self-preservation, to suddenly, and without notice, shut down the offending arm of Bell Media, CTV’s “Canada AM” morning show, the top fixture on its broadcast array after 43 years, and prematurely retire or re-assign the malfeasant employees.
CTV Does Great Irreparable Harm to Canada’s Indigenous Art and Artists – But the years of backing up the fraud and the fraudsters, and for recklessly resisting my demands to Cease and Desist and Apologize for a Gross Act of Journalistic Malfeasance, did great irreparable harm to Canada’s Indigenous Art and Artists.
And Robertson, folks, knew the details of ALL this too…
Toronto Court Finds Sinclair Guilty of Libel & Trade Libel – In 2015, Ritchie Sinclair, Donald Robinson’s longtime fellow conspirator against the art and artists of Canada’s Indigenous people, was fined the maximum, by an angry Deputy Judge CW Kilian, for Libel and Trade Libel, for fraudulently slanging an owner of Morrisseau paintings and for having done great irreparable harm to valuations of Morrisseau paintings with his racist, vicious and malicious website.
Robertson knew all this but did not include any of it in her report, or address this mountain of evidence from a multitude of sources and experts, all of which totally contradicts the thrust and essence of her “expert report.”
It’s a Mad, Mad, Mad, Mad World – As the trial for Kevin Hearn loomed in 2017, this was the totally discredited cast of characters that Kevin Hearn, and his lawyer Jonathan J. Sommer, had to rely on to win their case. The case was hugely and terminally hamstrung by using Donald Robinson as its “expert witness,” wielding THREE – that’s three folks – totally gutted and discredited previous “expert reports” and now meekly for sure, offering a fourth hoping desperately to get a better result.
Enter NMHS Support Fabricator, Carmen Robertson Ph.D. – That’s when Donald Robinson as he has always done, in the past, whenever he’s down for the count, and in a desperate jam, tried to find someone to save his sorry posterior.
And he picked a willing toady, Carman Robertson Ph.D., whom he had sneered off for years as a nobody, in all four of his previous “expert reports.”
And the group of plotters also decided that it was now, in late 2016, much too late to add an honest date. Fabricating a false date must have led to a lot of discussion for sure. And probably dismissed as much too telling and compromising. Too many questions about why now, all of a sudden? And why not her in the first place, instead of the totally disgraced Robinson? And why a total nobody, whom Donald Robinson had not even dignified with having any knowledge, worth mentioning in his own publications?
Not in the same breath as that nobody Ritchie Sinclair, that stockbroker John Zemanovich, and the notorious American Dr. Wang.
So all tell-tale dates were deliberately omitted from the report, to hide the latter day conspiracy born of desperation.
The NMHS Fraudsters in Overdrive – Carmen Robertson Ph.D. says she became a member of the NMHS in 2009, all such appointments being made by Donald Robinson.
So Robertson admits to becoming a willing, gullible, and complicit conspirator by joining the most discredited vicious, malicious, and seditious, cultural heritage organization ever to desecrate the cultural life of Canada in its entire history. Its individuals multiply disgraced for their racist vendetta, and deliberate acts of cultural genocide against the art of Norval Morrisseau that has done great irreparable harm to the Indigenous art and artists of Canada.
So, damningly, the Robertson/Robinson Report is NOT an “arm’s length” expert report of any kind, at all, supposedly based on her independently arrived at analysis, or done before she ever heard of Donald Robinson, who is clearly her mentor, and guiding her in her own junk science fabrication.
An “expert report” is supposed to be by a disinterested party, with no personal stake or benefit to be gained from producing it.
And then it gets worse…
Robertson is, in fact, also – if that were possible – a rung down in credibility from her mentor Donald Robinson, who at least can claim a slim tie to some kind of basic science training, and who, at least, had a BSc before he turned it into a BS. And he did “know” Morrisseau, though not like Ritchie Sinclair.
For her part, Carmen Robertson Ph.D., is exactly like Robinson for years, treated her with well-deserved anonymity on the Acknowledgements pages of his many “expert reports,” as a nobody from nowhere.
The Artsy-Fartsy Teacher – And to add insult to injury, she comes to the task armed only with some “artsy fartsy” degrees. She is trained as an “arts appreciation” teacher. And that’s it folks…
And on that slimmest of foundations, Carmen Robertson sets out to fabricate a preposterous forensic report on Morrisseau art, a task for which she is even more eminently unsuited and uncredentialed than Donald Robinson was, before he set out on that huge personal and professional misstep. And earned himself multiple Bronx cheers, from forensic experts, judges, and tarnished and discredited the name Robinson and Kinsman Robinson Galleries, forever and irreparably, in the history of Canadian culture.
Ms. Robertson, has NO scientific credentials of any kind, not even a BS like Donald Robinson.
She has NO credentials (degrees, diplomas, or certificates) in forensic science.
She has NO credentials (degrees, diplomas, or certificates) in handwriting analysis.
She has NO credentials (degrees, diplomas, or certificates) in document examination.
She has NO credentials (degrees, diplomas, or certificates) in Morellian analysis from Giovanni Morelli.
She has NO credentials (degrees, diplomas, or certificates) in Cree syllabics, since she, claiming to have Lakota DNA, would probably not be fluent in Cree, which I don’t believe comes in the Lakota DNA package.
She is even more bereft of the minimal requisite scientific credentials (degrees, diplomas, or certificates) than Donald Robinson is.
And for whose total lack he was completely and harshly slammed by Deputy Judge Paul J. Martial.
And for brashly, recklessly, improperly and illegitimately, stepping outside the bounds of his academic training, institutional credentials, and his professional areas of expertise, trying to claim genuine art is fake. The judge said Robinson was clearly self-serving and self-interested in doing so. And NOT towards a good or honest end.
And for coming to a Canadian court with his “faux credentials,” where proper forensic experts are recognized when they are backed up by degrees, diplomas, and certificates and relevant credentials, expertise, and experience.
Dr. Atul K. Singla: International Forensic Scientist – For example, Dr. Atul K. Singla, a credentialed forensic scientist, who has forensically analyzed over twenty Morrisseau paintings, in hand, has a Ph.D. in Forensics, an M.A. in Forensics, multiple related international diplomas, earned in India, the UK, and the US, and and has testified in over 500 court cases relating to forensics, handwriting analysis, and document examination.
And this independent and credentialed forensic scientist has authenticated every single Morrisseau painting he was ever asked to examine in hand, with DNA certainty, as signed by Norval Morrisseau, and by no one else. A separate finding that discounts any forger or attempt at forgery by anyone.
In two celebrated instances he has given a “beyond DNA certainty” authentication of 100%, to two paintings alleged to be “fake” by the Robinson cabal of fraudsters – my own painting “SOMA 1976,” on which Donald Robinson was the under bidder at auction, and “Wheel of Life 1979” the subject of the Hatfield v Artworld trial, and Appeal, where both judges totally agreed with his findings.
Dr. Singla and his work in authenticating Morrisseau paintings, was recognized as professionally certified, valid and true, by the same judges who discredited and disgraced Robinson and Sinclair, personally and professionally, as self-serving, uncredentialed, unbelievable, and untrustworthy in anything they say, regarding Morrisseau paintings, even when they are under oath.
How does an “artsy fartsy” professor, like Robertson, used to nattering on about her take on art, to bored students, measure up to that? In how many court cases has she been recognized as a properly credentialed forensic and handwriting expert, and how many has she testified in?
I guessed as much…
I don’t knock “artsy fartsy.” I am one myself, and quite credentialed, and expert, in one of my main fields, which happens to include the same subject area Robertson says she is in, Aboriginal Studies.
Ancestry.com’s DNA Madness – Robertson keeps saying she credits her sense of “authenticity” for that as traceable to some undefined Indigenous DNA she picked up somewhere to add to her Scottish roots, referencing her “Lakota-Scottish ancestry.” Or is it Scottish-Lakota, that her print-out from Ancestry.com stated? Was it 80-20% or 30-70?
In the opening page of her puffed up 76 page tome of an “expert report,” her second sentence is as ludicrously irrelevant as it is revealing about her obsession with legitimizing her DNA, as if it would make a difference in an academic setting.
“As an Indigenous Art Historian who has studied, taught, and researched contemporary Indigenous art since 2001 in a university context, I have brought a solid scholarly context to my analysis. My Lakota-Scottish ancestry drew me to contemporary Aboriginal art, which I view as a decolonizing force for Indigenous peoples in Canada. It is from this context that I shall offer my opinion on the painting in question, Spirit Energy of Mother Earth.” (Robertson, Expert Report, p 3)
Which does NOT make her an expert, or legitimize her “voice” in any way, in any subject area at all – and that includes Aboriginal issues – though she repeats this canard in her bio as if it mattered in any legitimate way at all, in an intellectual or academic forum.
Mixed blood, Robertson tries to ignore, only validates her as Canadian.
Millions of Canadians share mixed blood; millions of Indigenous peoples share mixed blood; millions of French and English Canadians share mixed blood with Indigenous peoples. I would be willing to bet that in Quebec, northern Ontario and the prairies it would be almost impossible to find an Indigenous person whose blood line does not have European DNA in it.
The area was hugely criss-crossed, for hundreds of years, by endless streams of French and Scottish explorers, hunters, trappers, traders, lumbermen, merchants, and settlers, at a time when populations were very small. And there was many a happy mixing, and re-mixing of DNAs.
Why Robertson would try to trade on this common Canadian multi-cultural heritage as uniquely important in her bio is beyond me. As if her blood carried insight of some kind that validates her intellectual opinions. When all it does is give discreditable cover for her academic malfeasance.
Norval Morrisseau himself was at least 51% – probably more, like 60% or 70% – white. It didn’t qualify him as an expert in the history of white people in Canada. It was the culture he grew up, in that drove his art, not some DNA package he was blessed with or validated him.
Anymore than Robertson’s Scottish DNA makes her qualified to pontificate on Robert the Bruce, Mary Queen of Scots, or Scottish fiddle music.
Or anymore than her spurt of Indigenous DNA qualifies her, in any way, to pomposit about Indigenous art, or the validity or not, of Norval Morrisseau paintings.
But the Robinsons and the NMHS, clearly recognizing that Robertson hasn’t got even minimal credentials to author a forensic report on the authenticity of Morrisseau painting, try to invent a voice for her, by pumping up the silly DNA part of her bio, as validation enough, for just about anything she feels like saying about Indigenous art and people.
Enough to be laughed out of any academic hall or courtroom…
But enough to do great irreparable harm to the Indigenous art and artists of Canada.
It’s a stupid tribal conceit, a parallel to my own white Swiss DNA validating me as an expert to heed on anything I want to say about white people… or the Swiss… Ludicrous, at best.
Robertson’s witless gullibility is preposterously inept; her DNA source for her credibility is ludicrous; her science idiotic; her academic approach farcical; her conclusions malfeasant; and their effect, racist, and cultural genocide.
Her “expert report” base on such slim and fraudulent foundations, will do exactly the same thing Donald Robinson’s faux “expert reports” have done: do great irreparable harm to the Indigenous art and artists of Canada.
It’s that simple.
If Robertson claims legitimate connectivity to having some Indigenous DNA, don’t quote me the silly Ancestry.com print-out, like those dupes do on nightly TV commercials who have suddenly discovered their Cherokee, Apache, or Lakota heritage…
What is her treaty number?
Where and when does she receive her annual treaty payment?
With what Band is she registered as a member?
Who is her chief, and on what reserve is she registered and domiciled?
In the end – legitimate or not – it makes not a fig of difference.
The proof is in the pudding.
I have none of that DNA mumbo-jumbo, and don’t claim even a minimal connectivity to the millions of Canadians who can boast of mixed blood. I do not claim, even though this is a common conceit these days among those who rush to Ancestry.com to find DNA validation for their “Indian” roots, that there is even a smidgeon of Indigenous DNA that I can “trade on” to validate what I say relating to Aboriginal issues.
I prefer to use the tried and true traditional methods of independent research, to earn legitimate approval from recognized and credentialed authorities, and to make academic deductions which I learned over many years I spent in university. And from personal experience, by spending some 14 years living and working, as an educator, and filmmaker, in remote arctic and sub-arctic communities, hunting, fishing, trapping, and traveling in all seasons, with Indigenous families, across many hundreds of miles of tundra and sub-arctic wilderness.
So winning “on the ground” firsthand experience, and kudos – not from my friends, colleagues, and cronies, like Robertson does, but from experts I do not know, and have no “pay for play” connection to. Or attended kaffeeklatsches with.
They judge my work and research based on universally accepted academic and educational “tests for authenticity and creditably.” And not in exchange for making me a member of a secret society of silks, satins, suits, and snoots…
Related Academic Bibliography:
John Goldi, Educator – I am a certified and credentialed academic, having earned my Hon.Ba. in Modern History from the University of Toronto, and pursued post-graduate studies towards a Ba.Ed. and an M.A. in history at Queen’s University. I have been a contract historian on projects for multiple Canadian federal government ministries, and for major television broadcasters including the CBC, the Discovery Channel, and History Television. Educational programs I have researched and crafted (together with my wife) can be found in thousands of universities, schools, libraries, public service organizations, corporate offices, and government departments in every Canadian province and every US state.
Department of National Defence – Because of the stringent demands for scientific, military, and medical accuracy, demanded by multi-layers and multi-disciplinary banks of expert users, DND makes all its educational video programs under the supervision of its in-house experts. So it virtually NEVER acquires programs from “outsiders” because they just never match up to its tough and remorseless standards.
But DND bought four – that’s four folks – programs from us for use in training DND personnel around the world. After they had been put through the wringer by multi-level military and medical experts to see if there was a word, or a line, out of place. There was not.
In fact DND then hired us to make French versions of all four. Again without demanding that a single word in any script we wrote be changed.
National Film Board of Canada – The NFB jealously guards its library of film and video programs from contamination by “outsiders.” It virtually NEVER acquires even a single film from any non-NFB filmmaker, for placing in its national library of programs for Canadian and international audiences.
But it bought four – that’s four folks – of our Canada-specific educational programs in bulk to place in its NFB circulating library, even though none of its employees had anything to do with vetting or making any of them.
Double-Golds at American International Film & Television Festivals – It’s tough, beyond belief, to win a Gold Award, in international competition, when all the best filmmakers from around the world, sporting the biggest budgets, and the most exotic locales are in competition against you with your small cable TV budgets.
It’s especially tough when you show up with Canada-specific, non-tabloid type programs, shot in downtown Montreal, and Kleinburg, ON., etc.
But three times, at three different US film and TV festivals, with different Canada-specific programs, Joan Goldi, as producer, won “Double Golds,” with three of her Silver Awards kicked out of top spot by three of her Gold Awards, in international competition against the best programs from around the world. Programs on which I collaborated with her as cameraman, director, and editor. (None of these were our Boer War, Ipperwash, or Indigenous programs.)
Director of Federal Government Educational Film & Video Directorate (Supply Services Canada) – The Director of the federal government’s film and video directorate, which monitors and controls standards for all video programs done by contractors across Canada for various government ministries, told us that he trains his staff by using our proposals as the teaching tools, to set the standard other producers have to match.
Federal Government Standing Offer – The Government of Canada asked us to compete to be one of six Ontario producers selected to be placed on its preferential Standing Offer list for making video programs for Federal Government ministries. 65 of Ontario’s top film and television production companies were asked to prepare submissions. We were one of the successful six to be given future contracts without having to compete.
Federal government administrators told us we had the second highest number of votes for excellence in the final tally.
Premiere Television Series Producer – When the new Canadian cable channel licenses were granted Atlantis Broadcasting announced a competition for a producer to win the right to create a signature series for the channel, in its opening season. 251 proposals from all Canada’s top film and television producers were submitted. Atlantis executives called them “outstanding.”
We were one of ten finalists, with our show “Outdoor Adventure Canada.” In the end we were the only proposal that ever went to air. Atlantis Vice-President Jan Platt, Canada’s only Oscar winner in non-animation films, said, “So often shows that sound so good on paper, turn out to be disappointments. But your show which thrilled us so much in your proposal, turned out even better than we could have imagined.” (Outdoor Adventure Canada)
I had created a template that totally dispensed with the voice of a narrator, and featured only the passionate and enthusiastic voices of Canadians creatively intercut to tell a story. Yet no face was on for longer than five seconds and no shot was ever repeated.
It had never been done before in Canadian or US television, and rarely since, because it’s too hard to do, and too expensive. It’s far easier and cheaper to just have David Suzuki drone on with his written script and paste library video over top of him.
That innovative show wowed American judges and won some 75 Gold, Silver, Bronze and Finalist international awards at all the leading US festivals in only 18 months, a record I believe unmatched by any other Canadian producer of Canada-specific programs.
Our winning concept of a program based on “passionate voices of Canadians” was afterwards appropriated and copied – but not very effectively – by the CBC for its history of Canada series.
Program Template Producer: Discovery Channel – We produced the program template for Discovery Channel’s “Great Canadian Parks” series, which was a complete clone in every detail of our innovative pilot program we had shot for Trina McQueen when the Channel premiered.
Program Template Producer: CBC – I suggested, outlined, and provided the program template used by CBC executives for its “The Life and Times…” biography series.
World’s First Internet Museum – My historical research founded the world’s first internet museum – the Canadian Anglo-Boer War Museum – which was honoured by the Canadian Government with a rare “Canada Millennium Project” designation in 1999. It remains the largest and most lavishly illustrated internet museum in the world. It was the model Archives Canada copied, years later, when the Canadian Government decided to start its own internet museum. (Canadian Anglo-Boer War Museum)
Ripped Off – It was the model brazenly copied, without attribution, by Random House and Charlotte Grey for their book, “A Museum Called Canada,” which is nothing less than my unique and innovative internet museum put between book covers. In fact I wrote Random House a proposal letter for the project a year before they did it.
Museum Curator & Forensic Historian – My expertise includes being the highly credentialed curator for this educational museum, where, for 18 years, I have been the Director of Research and Collections, responsible for forensically examining, vetting, authenticating, acquiring, and publicizing, a bricks and mortar collection of some 7,500 paintings, prints, photos, and antique material memorabilia items, most over 100 years old.
I have supplied original paintings and prints to collectors in the US, Canada, and the UK, as well as to British and American Museums, including the Henry Ford in Michigan. I have supplied digital versions of my originals to British, American, and Canadian book, magazine, and brochure publishers, including to National Geographic, the Titanica Museum in Branson, MO, Canada’s History Magazine, multiple Canadian federal government agencies, and the American Parks Service. I have supplied antique memorabilia to collectors as well.
I have also supplied multiple original paintings (JD Kelly, CW Jefferys, Arthur Heming) for a Museum London exhibit on Canadian masters, and multiple original Arthur Hemings for a multi-year Museum tour of Canada and the US, organized by Cassandra Getty, curator of Museum London. She selected four of my Hemings to help illustrate her book “Arthur Heming: Chronicler of the North.” (International Art Tour)
John Goldi, Documentary Filmmaker – I don’t know what Carmen Robertson was doing in 1991, or where. But I know where I was (with my wife and lifelong educational working partner) – Banff, Alberta, not far from where Robertson claims she was academically trained.
We were at the Banff Springs Hotel Film Showcase, where hundreds of western Canada’s top film librarians from universities, schools, and public service organizations gathered to spend a week previewing the best educational programs, from around the world, to buy for their audiences. The top educational distributors from Britain, the US, and Canada were there displaying their best programs, including National Geographic, TVO, the CBC, the NFB, Saskmedia, the Knowledge Network, Radio-Canada, ACCESS Alberta, etc. We were one of 32 distributors there.
Every year the educational buyers vote on the TOP TEN programs by collating the hundreds of voter favourites. In what we were told by administrators was an “unheard-of achievement,” my wife and I placed six of our programs in the TOP TEN out of thousands that were showcased. In fact our programs were voted into first, second, and third place on the list. Two were on Indigenous topics.
Over the decades Alberta has always bought more of our programs than any other province. (We spent years working under the Alberta curriculum guidelines when we were both educators in the Northwest Territories.)
“Dene Family” – The first film I ever shot and crafted, with my wife, in a career that was to span some 40 years, was a promotional documentary celebrating the positive lifestyle of a Dene family, to give Indigenous and non-Dene children of all races, a positive image of Aboriginal families. That film won “Best Documentary” at the American Indian Film Festival in San Francisco, and was placed in countless schools, and libraries all over Canada.
It featured only Indigenous people, voices, and concerns; not a single non-Indigenous voice intruded. (I note that two subjects I featured – a baby and a child – still visit us, forty-two years later, in Toronto, and are now both high powered, high-earning executive types active in First Nations culture and politics.)
“First Nations of Northern Canada” – Alberta Education bought a one-hour program called “First Nations of Northern Canada,” a Gold medal winner, as Best Documentary, at the Yorkton Film Festival, and kindly narrated by the CBC’s Linden Macintyre. In which again, all phases of production were done by my wife and myself. It was premiered on Parliament Hill, and before the European Parliament, and installed as Canada’s first ever CD ROM Interactive in the British Museum, in the Canadian History Museum, and was the feature exhibit in the Secretary of State’s “Bravo Canada” trailer which travelled across Canada to celebrate Indigenous Canadian culture. Georges Erasmus, and Stephen Kakfwi – you can look them up on the internet – collaborated with us on a film we crafted to fight the world anti-trapping lobby, and for which my wife raised the money.
It featured only Indigenous people, voices, and concerns; not a single non-Indigenous voice intruded.
“Ipperwash: A Canadian Tragedy” Another one-and-a-half hour documentary program, “Ipperwash: A Canadian Tragedy,” won a Platinum Award “for Investigative Journalism” at the world’s biggest international film festival, in Houston TX. I know of no other Canadian broadcaster or producer who has ever won this international “beyond Gold” super prize for investigative journalism.
This 90 minute program featured wall-to-wall Indigenous voices. Not a single non-Indigenous voice intruded. Not one. (IPPERWASH)
The program – an exposé on Ontario Provincial Police launching a shooting rampage against Indigenous women, children, babies, and men in September 1995 – was also entirely crafted with my wife, and is used by Amnesty International to educate people about human rights issues. It was the season premiere on CBC’s signature documentary series, “The Passionate Eye.”
Our research for that program, gleaned by 73 days my wife and I spent behind the barricades at Ipperwash – we were the only white people or journalists allowed in. Neither of us gained this privileged sole access because we have Indigenous DNA that we could trade on. Just solid, universally accepted credentials and expertise of work with, for, and among Canada’s Indigenous peoples, for federal, territorial, educational, corporate, and public service organizations over many years all over Canada.
Our subsequent intervention, done by sharing our research with the Ontario Special Investigations Unit (SIU), on Dec. 8, 1995, was entirely responsible for it re-opening its investigation into the killing of Indigenous activist Dudley George on that occasion. It would NOT have happened without our informed intervention.
I believe it’s the only time in SIU history that a private citizen was able to jump-start an SIU investigation, which it was about to shut down on Dec. 11, 1995, after three fruitless months without filing charges or finding malfeasance anywhere.
My wife and I convinced the SIU there was fire behind the smoke, and offered to act as liaison to the local Indigenous people to facilitate the research of its investigators. After clearing it with our Indigenous contacts, we escorted the SIU officers behind the barricades in Feb. 1996. All previous police and investigators had been barred from getting access. Now I watched and filmed as they interviewed people who had been targets of OPP gunfire and photographed bullet holes in teen-agers, buses, and tires.
The new investigation then led to a successful conviction of a police officer for killing an unarmed native man, which would never have happened without our informed intervention. The Ipperwash Inquiry in 2004 came from that, and validated totally in every way the massive amount of research we had uncovered ten years before for the SIU and the CBC. Exposing huge and multi-level racist malfeasance by the OPP, the provincial government, the federal government, and all the mainstream media journalists who “covered” the story by listening to the cops and blaming the Indians as lawless and possessing and firing guns, when none of it was true.
The Ipperwash Inquiry sat at our house for two days reviewing the historic video tapes of interviews I had shot behind the barricades, a decade before. Before its lawyers had heard a single witness in the flesh, they had learned the entire story from my Betacam video tape record, and knew what every respondent who was on site during the shooting and killing would say. But from my tapes, shot only a few months after the killing, they heard it “raw” accompanied by tears and anguish. The death of Dudley occurred when the heavily armed OPP TRU team launched a midnight shooting attack on unarmed Indigenous women, children, babies, and men, sitting on picnic tables.
Complete Racist Mainstream Media Malfeasance – It also was a racist mainstream media malfeasance that I believe has no parallel in Ontario history. In 1995 ALL the mainstream media were racist, and preferred to believe the cops – who were ALL lying – and slang the Indians as the crooks and the perps, when they were the totally innocent victims in every way, and on every level. Racially victimized and unjustly denigrated by the whites in the Federal Government, the Provincial Government, the Premier, and ALL mainstream media journalists, including the Star, the Globe, and the CBC.
Trump Meets Morrisseau – I think President Trump said it exactly right when he scorched the mainstream media as malicious and “the enemy of the people,” full of “fake news” and staffed with “some of the worst, most dishonest people, I’ve ever met,” and adding: “The Press is out of control; the level of dishonesty is out of control.” (Jan. 22, 2017, etc.)
Norval would have agreed with him, when he slapped a document out of Jack Pollock’s hands, in 1962, and blurted out to him, “White man’s paper no fucking good.” Even though Norval was speaking from a garbage dump home, in Beardmore, ON, early in his career, he already had one thing down pretty accurately about the greater white society in which he was hoping to sell his art. And there’s not an Indigenous person in Canada who wouldn’t nod in agreement.
”The Anglo-Boer War: the Canadian Experience” – Again, entirely due to my academic research, and dogged work, in 2005, the then Minister of Canadian Heritage, Stéphane Dion, sent me a personal letter, on Sep 15, saying “I have recently designated Canada and the South African War an event of national historic significance.” (Canadian Heritage Achievement)
It was what I had, for years, aggressively lobbied multiple Federal government departments for, after personally doing the most intensive research anyone has ever done, on the ground in South Africa, on the role of a previous generation of Canadians in the war against the Boers.
My wife and I spent eight weeks – all funded by ourselves – and travelled 11,000 kms, to follow and uncover the trail of the Canadian troops from 1899-1902. It was the first time Canada had sent an expedition overseas to fight in a foreign war. The recognition of a past generation of Canadian veterans, and some 300 Canadian war dead, came 105 years late. Without my aggressive informed intercession it would not have come at all.
The new Ministerial designation now made it possible to recognize a past generation of war dead and finally have the dates for the Boer War added to Canada’s national war memorial. It was 115 years late but without my aggressive, informed intercession it would not have come at all.
“Four Gold Medals – Outrageous!” – The four-hour television series made for History Television – for which my wife and I did all phases of production – an unheard of accomplishment, for a series where scores even hundreds of people are usually creatively involved – was again, kindly narrated by the CBC’s Linden MacIntyre. The series won an astonishing Four international Gold Medals – best series, best program, best writing, best on-screen host (for John Goldi), at the world’s largest film and television festival in Houston, TX. I know of NO other Canada-specific film or television program that has ever even come close to achieving such a medal haul. Wrote the President of Houston Worldfest, “Four Gold Medals – Outrageous!”
Sorry Ma! It wasn’t your DNA! – My DNA, my cronies, my pals, or me sucking up to “my mentor,” had nothing to do with any of it. And you won’t find a DNA count or claim on any of our bios as an excuse or validation for what our educational programs have to say. I believe, doing so would be idiotic… And using DNA as an excuse for authoring an academic document, to be nothing short of a fraudulent pursuit, and the ultimate in intellectual dishonesty.
Which brings us back to the Nazis, of course, whose academic and intellectual toadies, are famous for doing exactly this same kind of disreputable academic stuff…
John Goldi csc – As one of Canada’s top recognized visual artists, I am a CSC, the top honour bestowed by the Canadian Society of Cinematographers, the professional association of film and television cinematographers and cameramen in Canada, “for outstanding achievement in the art of cinematography.” Few cameramen have this honorary designation.
Here Comes the Judge – I have also served as a judge for the Canadian Society of Cinematographer’s Annual Awards, and for the Canadian Genies, in selecting the winners of the Annual Genie for Best Cinematography for both Canadian feature films and television program awards.
130 + International Awards – My visual arts work in shooting and editing high quality film and television images over the past almost 40 years, has won over 130 international awards, awarded at top American film and television festivals, in competition with the best productions from around the world. (A Master Cinematographer)
As an accomplished and recognized professional in the field of creating visual art, I am among the many artists who take a dim view of self-important ivory tower academics who sit around pontificating in classrooms and pompositing about what this or that artist was trying to say or intended to convey with this or that image, etc.
Not being professional, creative artists themselves, these “illiterati constipati” of assorted puffed up academic silks, satins, suits, and snoots, squatting in schools and colleges, conjure up crap, and pretend they have some insight into what successful professional artists intended to say or achieve with this or that work, or this or that element in a work, etc. when they haven’t got the faintest clue. So they just dream up any old crap, so they have something to pomposit about to their kaffeeklatsch cronies, to their bored students, in “learned” journals no one can bear to read, or in dreary art sales catalogues.
I think Norval Morrisseau hit it right on the head when he burst out to Jack Pollock in 1962, “White man’s paper no fucking good.”
Norval did not know either Robertson or Robinson then. But as an Indian shaman he could foretell the future. So which of their “expert reports” on his art did he foresee and pass judgment on… There is no doubt in my mind; BOTH…
“Those who can, ‘do;’ those who can’t, teach…” was long ago, invented to cover this kind of mindless blathering by people who don’t have what it takes to be full time professional artists themselves. So they “talk” art, and artistic creation as a substitute for an unrealized and unfulfilled artistic life.
I like to count myself with Norval, as a “doer,” not pass through life as a gassing windbag like the Robertson/Robinson duo seem to prefer.
The art world is where the worst of this type of pompositing blatherer is to be found.
The utter crap they come up with, can be found desecrating every fine art gallery or auction catalogue, of which I have hundreds. All designed to pump up and puff up, with mindless twaddle, works, aggressively motivated sellers want to dump – by hook or by crook – at the highest price possible.
When such an arts academic – like Robertson – then tries to dabble away in the world of forensics, with the same “artsy-fartsy” mindset, it ramps up the surrealism a step more, from the mindless and inane, to the idiotic.
When this ludicrous preoccupation is used to destroy the work of an indigenous artist, and do great irreparable harm to Canada’s art heritage, it is base beyond compare.
Conspiring Trio: Robertson/Robinson/Baker – In fact the closest parallel to the faux Robertson/Robinson report is to be found in the disgraced NMHS Richard H Baker letter sent to CTVglobemedia in 2008.
Like that disgraced letter, the Robertson/Robinson Report is also a totally toadying, directed, inside job by another NMHS member, who is more than beholden to Donald Robinson for appointing her to that discredited Society, she claims in 2009.
And done for exactly the same reason: to try to bolster the totally discredited credibility of the multiply disgraced Donald Robinson, all of whose previous reports have been discredited as fraudulent junk science by multiple forensic experts and judges.
Many other telling and compromising aspects of the Robertson/Robinson Report make that incontrovertibly obvious.
Whom and what she lists in her bibliography is telling and damning.
Whom and what she omits is even more damningly telling.
So bringing a close to Donald Robinson’s introduction of a telling and damning Acknowledgements page in his “expert report” trying to claim Joseph Otavnik’s painting, “Jesuit Preist 1974” was a fake.
– “Robinson as Expert” Rejection #13 – by Cpl. Judith Falbo, RCMP (Lead Investigator, Norval Morrisseau RCMP File on Counterfeit Artwork) & Sgt. William Quarrel, Thunder Bay Police Services – Mar. 5, 2011 – Discredited totally, Donald Robinson’s “expert accusations” of there being thousands of “counterfeit” and forged Morrisseaus “out there,” and that he had all the names and locations of those involved in the forgery operation.
In November, 2008, goaded by an aggressive and insistent Donald Robinson of Toronto’s Kinsman Robinson Galleries, the RCMP started an investigation into Morrisseau fakes, forgers, and those art dealers and auctioneers Robinson aggressively alleged were creating and selling “fake” art.
Robinson had claimed to the media, and now he was brashly telling the RCMP, that there were hundreds, even thousands of Morrisseau fakes “out there,” lowlife “counterfeits” so recently and poorly done, and easy to spot that anyone – even a cop – could spot them across the room…
The Base Line – The Robinsons, KRG, Sinclair – aided and abetted and promoted in the media by their lawyer associate, Jonathan J. Sommer – would claim that the so-called fake Morrisseaus they slammed were ALL:
– 1 – newly made forgeries
– 2 – made after 2000
– 3 – painted by a forgery syndicate of inept forgers in Thunder Bay, ON
– 4 – signed by forgers in BDP style which, they say, Norval never even did once…
– 5 – there were thousands of them
– 6 – they were lowlife, forgeries, easy to identify, even by a novice, from across a room…
And Robinson aggressively named numerous names, and details about their collections, that the RCMP should specifically target, as being the principal fraudsters and scammers behind the art forgery fraud.
Robinson was responding to a flood of genuine Morrisseaus coming in from collectors all over norther Ontario, that were depressing prices in the Toronto area, especially the ultra-high prices the Robinson’s Kinsman Robinson Galleries was charging.
They were facing disaster unless they did something, quick… to stem the flow.
The RCMP was engaged for that reason.
“Hey Jude, Don Here Again” – Robinson’s emails – he goes by the name of “Don” and “email@example.com” – to the RCMP, are deliberately and cunningly “chummy,” emailing its lead investigator, “hi judy,” in excruciating detail, exactly who was a purveyor of fakes, who has hundreds, and where they might be found.
“Don” named, and advised “judy” to target the Old Downtown Gallery in Orangeville, ON, as a good place to find Morrisseau “fakes.”
“I visited there last November – several on the wall and a roll of paintings observed in the back…”
Is Robinson sucker-punching Cpl. Falbo, that if she hurries she just might be able to nab a whole roll of forgeries just freshly arrived from the forger? And to be sure to look “in the back.”
Donald Robinson has earned himself quite a reputation for hiding a lot of his behaviour. In 2005 he gave his name as “Mr. Smith,” when asked by staff, while he was doing art espionage at Artworld of Sherway. The disguise didn’t fool the staff who recognized him at once and smirked at his open duplicity. Really now, if he can’t even get his name right, how can you possibly trust him to get the provenance right on his Morrisseau paintings like “Child With Headdress 1997?” In 1999 he hid from Norval that he bought many secondary market auction Morrisseaus. In 2002 he helped Gabe Vadas hide – for seven years – 384 Morrisseau paintings in his KRG basement for “safekeeping” from Norval, his Aboriginal family, and their lawyers. The paintings had been shipped from the west coast to Toronto, while Norval was away, after he was kidnapped by his Aboriginal family. And Robinson has kept his Wankers hidden for 16 years. And of course KRG has a very active “Provenance Manufactory” in the basement whose entire purpose is to hide from its clients the actual source, of the Morrisseaus they sell. So they work day and night, changing, or obliterate names, dates, and titles, to sucker-punch internet sleuths from discovering that a lot of their art comes from lowlife auctions where NO PROVENANCE is ever given. Transparency, openness, and disclosure obviously do not rate very high at the Kinsman Robinson Galleries.
“Mr. Smith is My Name & Trophies are My Game” – During the Martial trial it was disclosed that Donald Robinson likes to sneak around people’s art galleries anonymously. He showed up – in disguise he thought – at Artworld during a Morrisseau show. When the staff graciously invited him to sign the visitor’s book, just to see what he would do, he signed it as “Mr. Smith,” providing a hoot for everyone who all knew Canada’s most notorious and discredited art dealer by sight. I wonder why he seems to have an aversion for his real name?
It does underline that Don Robinson pulled out all the stops to make sure the RCMP investigators knew exactly who to investigate, what to look for, and where to look for it. So they would have all the incriminating evidence to make it a complete slam dunk.
In another alert, “trophy hunter” named and targeted, “Gallery 260” a highly reputable Morrisseau collector and art gallery owner in downtown Toronto. He alerted “judy.”
“In addition to the obvious ones, do not miss… Gallery 260… Several good-sized expensive ($28,000- $45,000) paintings posted on web-site – they are big players. (Usefulness verified today.)”
(Falbo – RCMP Report 2011)
I happen to have sat near the owner of Gallery 260, and chatted with him at Joyner and Waddington’s auction. I took him to be a real decent guy who loved Morrisseau art and had it all over his walls.
A Top Artist Speaks Out – I also met and talked to his art specialist to whom he turned over some 200 of his Morrisseaus, for cleaning, reconditioning, and framing, after he bought them over the years at Randy Potters. That man was top Canadian artist Norman Brown, whom I met accidentally while he was painting in a local marsh. And stumbled into his Morrisseau connection while chatting about art.
Norm, a lifelong top-ranked artist and art specialist, told me of the hundreds of Randy Potter sourced Morrisseau canvases he had cleaned and reconditioned for Gallery 260, in the late 1990s. And he had come to some very strongly held views:
– ALL the canvases were filthy, old, and had obviously been carelessly handled over many years, many betraying cracked acrylic, paint loss, and surface grime
– they showed a wide variety both of handling and storage abuse, proof of having had multiple owners over many years
NOTE: When I took two of my canvases, SOMA 1976 and FISH 1976, on which Don Robinson had been the under bidder, on January 26, 2000, to his own KRG framer – at his recommendation – days later, the very first words out of the framer’s mouth, when I unrolled them for him, were: “It’s a shame they’re so old and dirty.” (A telling observation to make about paintings Robinson would go on to claim were all, newly-created, post-2000 forgeries.)
– they were ALL easily 25-30 years old, entirely consistent with the dates on the back – so ABSOLUTELY NOT new or recently made
– that they were ALL very definitely made by the hand of one – a single – artist, so ABSOLUTELY NOT a product of a forgery syndicate or multiple painters supposedly painting thousands of fakes on an assembly line
– Norm Brown said he did not know if that single artist, and creator of the hundreds of paintings he handled, was Norval Morrisseau, because he was not familiar enough with his work to say so.
Norm Brown, one of Canada’s finest artists, showing off his art at a show at Artworld, in Toronto, ON.
Norm’s forensic skills in art, developed over a lifetime as a major successful Canadian artist, are formidable, and far, far surpass and eclipse those of Don Robinson, a highly motivated art salesman, and Ritchie Sinclair, a starving artist.
Norm’s hands-on analysis is telling and damning of the forgery allegations, and all by itself is a harsh indictment of the Robinson family and their fellow conspirators.
Norm’s findings were a mirror to what my own investigation had told me, having also examined in-hand hundreds of the same kinds of paintings at Randy Potter’s over the years.
So the matching evidence of two visual artists of considerable experience and accomplishments, shared decades after the events, neatly dovetailed their independently arrived at conclusions.
I might point out that though Brown and I had seen and handled many hundreds of these paintings, neither Donald Robinson nor Ritchie Sinclair had done so.
Robinson had gone to Potters only five times when he bought his 31 paintings, then never went back again. Not to buy and certainly not to do research. Unlike scores of other Morrisseau collectors and dealers who went back again and again to examine what had just come in.
“Beautiful Morrisseaus” – And Ritchie Sinclair was an even more malfeasant researcher. He had only been to Potter’s once, on Feb. 14, 2004, and he wasn’t there to see or research the Morrisseaus at all, but to try to reclaim his own art which had been seized by the sheriff and was being auctioned off for $40 and $50 bucks.
Donna Shea, the auction owner testified in court (Mar. 18, 2010) that Sinclair looked at some 20 Morrisseaus up for auction, told her that he loved the “beautiful Morrisseaus” as he called them, and wistfully confessed that he could never afford to buy one… And Sinclair never ever went back.
In fact Sinclair’s web postings, on other people’s Morrisseau sites, mirrored Shea’s recollections, and were effusive in praising as “Masterpieces” numerous Randy Potter BDPs of the kind he saw there. And he was singing his unrestrained praises for them ALL as late as October, 2008.
Then he suddenly, changed his tune totally, completely, literally overnight… after 30 years of over-the-top praising them without a single miss… And now Sinclair started to target as lousy fakes exactly the very same paintings he had previously praised…
In fact the documentary record shows that Sinclair DID NOT even start talking about there even being Morrisseau fakes of any kind, until October 2008, over four long years after his only Randy Potter visit. And not till a year after Norval was safely dead…
It was after Sinclair’s Scollard Gallery show flopped badly, that the starving artist decided to go to work for KRG and Donald Robinson, a man he called “My Mentor,” as their fraud enforcer. His first act: mount a racist, vicious, and malicious anti-Indigenous website over a few days, papering it with low res images he had cribbed from the internet, of 1,000 paintings he had never seen, calling them all fakes.
An Art Terrorist Scorched from the Bench – Two judges, the Hon. Thomas J Lederer (2008), and Deputy Judge Paul J Martial (2013), would independently scorch Sinclair for his habit of discrediting paintings he had never even seen, except as low res screen grabs on the internet.
In 2015 Deputy Judge CW Kilian would nail him the hardest, finding Sinclair guilty of libel, and for slandering paintings he had never seen, and for having a website that had damaged the Morrisseau market. He fined him the maximum, $25,000, and thundered from the bench, that had it been in his power he would have fined him $10,000 more in punitive damages.
Both these men AKA the “Don and Ritchie Show,” had made up their mind ahead of any hands-on research, which paintings they wanted to be fakes. They didn’t need to do the hands-on examination that expert forensic scientists, handwriting experts, and Norm Brown and I had thought vital before reaching conclusions.
I believe Joyner Waddington’s owe Norval an apology for unceremoniously “trashing” the art of Canada’s only “People’s Artist.” He alone of Canada’s top artists, priced his art so that thousands of middle class and working class Canadians could have large original fine art works in their living rooms.
Canada’s Only People’s Artist – Norval Morrisseau was a Canadian cultural hero. Like the Fuller Brush man he went door to door. He made fine art – not small lowlife watercolors, but giant acrylics on canvas – possible for middle class and working class people to buy. He brought fine art down to the masses more than any other artist before him, or since. And he did that by pricing his paintings far below what white artists anywhere were prepared to offer their art for, often for $10, $20, $40 or $50 bucks, for huge canvases. It was unheard of…
But there was a price. Many of his buyers, over the years, treated the art as cheap and disposable. And because they had not paid real money for it, as not valuable. Unlike, for example, the Eaton’s painting of ducks lifting off the bay, that was over the couch, and that they paid $600 for. And so treated Norval’s art badly… Easy come…easy go…
To sum up: these hundreds of “Gallery 260” fine art paintings had been through hell and back, and had nothing in common in condition, other than a bewildering assortment of abuse, denoting countless owners who got them cheap, and when they tired of them, threw them under beds, into sheds, or attics. Where the canvases were roughly scuffed, bent, lost paint, picked up dirt and grime, and became cracked and the acrylic worn. The margins were routinely punctured with nail holes and staple marks, denoting different generations of frames by different owners. And multiple edge folds showed that many had been mounted to different size frames by a succession of owners.
I have been to countless hundreds of auctions, seen, up close and personal, thousands of paintings of all the great Canadian artists, going back several hundred years,. And I can say without a fear of contradiction that Norval Morrisseau’s paintings are generally in worse condition than those of any other artist, even though those works are often far, far older than Norval’s paintings.
In short they reflected the classic life history of a typical northern Ontario Norval Morrisseau painting. Like those of thousands with which Norval littered the remote rural landscape, where he lived and painted, in the 1950s, 60s, 70s, and 80s.
It all went towards making a total liar out of Donald Robinson and his conspiring assortment of fraudsters:
– the paintings were NOT made recently – after 2000 as he and Ritchie Sinclair claim
– the paintings showed NO single point of recent manufacture, like a syndicate shop
– the paintings were NOT made by a “group” of diabolical fakers, of varying skills
– the paintings were NOT “easy to tell” lowlife fakes. Hell, they had fooled the Robinsons, who claimed to be the world experts, for years… so they must have been damn good to do that…
Remember the Robinsons bought 31 for $54,000, and never brought back a single one as a fake or demanded a refund. And Paul Robinson, was for years, proudly – OK for cash – issuing KRG Certificates of Appraisal for them.
In fact the paintings are classic Morrisseaus, some brilliant, and some pretty good. And others were awful, and clearly done in a hell of a hurry, as Norval was well known to do, on the spot, just to get ten quick bucks to buy booze or some pot. (Remember Norm Brown detected the same artist at work on, all the paintings, both the good and the bad…)
Cpl. Judith Falbo spent almost three years in looking for the “thousands of fakes by umpteen forgers” Donald Robinson told her any idiot could easily identity from across the room. And he gave her the names, and places where she should be sure to look.
The RCMP report is heavily redacted but we know from testimony in later years, from court cases like Hatfield v Artworld, that Robinson targeted Norval’s Indigenous children (Robinson’s own testimony 2012) and Joe McLeod as the principal forgers (Margaret Hatfield testified (2010) that KRG enforcer and Donald Robinson business associate, Ritchie Sinclair, assured her Joe McLeod was a principal forger and retailer of counterfeits.
It would prove to be an almost three year investigation, headed by RCMP lead investigator Judy Falbo and her co-investigator Sgt. Gary Harvey. They talked to scores of people involved on all sides of the Morrisseau HOAX, including all the accusers and all the accused. (Since I was not blogging at the time, only involved in doing research, the RCMP did not talk to me.)
The RCMP issued its report in early 2011, a heavily redacted version of which we acquired through an Access to Information Request to the RCMP. It was called:
RCMP File # 20081104228
Finding Paydirt… In a huge “fakes” bust, RCMP Cpl. Judith Falbo easily found $100,000 worth of fake products in some 60 stores. But she failed to identify a single Morrisseau “fake” in any store or gallery, and finally gave up after looking for two and a half years. So despite the best evidence Donald Robinson could provide her to substantiate his claim of “thousands of fakes by umpteen forgers” the clearly accomplished fakes sleuthing RCMP corporal, failed to find a single fake Morrisseau, a single forgery operations, a single forger, a single criminal, a single gallery selling fakes… BUT DID SHE CHECK OUT KINSMAN ROBINSON GALLERIES, ESPECIALLY THE BASEMENT…? Seriously, Judith, go have a look…
Its conclusions: No ifs, ands or buts. It was a total slam dunk, that the charges and allegations of counterfeit artwork were completely without foundation of any kind.
They never even “identified” even a single fake, let alone get credible evidence that forging of any kind was going on anywhere, by anyone. That they found no one who allegedly committed any criminal offenses of any kind on this file. And had exhausted all their leads in southern Ontario without finding any evidence to substantiate filing of charges in the creation or selling of “counterfeit” Morrisseaus.
“Investigators did not identify nor obtain the requisite evidence necessary to support the allegations of criminal activity involving individuals and Art Galleries located in the Greater Toronto Area, and have concluded that persons connected with… have not committed offences under Criminal Law.
“RCMP investigators have exhausted all investigative leads in the Greater Toronto Area, and evidence to support charges under the Copyright Act and the Criminal Code of Canada was not identified during the course of this lengthy investigation.
“It is recommended this investigation be forwarded to Thunder Bay Police Service for consideration of any follow-up action deemed appropriate.”
On Mar. 5, 2011, when blogger Ugo Matulic sought personal clarification from the lead investigator for the Thunder Bay Polices Services, Sgt. William Quarrel, he confirmed that his team found, “no evidence of fraud in relation to any painting and/or paintings done by Norval Morrisseau.” And that he would refer the matter back to RCMP Cpl. Judith Falbo and her team at the RCMP Federal Enforcement Section in Milton, ON.
Matulic also contacted both Falbo and her co-investigator Sgt. Gary Harvey, separately and they independently responded that, after a three year investigation they found “no evidence of fraud in relation to any painting and/or paintings done by Norval Morrisseau.” (Ugo Matulic blog, Mar. 5, 2011)
So much for Pop and Pup Robinson’s claims of thousands of fakes that any fool could easily spot from across the room…
But not, apparently a cop…
One more time Donald Robinson BS gave it his best shot, only to shoot himself in the foot… again…
One more time Donald Robinson BS had laid out all his evidence of fraud and forgery, which he and Pup Robinson claimed were being committed by his main business competitors, the Morrisseau family, art collectors, art auctioneers, apparently aided and abetted by diabolical and lying bloggers…
This time before multiple sets of independent police investigators, and failed utterly miserably.
But we would be wrong to say that a three year police investigation, costing millions of dollars, and involving multiple police forces, failed to find a single fake…
They found Donald Robinson BS…
– “Robinson as Expert” Rejection #14 – by Kenneth J Davies – “Jesuit Preist 1974” Dec. 19, 2011 – Discredited Robinson “Expert Report” #2 of Sep 10, 2009, trying to claim “Jesuit Preist 1974” was a fake
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.
On Dec. 19, 2011, Kenneth J Davies, a certified and credential Canadian handwriting expert and document examiner, verified that “Jesuit Preist 1974” was authentically signed with DNA certainty, by Norval Morrisseau, and by no one else, affirming as completely genuine, a signature Robinson, who has no related credentials of any kind, had tried to claim was a fake on the back of a forgery.
Davies, discredited the Robinson report, exactly as had the Godfrey court, where it was tabled, and discredited and exposed as unconvincingly fraudulent.
So both a forensic scientist and a judge (Godfrey in Otavnik v Sinclair) professionally discredited the Robinson faux report of 114 pages trying to claim the painting “Jesuit Preist 1974” was fake.
In effect the scientist and the judge were in agreement – discrediting the report and the man who created it, as the real fakes, in this greatest fraud in Canadian art history.
– “Robinson as Expert” Rejection #15 – by Kenneth J Davies – “SOMA 1976” Dec. 19, 2011 – Discredited Robinson “Expert” opinion, trying to claim “SOMA 1976” was a fake
SOMA 1976, authenticated by Kenneth J Davies in 2011. Hey, it was previously authenticated by Donald Robinson, who was the underbidder on it in 2000. But we don’t tell any of that to a forensic scientist who would kick you out the door if you tried to skew his investigation in any way.
In late 2011, Kenneth J Davies, a certified and credential Canadian handwriting expert and document examiner, verified that Morrisseau’s SOMA was authentically signed with DNA certainty, by Norval Morrisseau, and by no one else, affirming as completely genuine, a signature Robinson, who has no related credentials of any kind, tried to claim was a fake on the back of a forgery.
Morrisseau’s SOMA was a painting Donald Robinson had personally examined, in detail, in hand, front and back, without complaint, on Jan 26, 2000 and even aggressively tried to buy it at a Randy Potter auction in Pickering, Ontario, actually becoming the losing underbidder.
(A year later many Morrisseaus, from collectors in Northern Ontario, where Norval had sold thousands of his paintings door to door for decades, started to flood the market and depress KRG’s own bloated gallery prices. Obviously drastic measures were called for.
First Robinson vainly tried to buy them all up for KRG. Then eyeing the falling bottom line at KRG, Robinson had an epiphany.
Failing to corral the flood, of genuine Morrisseau paintings from northern Ontario, the desperate Robinsons and KRG adopted a new strategy for their gallery, doing a 180 and just calling them all fakes, except those KRG was selling…)
In fact in 1999-2000 Robinson bid on some 90 Morrisseaus at Randy Potter Auctions, and ended up with 31 he paid $54,000 for. He sold many as genuine Morrisseaus and NEVER EVER BROUGHT ONE BACK TO THE AUCTION AS A SUPPOSED FAKE OR ASKED FOR HIS MONEY BACK. To believe him, he just let $54,000 worth of fakes go down the drain without a peep.
After having supposedly paid $54,000 for Potter forgeries, this is the cheque that Donald Robinson should have demanded, but inexplicably never did…
The Moxie of the Man – Though he did bring one painting back, for a refund, some 15 months after buying it – if you can imagine. He brashly demanded back his $250 for one painting that he claimed was a fake…
AND NO DEAR DIARY IT WAS NOT a Morrisseau, or claimed to be a Morrisseau fake by Robinson. It was by Robert Davidson, a Haida artist.
SO, WHO’S THE FAKE…?
A profound testament to auctioneer Randy Potter’s ethics, that go far above those that any other retailer would ever subscribe to. And certainly bear no comparison to those of Kinsman Robinson Galleries, who sold many paintings they called fakes for scores of thousands of dollars to their hapless clients and never offered or gave anyone back a refund. As he firmly told my wife, on Nov. 16, 2010, “It’s Buyer Beware out there.” Remember that next time you think of setting foot in Kinsman Robinson Galleries…
No retailer anywhere, would ever have given back the money for any item so long after a sale, but outstandingly principled auctioneer Randy Potter, being more than decent and honest, gave Robinson back his few dollars anyway.
To many retailers a customer is always right, even – especially – when he is spectacularly wrong.
I recall seeing a brouhaha at a Waddington’s preview, where for years I attended hundreds of auctions. A grey-haired buyer and store operator, whom I had seen there often, was loudly accused by another client of stealing stuff out the back door. When I raised the matter with Waddington’s longtime floor and auction manager, expressing surprise that they hadn’t barred him permanently from future auctions, the reply was all bottom line:
“We know he steals but he buys more than he steals.”
– “Robinson as Expert” Rejection #16 – by Kenneth J Davies – “FISH 1976” Apr. 1, 2012 – Discredited “Donald Robinson Expert” Opinion trying to claim “FISH 1976” was a fake
Donald Robinson was the ravenous under bidder on this “wonderful Morrisseau” as he called it in 2000.
Kenneth J Davies, a certified and credentialed Canadian handwriting expert and document examiner, verified that Morrisseau’s FISH was authentically signed with DNA certainty, by Norval Morrisseau, and by no one else, affirming as completely genuine, a signature Robinson, who has no related credentials of any kind, tried to claim was a fake on the back of a forgery.
Morrisseau’s FISH, like SOMA above, were both paintings Donald Robinson had personally examined, in detail, in hand, front and back, without complaint, on Jan 26, 2000 and even aggressively tried to buy both at auction, actually becoming the losing under bidder.
Morrisseau Art Saved by the Bell – But for this accident of history these two spectacular Morrisseau paintings would have become KRG Wankers, later been discredited by the Robinsons as fakes and burned and destroyed, the fate of the other Wankers that fell into the possession of Donald Robinson and his toadying pyromaniacs at the Norval Morrisseau Heritage Society.
If Robinson was an honest, credible, and independent art and Morrisseau expert, then like Kenneth J Davies, he should have had to come to the same conclusion regarding Morrisseau’s FISH and SOMA and the genuine BDP signatures on the back as completely authentic as well.
In fact, back in 2000, he actually effusively affirmed their authenticity when I bought the paintings out from under him, on Jan. 26, 2000 and he assured me what great paintings they were and “you can take that from me, the man who wrote the book on Morrisseau.”
So why is Robinson categorizing them as fakes now, when he very well knows better?
– “Robinson as Expert” Rejection #17 – by Kenneth J Davies – “Grandfather Speaks” Apr. 1, 2012 – Discredited “Donald Robinson Expert” Opinion trying to claim “Grandfather Speaks” was fake
The painting that gullible art collecting neophytes Dr. Jonathan Browne and Julie Witmer claimed was a fake was subsequently certified as a genuine Morrisseau by a forensic scientist. Proving, once again, that you shouldn’t blindly listen to people who claim they are experts whom you meet on an internet dating site.
On Jan. 15, 2009 an Ottawa professional couple, Dr. Jonathan Browne and Julie Witmer, filed a lawsuit claiming their Morrisseau BDP painting “Grandfather Speaks” was a fake. That they had been assured of this by several members of the Norval Morrisseau Heritage Society (NMHS) – a KRG branch plant organization which was founded, and its members appointed, by Donald Robinson – and by Ritchie Sinclair – who was KRG’s newly appointed fraud enforcer.
Tit for Tat – The targeted owner of “Grandfather Speaks” was Joe Otavnik, for obvious reasons. A few months before, Otavnik had famously won his libel and slander lawsuit, against Gabe Vadas (and the mentally vacant Norval Morrisseau) for falsely slandering his art. Afraid to appear before a judge with their fraudulent allegations they paid off Otavnik what he asked for.
Fresh from his victory against that fraudster, Otavnik at that moment, also had an active lawsuit he had just launched against both Donald Robinson and his Kinsman Robinson Galleries, and Ritchie Sinclair, for libeling him and slandering another painting of his, “Jesuit Preist 1974.”
So revenge against Otavnik was the prime motivator in the Browne fiasco.
At the urging of Morrisseau fraudster Gabe Vadas, the Heffel boys quickly delisted this and other genuine Morrisseau paintings from an auction, therefore discrediting it and devaluing it. You can’t blame them for not standing behind their art. Hell, they’re Walmart marketeers of art, not specialists, selling thousands of works by thousands of artists every year. So they understandably know little or less about any individual artist and his work. And when someone slangs a work they dump it rather than stand and fight on principle. When Geoffrey Joyner did the same thing with a Morrisseau painting, it killed his auction house.
I believe the accusing NMHS members who terrorized the Brownes with allegation of a fake, were the multiply-discredited and disgraced pseudo-Morrisseau art experts Dr. Ruth Phillips and Greg Hill. I believe they were the guilty culprits working the room for the Robinsons since they both live in Ottawa and are on contract with the National Gallery of Canada (NGC), where Browne and his wife, Julie Witmer, were elite patrons. I believe they all met, probably at an NGC gala, and that Phillips and Hill went to work on Browne and his wife, firmly assuring them their painting was fake – no doubt dropping the name Donald Robinson more than once – and scaring them into panic mode.
David Heffel probably can tell you more about the Goodwill suit he wears, than the paintings he auctions. He sells thousands of works every year. He can’t possibly be expected to know which are real or how real. So when someone complains he takes them down, even though doing so discredits and devalues them. The fine art business is as bloody-minded and cold-hearted as it appears.
In fact, neither any NMHS member, nor Ritchie Sinclair make a move or express any opinion on Morrisseau art without first vetting it completely with Donald Robinson, whom Sinclair calls “My mentor,” and whose KRG the NMHS regards as the only legitimate Morrisseau expert in the world. The 900 pound gorilla in the room, calling “Grandfather Speaks” a fake was, therefore, without a shadow of a doubt, the Robinsons of KRG.
I believe there is a strong possibility that Donald Robinson was already drafting one of his “faux expert” reports on “Grandfather Speaks” in preparation for a possible trial. In revenge for Otavnik suing KRG for slandering, in tandem with Ritchie Sinclair, his other painting, “Jesuit Preist 1974.”
Browne, an art collecting neophyte, had become a totally mindless, willful, and gullible convert to the fraudulent allegations.
On command from guess who?
Browne denounced “Grandfather Speaks” on the web, and to the Ottawa Citizen, and demanded Otavnik and the consigning Bearclaw Gallery of Edmonton to publicly admit it was a fake. Absolutely another misguided directive he got straight from the Robinsons, Sinclair, and the NMHS.
Both Otavnik and the highly reputable Jackie Bugera, longtime owner of Bearclaw, utterly refused to capitulate to the malicious fraudsters in any way.
Otavnik the only smart person involved in this cauldron of creeps, said the decent, rational, and obvious thing under the circumstances.
“Sure, Dr. Browne, I’ll gladly give you a refund. But first, put in writing who said my painting is a fake, and I’ll sue them for Libel and Slander.”
Julie Witmer and Dr. Jonathan Browne, who hugely embarrassed themselves over their inept knowledge of Canadian art and then victimized another poor old lady “Margaret Hatfield – to go down the same ignominious path.
Idiotically, Browne refused – sure he was directed – and failed to divulge what he knew from whom. The fraud has always depended on individuals who are sneaky, malicious, and underhanded, using willing lawyers and SLAPP suits to terrorize decent people, but at the last moment not daring to go to court, because they know the fraud wouldn’t fool genuine experts and judges.
But the Bearclaw gallery owner – remember the customer is always right – said she would give Browne a refund, but demanded he take down his malicious, defamatory, and fraudulent website, and from then on to STFU, about his vicious, malicious, and fraudulent claims.
In the end “Grandfather Speaks” found repose in a far more deserving home than the Brownes could ever hope to provide.
And the story does not end there.
More than any other Canadian forensic scientist, Calgary, Alberta’s Kenneth J Davies, has Morrisseau fraudsters 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.
On Apr. 1, 2012, Kenneth J Davies, a certified and credentialed Canadian handwriting expert and document examiner, verified that “Grandfather Speaks” was authentically signed with DNA certainty, by Norval Morrisseau, and by no one else, affirming as completely genuine, a signature the NMHS, Browne, Sinclair, and Robinson, none of whom had any related credentials of any kind, tried to claim was a fake on the back of a forgery.
Davies thus, totally discredited Donald Robinson and his business associate and enforcer Ritchie Sinclair, and their NMHS toadies, who had fraudulently managed to convince an art-buying neophyte, and clearly a gullible and willful dupe, Dr. Jonathan Browne of Ottawa, Ontario, to launch a lawsuit trying to claim the Otavnik painting “Grandfather Speaks,” was a forgery.
In effect the Davies expert report proved, incontrovertibly, that Dr. Jonathan Browne was a gullible and mindless dupe, and willful victim – unbelievably he had arrogantly refused, TWICE, to have independent handwriting and forensic experts analyze “Grandfather Speaks” FOR FREE.
He was so arrogantly determined to have a fake. Now he has one, whenever he looks in the mirror…
What the Davies forensic report makes of Robinson’s NMHS business partners is up to you to decide. I can tell you that the Brownes subsequently were no longer listed as NGC patrons, on the National Gallery of Canada website where they had previously been prominently listed, cheek to jowl, beside Wallace McCain and his wife, you know the super wealthy Potato King and Queen of Florenceville, NB.
Davies thus exposed that there were a lot of crooks and creeps involved in this story, but that Otavnik, who owned it, and Bugera who retailed it, were both personally and professionally reputable in what they said about the authenticity of a painting they resolutely stood behind from day one.
And Browne was by no means finished with his calumny. His website had attracted another neophyte art collector, Margaret Hatfield, who, after listening to Dr. Browne, now believed her own “Wheel of Life 1979” was a fake. An eager Dr. Browne quickly delivered her into the waiting arms of Ritchie Sinclair, who had a tailor-made lawsuit and a lawyer ready to go. It would set the little old schoolteacher back an estimated cool $60,000 in legal fees and discredit her name in the annals of Canadian art and among First Nations artists for slanging their top artist’s art as hugely bedeviled with fakes.
It also proved, again in spades, that the real fakes in this greatest fraud in Canadian art history were Donald Robinson, Paul Robinson and their vicious, malicious, seditious, and meretricious collaborating business associates in the NMHS and the National Gallery of Canada, with their fraudulent and racist allegations about the art of Norval Morrisseau.
– “Robinson as Expert” Rejection #18 – by credentialed forensic scientist and handwriting expert Dr. Atul K Singla re: – “Wheel of Life 1979” Aug 24, 2010 – Discredited Robinson “Expert Report” #3 of July 7, 2010, and Robinson’s supplementary personal sworn testimony given by him on the stand trying to claim “Wheel of Life 1979” was a fake
Donald Robinson and his collaborators 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. Why does he do this?
Dr. Atul K. Singla became the third, and most highly credentialed forensic scientist, handwriting expert and document examiner, yet, to resoundingly eviscerate another one of Donald Robinson’s fraudulent “expert reports.”
This time Donald Robinson was trying to claim, with one of his junk science faux “reports” that Norval Morrisseau’s “Wheel of Life 1979” was a fake.
Dr. Singla has an MA and a PhD in forensics, and has handwriting and document examining credentials earned and recognized in India, the United Kingdom, the US, and Canada. He has testified, as a recognized expert, on the subject in various courts over 500 times.
Dr. Singla issued his report, dated Aug. 24, 2010, on eleven paintings for which he was asked to make a determination on the signatures on the back of the paintings.
In any such examination, the forensic scientist is NOT told what to find by the consignor or submitting agency. It is a professional conceit that scientists take very seriously. They may very well have to defend, alone, and in public, their findings. No scientist wants to be made a fool of, on the stand.
Methodology of a Forensic Scientist
Dr. Singla demanded that ALL the paintings he would be asked to examine be delivered to him and left with him for an in-hand examination.
Methodology of a KRG Fraud Enforcer
Compare this slow and cumbersome style of professional document examination with that of Kinsman Robinson Galleries’ own fraud enforcer, Ritchie Sinclair, who admitted that it took him only “a few days” to tour the websites of art galleries and dealers across Canada and the US, look at their low res jpeg images of the fronts of their Morrisseaus, discover 1,000 he called “fake,” and download them to his vicious and malicious website.
In one scorching comment, the Hon. Justice Thomas R Lederer, pointed out the ludicracy of all this, and Sinclair’s wild claim about the backs of these paintings, when in fact, Sinclair had never examined any of these paintings in hand, and had never even seen the backs of any, since they were not published, by any of the galleries.
A Forensic Scientist Studies Norval’s Signature – As preparatory work, Dr. Singla gathered up as many authentic and verified signatures of Norval Morrisseau that he could find, from letters, notes, book signings, etc. to give him the base data from which he could learn what a genuine Morrisseau signature looked like.
Then he looked at “natural variations” because everyone’s signature changes, over time. He wanted to know how, and when, Norval’s signature idiosyncrasies changed.
Then he looked at signature “flow,” and unique “character patterning” involved that develops over time when a writer writes his/her signature over and over.
Then he looked at how Norval’s signature appeared on different mediums and in different sizes. Small signatures on letters will look different than large signatures on pizza boxes or cardboard. Different mechanics of writing are obviously involved. The signature will change again reflecting the accommodation to different writing surfaces, from small to large, and smooth surface to rough surface, from paper, to cardboard, and to leather, skin, birch bark, to masonite, and wood.
Coming Up Empty – Exactly like a three-year RCMP and Thunder Bay Police Service investigation into Morrisseau fakes, they have also failed to find a single fake. Though the Robinson family says there are “thousands of fakes by umpteen forgers” out there.
A Forensic Scientist Studies the “Questioned” Signature – Dr. Singla then turned to the signatures on the paintings, called the “questioned signatures” NOT because they were considered bogus, but because he was asked to make a determination on them. “Questioned signatures” is NOT a term indicating doubt or forgery, BUT an internationally used professional term, used by forensic scientists everywhere to denote the test or research specimen to be examined.
Singla had to note variations also based on the type of writing instrument Norval used as different mechanics are involved with: pen, pencil, markers, and brushes and alter his signature.
Singla then did comparisons. Do the “questioned signatures” match in any way with the authenticated “known signatures?” How well do they match? Did Norval make them? Did he make one of them, two, three, four, or any of them? Which ones?
How does the flow of the signature match? How well do the character patterns match? How well does a signature on a dated painting, match with a letter dated from the same time period?
Which ones look bad?
A Forensic Scientist Studies the Forger’s Signature – Haunting the work of all handwriting experts is the specter of the forger.
Did a creep or crook, or very talented con artist, make a bogus signature, and pull a fast one that’s going to hugely embarrass the expert, professionally, and/or in court, if he doesn’t catch it and expose it?
Forgery is very lucrative, when a single major faked painting can sell for millions, or tens of millions of dollars. When the profit is in the millions only the most talented people do the forgery. And can afford to take the time to study the work of the master which is widely available in public museums. Then they virtually always make a duplicate copy using original materials, and paints going back one hundred to two hundred years.
Norval, by almost giving away his huge acrylic on canvas paintings for $20, $30 or $50 for most of his life, insured that his paintings would never become targets for any forger, unless he was a refugee from Penatanguishene…
Obviously with hundreds of genuine Morrisseaus selling for only a few hundred dollars as late as 2000, his art was NOT a fertile field for forgery of any kind.
Only total idiots would do it; only complete idiots would say it was going on.
Who would possibly want to study Morrisseaus to make forgeries? For what possible reason?
It explains why the “forger’s favourites” – copies of known paintings – have never ever shown up. In fact NOT A SINGLE DUPLICATE of a Morrisseau of any kind has ever been found, anywhere. In fact, every Morrisseau ever found, genuine ones or alleged fakes, have ALWAYS been unique “one-ofs.”
Proving the variations are obviously because the artist did them himself. Or that a forger was even more stupid than we thought, and decided he would just “invent” Morrisseaus, out of his head…
And then it gets worse…
Where in hell could they – anyone – possibly get a data base of original Morrisseaus to study. Norval’s art was notoriously NOT available for study in public museums where he had been a virtually total shut-out until 2006.
No potential forger – in fact Morrisseau researcher of any kind – had an available or accessible database of paintings they could study, or a database of signatures they could copy.
So a forger would have to wing it from one or two paintings. A sure way, as every successful forger knows, to make a mistake and get caught. Which is why forgers never do it.
Dr. Singla also knew, what common sense tells you, that when you are a forger you have only one main concern. YOU DO NOT WANT TO GET CAUGHT.
So, in the world of forgery, less is always more. If you fake too much you will get caught for sure along the principle, of “Give ‘em enough rope and they’ll hang themselves.”
Yet this idiocy is exactly what the KRG fraudsters are trying to claim is what the forgers did. That the huge and over-the-top black drybrush paint signature, title, date, and copyright writings, that dominate the backs of hundreds of paintings the fraudsters call fakes are a sign of forgery.
So KRG operatives in the basement, invented the claim that Norval NEVER DID IT, so the fraudsters did it… Over and over and over again. Without explaining who, when, how, and for what?
In 2012 Judge Martial heard Robinson testify that Norval had given him the names of the forgers, and was all ears. When he asked Robinson for the names, Robinson had one of his strategic attacks of amnesia, saying he had lost the paper with the names, and his memory was failing him.
You decide if all this was Robinson Perjury #2 or Robinson Perjury #22…
The whole Kinsman Robinson Galleries, and Norval Morrisseau Heritage Society claim, also subscribed to and promoted by collaborating lawyers like Aaron Milrad, and Jonathan J Sommer, is exactly as surrealistically idiotic as it sounds.
In fact the BDP signature that they claimed was fake is what hung them out to dry as deliberately and knowingly complicit in promoting the worst fraud ever to desecrate the Canadian landscape.
All three forensic scientists, who, independently, tested Norval’s BDP signature, on a variety of paintings, to a different set of “known” signatures, ruled with DNA certainty that they were a match.
Dr. Singla Upgrades “Wheel of Life 1979” & “SOMA 1976” to a 100% Finding
ULTRA RARE – A typical Norval BDP (Black Dry-brush Painting) from his 1970s high point, signed, titled, and dated by his hand, in the black dry brush style. And all called fakes by Donald Robinson and Ritchie Sinclair. In spite of the fact that some 70 have been authenticated by top forensic experts. And this one, is the first Norval Morrisseau painting ever to be given a “beyond DNA certainty” authenticity rating of 100%, as being painted by Norval. So, who’s the fake…?
DNA is never a 100% match; fingerprints are never a 100% match. In courts they both, always fall shy of that. It is a “high degree of probability,” which a judge wants to hear, and for which many a man has been sent to the chair.
That is the same standard of authenticity found by three forensic scientists asked to make a determination on questioned Morrisseau signatures: Brian Lindblom, Kenneth J Davies, and Dr. Atul K Singla. In some 70 such examinations. Without a single failing ever found.
Dr. Singla departed from that normal scientific standard of authenticity, on Dec. 5, 2013, when he found that the Norval BDP signature on the back of my painting SOMA, surpassed the “high probability standard” normally accepted in courtrooms, and was, in fact, 100% authentic. That it was a match beyond-DNA certainty, to Norval.
(I did not contract Dr. Singla to make a determination, and did not pay for him to do so, but merely delivered my painting to him for research purposes. Hell, I knew my Morrisseaus were authentic. I didn’t need some scientist, or Donald Robinson to tell me. Though both would concur that I did.)
Singla also upgraded his earlier “high probability” rating for “Wheel of Life1979,” to 100% authentic.
What made this change possible?
The Dieter John Voss Affidavit
A sworn affidavit had appeared from a longtime Thunder Bay area resident, Dieter Voss, who had collected Morrisseaus since at least the 1970s.
He had seen Morrisseau paint BDPs and sign, with a brush and black paint, many times. And he and his son, David Voss, had collected hundreds of his works over the decades from the area where Norval had littered his originals for peanuts in the 50s, 60s, 70s, and early 80s.
Dieter Voss provided welcome incontrovertible proof – a “known signature” – of a unique Norval BDP signature done in black drybrush paint on the back of two canvases: “Soaring Thunder Bird 1979” & “Sacred Medicine Bear Changes 1979.”
Voss’ sworn Affidavit (Mar. 29, 2011) said he had not only seen Norval paint both works, but had seen Norval sign the back in BDP style, at Wintering Camp north of Ignace Ontario. And he provided the name of another witness who was there.
This gave Singla the first proven “known signature” of Norval Morrisseau, done by the artist in his large and bold BDP style, with paint, on the back of a canvas. In fact Singla now had TWO such proven examples.
This showed Singla exactly how Norval was forced to adapt his signature, resulting from the changed mechanics in writing his name, with fingers with small letters in pen and pencil, on smooth paper, to large wrist and arm motions, needed when using a brush and paint to write a big and bold signature onto a rough surface.
Singla could now match the BDP signatures on the Voss paintings to the eleven “questioned BDPs.”
And found them to be, not only “a high probability” match to the “known signatures” on letters and books, but a step up in the scientific “probability” scale, to a 100% match to the BDP signatures on the two Voss paintings.
Giving the damning lie to the KRG and NMHS fraudsters, who claim “Norval never ever did it, even once.”
Other reputable art dealers had seen Norval make BDP signatures many times. Marlowe Goring testified he had seen Norval do this dozens of times in Ottawa before a show for which Goring did the framing for him. And scores of times later in Vancouver.
The highly respectable Robert Scott of the Vancouver’s Eagle Spirit Gallery, submitted a sworn affidavit that stated he saw Norval make BDP signatures many times for him while painting in his gallery.
Both Christian (Norval’s son) and Wolf Morrisseau (Norval’s brother) are on record as saying that Norval did this thousands of times, and both specifically are on record as saying, both the front and the back of “Wheel of Life 1979” were definitely painted and signed by Norval.
This sworn testimony from independent sources merely echoed what Dr. Singla had found to be the scientific evidence.
Dr. Singla’s professional conclusion: “Wheel of Life 1979” and its signature were 100% authentic.
This mountain of forensic evidence and expert testimony would cause Deputy Judge Paul J Martial to rule in the Hatfield v Artworld Trial, on Mar. 25, 2013, that “Wheel of Life 1979” was 100% authentic on the front and the back, and that there was “overwhelming evidence” that Norval had done BDP signatures, quite probably, thousands of times.
My conclusion: Robinson’s junk science “expert report” trying to claim “Wheel of Life 1979” was a fake, was utterly fraudulent, and his motives self-serving and vile.
And his toadies on the NMHS and their enabling lawyers, vile, and disreputable academics guilty of racism and willfully promoting anti-Indigenous cultural genocide.
– “Robinson as Expert” Rejection #19 – by Dep Judge Paul J Martial – “Wheel of Life 1979” Mar 2013 – Discredited Robinson “Expert Report” #3 of July 7, 2010, and his personal sworn testimony given by him on the stand trying to claim “Wheel of Life 1979” was a fake
Deputy Judge Paul J Martial scorches Donald Robinson and his expert report.
In a Toronto court judgment, issued on Mar. 25, 2013, Deputy Judge Paul J Martial hugely discredited Donald Robinson’s “expert report” and sworn testimony on the stand that tried to claim “Wheel of Life 1979” was a forgery. Martial’s Judgment discredited Robinson’s trumped up claims and allegations as simply not believable and his credentials, behind his claims to expertise, as non-existent.
This brought to a conclusion the longest fine art trial – by then – in Canadian history, having taken four years to conclude since being filed as Hatfield v Artworld in July 2009.
It was to be a stunning test case of an art fraud involving a family group operating out of Toronto’s Kinsman Robinson Galleries, attacking genuine Morrisseau BDPs, and saying – without a shred of independent evidence of any kind – that they were all fakes – thousands of them. This ludicrous and unsubstantiated claim was suddenly started by Donald Robinson, in 2001, and perpetuated with the help of a lazy, witless, and gullible mainstream media.
You know, the ones repeatedly scorched by President Trump as the “most dishonest people,” the creators of “fake news” and “the enemy of the people.” In this case, the Indigenous people of Canada.
The claims and evidence of the Pop, the Pup, and the Pard – who run the family operated Kinsman Robinson Galleries – were hugely discredited and shamed by the scorching judgment of Judge Martial.
This racist and malicious attacks on their business competitors, by the Robinson family group allied to witless mainstream media journalists who allowed themselves to be used to promote a family business scam, caused GREAT IRREPARABLE HARM to the Indigenous art and artists of Canada. The Robinson claim – made in the media without a scintilla of evidence – was that after 2000 a diabolical syndicate of inept forgers, domiciled in Thunder Bay, Ontario, had produced literally thousands of lowlife Morrisseau fakes.
And this, when, during the entire previous 50 year painting career (1950-2000) of Norval Morrisseau, there had never been an allegation of a single fake raised as an issue by anyone in the media or documented by any expert or academic anywhere.
None… Nix… Nada… boys and girls… So, what gives…?
Slam Dunk Art – Here’s how it developed; the fraudsters like the Robinsons, kept claiming there were literally thousands of Morrisseau fakes out there, and that they were so easy to detect any old fool could instantly pick them out from across the room. Words to that effect which I had heard John MacGregor Newman, KRG’s Associate Director, loudly exclaim to a client inside KRG.
That makes it easy enough to prove, right?
So Hatfield v Artworld, and its five days of trial, was a godsend for the plotters. Remember, they only have to prove one – that’s one folks – fake to a judge to win their case. And they could talk on and on – and they did – for day after day to make it clear to the judge exactly how they knew “Wheel of Life 1979” was a fake. And how they knew Artworld and its experts, were creeps and crooks, in trying to fob off on the unsuspecting public, fake Morrisseau art they knew was supposedly forged.
And the scammers were completely free to pick, out of these thousands of “easy-to-tell” fakes, the best possible “Mother of all Fakes” to prove their case. So the scammers picked the painting they thought was the best possible example of a forgery, front and back, “Wheel of Life 1979.”
And then they found in the owner of the painting, Margaret Hatfield, a perfectly witless and gullible little old lady, that they could con into spending scores of thousands of dollars in legal bills to pay for their legal assault on their business competitors. In this case Artworld, that had sold “Wheel of Life 1979” to the elderly retired school teacher. They also managed to convince her that the painting was NOT a Morrisseau, but the product of forgers, specifically naming Joseph McLeod, owner of Maslak McLeod, who was Kinsman Robinson Galleries’ main Morrisseau art business competitor. McLeod also happened to be Canada’s most respected and senior Morrisseau art expert, with personal Morrisseau family experience dating back to 1959.
It doesn’t get any better than that…eh? A slam dunk all around… Right?
Hatfield was to testify (in 2011) that Ritchie Sinclair – for years, the Kinsman Robinson Galleries fraud enforcer – had convinced her to sue Artworld – using her retirement savings. When she agreed he dropped her into the lap of virtual lawyer Jonathan J Sommer, a Sinclair friend and associate in legal matters.
The Sinclair-Sommer duo would figure prominently, over the next eight years, as closely collaborating business associates, with their names inter-twined and appearing in tandem to advance and promote the “fake” Morrisseau HOAX, in the mainstream media, the main producers of “fake news.”
The dastardly duo worked together to convince other gullible neophyte art collectors, namely, celebrity ivory tickler Kevin Hearn and celebrity singer John McDermott, that they too had fake Morrisseaus, and needed to launch expensive lawsuits, using – who else? – the services of virtual lawyer Jonathan J Sommer.
Sinclair was Sommer’s only witness in the Hatfield case and I often saw him in the courtroom directing Sommer and providing him with documents at recess and before the judge entered. (The only other Hatfield witness was “expert witness” Donald Robinson, a man Sinclair calls, “My mentor.”)
After listening to five long days of testimony, over two years, Deputy Judge Paul J Martial issued his thundering judgment.
Judge Martial Has News of His Own – The stunning and totally definitive conclusions of the judgment, by this most disarmingly inscrutable judge took virtually everyone by complete surprise. In effect this extremely mild-mannered man issued what can only be described as “thunder from the bench,” after deliberating for ten long months.
(I had months before Martial issued his finding, published how, from the evidence, he would (have to) rule, as he did. I had sat through the entire trial and read all the transcripts.)
In fact, Judge Martial allowed or left not even one iota of wiggle room for any dissenter.
(In fact during the Appeal hearing, nine months later, the Hon. Madam Justice Mary Anne Sanderson reminded the Appellant’s lawyer Jonathan J. Sommer and his client, of this aspect of the Martial judgment. Pointing out that Judge Martial, commendably, went beyond what he was required to do by law, for the benefit of the Plaintiff, who was worried her painting wasn’t genuine. Judge Martial left no question but that it was utterly genuine both front and back. A ruling he thought would please and be helpful to her.
But inexplicably Jonathan J Sommer said repeatedly, to the perplexed Justice, that he and his client were not happy to have their painting ruled 100% genuine. It was very clear to everyone in the court then, that Sommer and Hatfield had a different agenda. They wanted their painting to be fake, and called a fake by her court.)
If I may paraphrase, and rephrase, in my own words, what Deputy Judge Martial concluded in his judgment, where he was absolutely firm in making his views known in no uncertain terms. And he established for the Canadian art industry essential truths they could learn from the trial:
Judge Martial found that the Plaintiff, Margaret Hatfield:
“Wheel of Life 1979” that was the center of the longest trial in Canadian fine art history, and was found, by both Dr. Atul K Singla, a top Canadian forensic scientist, and Deputy Judge Paul J Martial to be authentic and signed by Norval Morrisseau himself and no one else. With a beyond-DNA certainty of 100%, both front and back. 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. DON’T feel sorry for her; her wrong-headedness did great irreparable harm to the art and artists of Canada’s Indigenous people.
– was willfully gullible and negligent in failing to do due diligence with proper experts
– was manipulated by clearly motivated fraudsters with no credentials
– used improper witnesses he completely discredited – no evidence, no credentials, and shot through with overweening self-interest
– used an “expert witness” – Donald Robinson BS – who was self-serving, motivated by personal greed, and lacked credentials – degrees, certificates, diplomas – of any kind on subjects he was pompositing on about: nothing at all, regarding handwriting analysis, nor forensics, nor document examination, nor Morellian analysis, nor Cree syllabics.
– falsely tried to claim a completely authentic painting she owned was a “fake”
– used witnesses intending to target and denigrate people they considered business competitors
Martial Totally Discredits the Statutory Declarations – Judge Martial hugely impugned the seven notorious Affidavits of Forgery, accompanied by hundreds of small jpegs listing the supposed “fakes” of six fine art galleries, dealers, and auctions, and issued, between Mar 14, 2003 and April 8, 2005, to Artworld (which sold “Wheel of Life” to Hatfield), James White (who consigned “Wheel of Life”), Maslak McLeod (which appraised “Wheel of Life”), Potter Auctions (which auctioned “Wheel of Life”), Sunami Gallery, Bearclaw Gallery, Woodland Art Gallery.
Judge Martial found that:
– they were inconsistent and unreliable – meaning he didn’t believe or trust them at all, even though they were sworn in front of a notary
– found it troubling that the artist – supposedly the source and authorizing author of these statutory declarations – himself was repeatedly unreliable and untrustworthy
– found his disquiet increased when even the artist’s own dealer Donald Robinson admitted that Morrisseau was “unreliable.” Which means Morrisseau would lie and be unethical when self-interest called for it. Like falsely signing Affidavits of Authenticity.
– Martial noted – as if this wasn’t enough already – that even Robinson admitted Norval had memory problems. Backing up the observation of Wolf Morrisseau who testified that in 2001, Norval told him he couldn’t even remember or recognize his past paintings. That his memory was gone and he couldn’t recall if he had painted a specific painting or not.
Dementia and All That! – That’s easy to believe, coming from a bedridden Dementia-debilitated and bedridden terminal care patient.
I was there? I did that? I can’t believe it! – Having a personal corpus of thousands of miles of film and video footage I created in thousands of locations all over Canada, over some 40 years, I am constantly, literally “blown away” when I come across old footage I have shot. And dammit, it looks too good to be mine! Besides I have no recall at all of having done it. Or exactly where I might have done it. And I have NO mental health or physical health issues of any kind. But it must be mine because my name is on the footage label. And I’ve never used footage shot by others.
So when Donald Robinson says, in sworn testimony, that at the end, Norval’s memory was perfect, and that it was preposterous for people to suggest that Norval might not remember every one of his past 10,000 paintings – and so instantly spot a multitude of fakes – he leaves me speechless…
If that’s what Parkinson’s Dementia, and Alcohol Dementia does for you, then I want some…
– Martial also scorched the Plaintiff’s virtual lawyer, Jonathan J Sommer, for failing to provide proper witnesses to all of these important matters, on such a crucial issue.
To Judge Martial, the Statutory Declarations looked like a disaster zone of the most suspicious kind.
Forgery Scam Right This Way Folks…: What disquieted Judge Martial, of course, is a notoriously huge and common sensical forensic indicator of forgery, fakery, and fabrication. That the more you lie the more you trip yourself up because you cannot keep all the lies straight, when, for example, you pick and choose among hundreds of paintings to decide which you want to be “fakes” today. And forget that you deliberately had left some out, and ignored them as “fakes” – and therefore authenticated them – in a previous sworn Affidavit. And then doing that repeatedly, between Affidavits, as Defence lawyer Brian Shiller, with the help of James White showed on the stand.
In fact not a single one of these Affidavits bore a single original signature of Norval Morrisseau. Forensic scientist Brian Lindblom believed they looked like “scissors and paste” fabrications. The signatures submitted to each prospective lawsuit Defendant bore a “xeroxed signature” of Norval’s. Done when, and by whom is anyone’s guess since Norval himself was practically on hid deathbed at the time…
What the Judge Never Knew Before he Reached his Verdict…
Norval’s Sworn Affidavits All Damned by Forensics – And these seven Affidavits of so-called forgeries, were so spurious, and viciously and maliciously cadged together, that it was possible to find paintings in each one that had been forensically authenticated as genuine. Or where there was none, to randomly select others from the same Affidavit, to submit for forensic testing.
In the end, after the trial had ended, EACH AFFIDAVIT was shown to contain at least one painting that was forensically authenticated by a top handwriting analysis expert to be an authentic Morrisseau.
If a randomly selected ONE out of 200 “fakes” listed in an Affidavit is genuine, how many other genuine Morrisseaus are there in the document, that are fraudulently discredited by the fraudsters? Two…. ten… 100… or all the above…?
It’s a totally damning indictment of the people who promoted these Affidavits as honest and truly sworn factual documents, including: Gabe Vadas, lawyer Aaron Milrad, Donald Robinson, Michele Vadas, and their asordid cronies in the NMHS. When in fact the forensics prove that they were lowlife fakes, like the fraudsters who were trying to push them on Defendants, judges, and the public.
So, do you believe Norval had anything to do with the Affidavits issued with his Xerox signatures glued on? I suggest having the hands of the likely suspects tested for glue-pot residue.
In fact Vadas and Milrad were trying – backed up by threat of a lawsuit – to use these spurious Affidavits to get Artworld to dump its own 100 Morrisseaus and get them replaced with their own brand of KRG “composite Morrisseaus” – you know the Burrowsseaus, Vadasseaus, and Rosseaus. Milrad was already looking to gather up paintings belonging to KRG business competitors for his painting burning party at the next NMHS kaffeeklatsch.
Speechless: In other evidence which was NOT presented at trial, other observers have documented that during this exact period, when Norval was supposedly authoring, approving, and authorizing hundreds of supposed “fakes” by six galleries and dealers, Morrisseau was incapable of uttering a single intelligible word (CBC producer Paul Carvalho who spent many long hours of close personal filming time with Norval in 2003 and 2004, said Norval couldn’t speak a single intelligible word).
Norval also couldn’t even recognize his old pal Gary Lamont (of Woodland Gallery) in 2005, and James White testified, Norval couldn’t even recognize his own son Christian Morrisseau in 2006, when White took Christian to visit his dad, whom he hadn’t seen in years.
So begging the question: how did Norval possibly communicate to the Vadas cabal, which had been manipulating him for years, which galleries should be targeted, and which ones, of hundreds of paintings, should be included on the Statutory Declarations before they were issued against all the main business competitors of Kinsman Robinson Galleries?
And since Norval was obviously totally incapable of being the author, who were the scheming, scamming culprits behind these fabricated and fraudulent documents and clearly guilty of manipulating a Dementia-debilitated “Indian” on his death-bed, supposedly into signing them?
Martial overwhelmingly and without a single caveat or reservation, found for the Defendant, Artworld, which he said:
– was NOT, as the Plaintiff tried to claim, involved in some scam selling fake art
– had sold a painting “Wheel of Life 1979” that was absolutely genuine, BOTH front and back
– had done everything humanly possible to verify and authenticate “Wheel of Life 1979”
– had properly requested “authenticity” appraisals from two independent, genuine, and unbiased Morrisseau experts
– had Morrisseau family members attest to the painting’s authenticity, BOTH front and back
– had used witnesses who were believable and trustworthy and in every case “preferred” by the judge, over those of the Plaintiff, including:
– Donna Child – highly reputable art gallery owner, who pointed out all the responsible steps she took to make sure the painting she was selling was genuine,
– Joseph McLeod – highly reputable former academic, and longtime art gallery operator, and Canada’s senior Morrisseau expert, with experience dating back to 1959
– James White – highly reputable art dealer who revealed a double-dealing insight into Donald Robinson and Kinsman Robinson Galleries
– Kevin Cott – passionate art collector who revealed a double-dealing insight into KRG enforcer Ritchie Sinclair. Cott was a collector who had bought a $25,000 Morrisseau, on Sinclair’s advice, years ago, only to learn, recently, to his astonishment, only that Sinclair had been calling it a fake for years on his website.
A magnificent painting, “Season of Rut for Moose,” purchased by Kevin Cott, that became the proof for Ritchie Sinclair’s perjorious claims.
Ritchie Sinclair committed harakiri on the stand and dealt another death blow to Jonathan J Sommer’s case.
The Return of the Rebuttal Witness – One of the worst missteps in Sommer’s handling of the Hatfield case has to be his decision to bring back his own witness, Ritchie Sinclair, in an attempt to rebut Cott’s claims.
On the stand Sinclair said what Cott said was not true, that he had told him almost immediately after buying it, years ago, that his painting was a fake.
And that the two had laughed about it. Laughed about a $25,000 fake…
This wildly surreal idiocy, that even flies in the face of basic common sense, convinced everyone in the courtroom that the Cott testimony was NOT a “he said, she said” equation, but a case of an honest man against a total liar. And the Defence had to hugely thank the Plaintiff’s lawyer for producing his witness to commit harakiri on the stand, in front of everybody, and deal another death blow to Sommer’s claims and the integrity of his witnesses.
– Dr. Atul K Singla – highly reputable forensic scientist, who authenticated the “Wheel” signature with the “high degree of probability” standard that courts expect***
***NOTE: After the trial this standard was elevated to 100% certainty, for “Wheel of Life 1979,” along with my own “SOMA 1976,” on Dec. 5, 2013, the first time this forensic overkill standard was ever achieved by any Morrisseau painting. Or one by any another artist that I am aware of. The lesser court standard of “high degree of probability” – which is also the standard for fingerprints and DNA – has sent many a man to the hangman.
This forensic landmark finding resulted when a sworn Affidavit was received from longtime Morrisseau collector, Dieter Voss, affirming that he had seen Norval Morrisseau paint and sign in BDP style, two of his own paintings, which he then provided to Dr. Singla. Dozens of previous authentications by three different forensic scientists had always been done by comparing the BDP signature to Norval’s signature on letters, notes, books he autographed, etc. Now, for the first time, BDP signatures could be forensically compared with authenticated BDPs, so resulting in the “beyond DNA” match of 100%.
That TWO Morrisseau paintings, called lowlife fakes by the Robinson cabal, have achieved 100% authenticity ratings from an independent forensic scientist, a standard virtually unachievable by any paintings from any artist, is a stunning indictment of the Robinson family’s pathological intent to destroy and do irreparable harm to the Indigenous art and artists of Canada.
– Marlowe Goring – highly reputable art dealer and framer for Morrisseau, who testified he saw Norval sign dozens of BDPs in the 1970s and 80s in Ottawa, and Vancouver. And saw Norval delivered in a shocking state, by Gabe Vadas, to his Qualicum Beach Gallery in the back of a van in 2006. That Norval was non-communicative, and appeared insensate, drooling, and filthy. And couldn’t even recognize his old colleague from earlier times anymore.
– Wolf Morrisseau – a “preferred witness,” brother of Norval and his one-time business manager, who testified he had actually started Norval signing the backs of his paintings in BDP style, in the early 1970s, and had seen his brother do it thousands of times.
NOTE: Students of Morrisseau who are confused, or just malevolent – like Carmen Robertson Ph.D. and her NMHS and KRG cronies are, about the history of Norval’s BDP signatures, and use this to slang a painting, that has one, as “fake” or not, should remember a few essential facts, as follows:
That Double-dealing Norval – Norval was always a “double-dealer.” He was never, ever, personally loyal, even to his own family members. So it’s no surprise that he was never a loyal, “one gallery” or “one distributor” kind of guy – ever. He was never, ever, faithful to any contract he signed with anyone, including the one with the Volpe mob in the 1970s, or even the one he signed with Donald Robinson in 1990. Norval thought contracts, an offshoot of the dominant white society that had exploited Indigenous people for hundreds of years, were crap.
“White man’s paper no fucking good,” he famously told Jack Pollock.
Jack Pollock had discovered a brilliant “Indian” artist in 1962 in a remote Ontario backwater. He knew this was exactly the hook – Primitive Indian – he wanted to use to sell paintings to his Toronto upper class whites – art from a raw and uncontaminated “primitive.” Selwyn Dewdney also repeatedly coached Norval to this end, and told him NOT to paint stuff like Catholic religious symbols into his art. It would destroy the illusion for his audience; it would downgrade the marketability of art from a “primitive savage.”
That was the Pollock hook during the 1960s and 70s. Pollock didn’t want, or would not accept, “contaminated” art from Norval, and that included “English signatures and titles” that spoke of white urban sophistication and civilized contamination of an authentic primitive.
From Tourist Art to Fine Art – Norval, had of course, like all other artists since time immemorial signed the backs or fronts, of his artistic creations, whether on skin, birch bark, pizza boxes, boards, paddles, chunks of wood, cardboard, etc., with his English name or initials N.M. for many years. That’s not only a common sense reality but a historical fact. Norval’s inflated ego would not have allowed him to do otherwise.
So the question is NOT when did Norval start to sign his name on the back – the Robinsons claim he never did, that only the forgers did – but when did he stop doing so?
If desecrated with this contamination, Pollock, Dewdney and Lister Sinclair feared their audience would distrust the depth of Norval’s “Indian” content. So they tried to obliterate any contaminating elements, from art they collected and sold, like cars, Catholic religious symbols, and especially, big English signatures and titles. Lest clients, looking for true “primitive” art were put off: “Hey, am I being conned by this guy or what?”
So Norval gave the trio what they wanted: paintings without white symbols, and without non-Indigenous English writing. Which they then published in a book in 1979, full of – get it now? – non-BDP signed paintings. A great and glorious promo for a “true primitive” without any off-putting or undermining elements. There are hundreds of these contracted paintings around, maybe thousands, bearing no BDP signatures.
And they’re not fakes, folks! Just unsigned… And believe me, art collectors do not like “unsigned” paintings, not from AY Jackson, Emily Carr, or Norval Morrisseau.
Which in a way is a shame because if you want to test their authenticity you have no DNA on the back that you can take to a forensic scientist for testing.
Painting for the Mob – I believe too, that when Norval had an exclusive in-house contract to paint and turn over all his output to the Volpes, in the late 1970s, he probably did not sign the BDP signature on most of the paintings he did for them. The need to use the signature for marketing or publicity was not necessary. So why bother?
So I believe the mob, just like Pollock, ended up with a lot of unsigned “primitives.”
That Double-dealing Norval – But two things: Norval was a double-dealer. So he always sold tons of paintings behind the backs of people who got him to sign supposedly exclusive contracts. That never stopped Norval from betraying, even the people like the Volpe mob in Toronto, who employed hit men, and Kinsman Robinson Galleries.
But Norval was eager to spread his wings, and wanted to be more than a “local primitive” for Pollock, Dewdney, and Lister Sinclair, which is all they wanted him to be, fearing that anything else would discredit his Indianness.
Norval had no such hang-ups; and neither did his brother Wolf. They damn well knew they were “Indians” to the core, regardless of what they wore or put into their art. And were proud of it, and secure in it. And quite easy with stepping out of bounds, without fear, by doing so, of “losing it.”
Which is how these two savvy “Indians” collaborated to invent the BDP signatures sometime in the early 1970s. Norval was a born showman, and wanted to be famous. Wolf was far sighted and knew his brother would become so, around the world.
And realized, hell those people didn’t want a primitive savage, they wanted Norval and his Indian art, warts and all. Wolf saw by stripping the art of Norval’s English name on the back, they were, hugely, losing publicity and market share in the world outside Canada.
So Wolf’s marketing savvy***, the savvy of an “Indian” who was secure in his roots, explained to Norval that his big and bold English signature and titling and date were essential if he wanted to market to collectors around the world. English – not Cree syllabics, which Pollock, Dewdney, and Lister Sinclair loved – was the language of international communication and would spread Norval’s name, beyond Pollock’s local clients, to millions of collectors all over the world.
***I heard Wolf testify to this and read it in the transcripts as well.
Which is why there are thousands of Norval’s BDPs all over the world, and date from exactly the same time as he was faithfully painting and selling his cleansed “primitive savage” works, without English signatures, so beloved and contracted by Pollock, Dewdney, and Lister Sinclair.
So don’t blame forgers, blame the “double-dealer” Norval Morrisseau, and his brilliant marketeer brother Wolf Morrisseau, for the existence of thousands of Morrisseau BDPs all over the world.
Confirmed with the thundering pronouncement from the bench by Deputy Judge Paul Martial, who affirmed that there is “overwhelming evidence” that these exist in the thousands, and are authentic.
The Robinsons Halt the BDPs
The BDPs hugely vanished in the late 1980s. Norval was in artistic, physical, and mental decline. He was increasingly shaky.
When the Robinsons became his principal dealer in 1990, they passed the word to the Gabe Vadas “Morrisseau studio:” stop signing the back in the BDP style.
KRG did not want clients to say, “Hey, if Norval’s signature is so totally shaky and falling apart on the back, why is the painting on the front so firm and steady… What gives?”
Robinson told Judge Martial he had never seen a BDP that was other than a Morrisseau fake. He said of the 1,000 or so Morrisseau studio paintings KRG sold, ALL were blank on the back. And that ALL genuine Morrisseaus MUST be blank on the back.
NOTE: On this exact point I heard the Hon. Madam Justice Mary Anne Sanderson, openly scorn the Robinson claim, on Dec. 7, 2013, by asking the Defendant’s lawyer Brian Shiller, a pointed question that was an answer all to herself. Shiller, pleased that she had read so many of the relevant transcripts, answered. “Yes, Your Honour.” Her dismissive scorn was later openly reflected in her scorching judgment, when – in the only quote she used – she quoted Robinson’s claim, regarding Norval’s thousands of BDP signatures, “Never once have I ever seen it.” For which Judge Martial had ruled that there was “overwhelming evidence” they existed in the thousands, and were real.
Now who you gonna believe? Who you gonna trust?
The Return of the Double-Dealer & the BDP – In spite of the Robinsons’ best efforts in the 1990s, genuine Morrisseau BDPs from the period, though rare, exist.
You can thank Norval the double-dealer for that, because though Robinson loved to claim to judges and clients, that he was the “exclusive dealer” for Morrisseau it was not true, was never ever true, of course.
Where’s the Beef on the back of a KRG “Morrisseau” shown here in their window in 2013? No BDP to take to
the bank er I mean forensic scientist. But someone has helpfully stuck on a couple of paper stickers with glue telling you – I supposes – what it’s supposed to be and when it was painted. And from where they dreamed it up, is anyone’s guess. But a big part of KRG’s “provenance manufactory” is located directly underneath where you are standing. Do I, as a serious Morrisseau collector, want to seee the other side…? Not a chance…
Robert Scott of the Spirit Gallery in Vancouver, signed a sworn Affidavit saying that Norval painted in his gallery at various times in the 1990s, and then signed the back in his famous and familiar BDP style, because that is what Scott wanted Norval to do for his clients. And Scott had signed and dated receipts from Norval proving it was so.
I would personally NEVER buy a Lawren Harris that did not have a Lawren Harris signature. Nor would I buy a Morrisseau, without, preferably, a big blowsy Norval Morrisseau BDP on the back, that I can take to the bank I mean to a forensic scientist, for authenticating, if I want to. There are some 70 cases where that has been successfully done, of course, without a single failing.
You cannot ever do that with any of the 1,000 blank-backed “Morrisseau studio” paintings AKA Burrowsseaus, Vadasseaus, and Rosseaus, sold by Kinsman Robinson Galleries from 1990 to 2017.
But at least you will have a paper sticker from the Kinsman Robinson Galleries and the word of Donald Robinson BS.
Judge Martial Listens to Donald Robinson BS – Originally the Defendant’s first lawyer, in the Hatfield v Artworld trial, Dowhan, tried to have Donald Robinson barred as being unfit to be considered as an “expert witness.” He cited the scorching judgment of Donald Robinson by the Hon. Justice Murray Alexander Mogan in the Whent tax case from 1996.
A finding affirmed by two other Justices from the Federal Court of Canada when Whent angrily appealed the judicial denigration of his Morrisseau “expert.” He lost again. Robinson was discredited further. (Mogan, Sexton, Isaac).
I had read the Mogan Judgment and had to agree that Robinson was damaged goods, and on that damning basis alone, there was no way that Robinson should have been vetted as any kind of “expert witness.” He was far too discredited a commodity to be considered an arm’s length expert by anyone.
Robinson and his KRG gallery were also known and documented as being vicious and aggressive attack dogs against its business competitors, like Maslak McLeod, Elmwood Spa Gallery, Bearclaw Gallery, Woodland Gallery, Gallery Sunami, James White, Randy Potter, and Artworld.
What arm’s length credibility could he possibly have with his testimony after all the vicious and malicious attacks against these reputable businesses and owners?
So I was among many who were shocked by Martial’s decision to let Robinson testify as an “expert witness” with regard to Morrisseau art, and even though he added that he would “weigh” his evidence.
The Wisest Man in the Room – In the end, Judge Martial proved to be the wisest man in the room.
Rather than slapping Robinson down as unsuitable because of his shabby record, he gave the self-styled Principal Morrisseau Dealer free reign to lay out his case that “Wheel of Life 1979” was a fake. Patiently listening to him, hour after hour, over multiple days. As he vainly tried to explain all the junk science mumbo-jumbo he put into his “expert report.”
“Give him enough rope…” – In the end it was not the judge who convicted Robinson so much, as Robinson himself, by what he said, how he said it, and by too much of what he said, that served to totally discredit him personally and professionally in the eyes of the judge. And those of us who watched and listened up close, from the public galleries.
Judge Martial ruled that the painting Robinson called a fake, both front and back, was instead genuine, front and back, and 100% authentically BOTH painted and signed by Norval Morrisseau.
Martial also went overboard in another ruling that completely scorched Donald Robinson, personally and professionally, finding that there was “overwhelming evidence” that Norval Morrisseau signed the backs of countless – possibly thousands – of his paintings with bold black drybrush paint signatures. So authenticating BDP style paintings like “Wheel of Life 1979.”
Totally dismissing and discrediting what Donald Robinson tried to claim, that not even once had he seen an authentic Morrisseau painting signed on the back in black drybrush paint.
Martial here was only breaking ground for Canadian courts. Scores of these BDP signatures had already been authenticated by multiple forensic handwriting experts over the years. Affirming them as totally authentic with DNA certainty, and without a single failing.
So Judge Martial totally discredited both Robinson’s “expert report” and his supporting sworn testimony on the stand.
Judge Martial chose to accept the forensic report from internationally certified and credentialed handwriting and forensic expert Dr. Atul K Singla who had certified that “Wheel of Life 1979” was 100% authentically signed on the back by Norval Morrisseau and by no one else. Other experts, including Morrisseau’s own brother, testified the front of the painting was absolutely authentically painted by the artist as well.
It didn’t help his credibility, as arm’s length, when Robinson launched racist attacks against the Indigenous Morrisseau family members, as “all liars.” And openly snarled – I saw him; I heard him in court – that he hoped his testimony would damage Artworld. This vile stuff from a supposed arm’s length, “expert witness” who is not supposed to have – or display – a vested interest in the outcome of the trial.
“Give him enough rope…”
The Hatfield Lawyer – Virtual Lawyer*** Jonathan J Sommer
Judge Martial also castigated the Plaintiff’s “virtual lawyer” Jonathan J Sommer for failing to produce the kind of credible witnesses he expected to see in a case of this seriousness.
***This is Jonathan J Sommer’s own self-description, which I quote directly from a SLAPP suit he tried to launch against me to shut me up and prevent me publicizing what I consider a matter of the utmost public interest and importance, namely, what he and his business associates were doing with regard to Morrisseau-related art with their racist attack on the art heritage of Canada’s Indigenous people.
“… he operates as a sort of virtual lawyer…” (From Jonathan J Sommer’s personal bio.)
Webster Dictionary – “virtual”
“- being such in essence or effect though not formally recognized or admitted”
“- being such in power, force, or effect, though not actually or expressly such”
Seeking Sommer’s Secret Hideaway – Sommer’s actual bricks and mortar business location – if there is one – is a complete mystery, a place he keeps deliberately, totally, and inexplicably, secret. Sommer has no actual bricks and mortar shop in Ontario, maintaining only a “virtual” presence in Toronto, a mailbox in someone else’s legal shop.
Mr. Sommer apparently lives in some rural backwater near Cowansville, Quebec, where some of his recent legal documents originate. If he has a bricks and mortar shop of some kind there, it seems not to be for lawyering, because the “Barreau du Québec”*** does NOT list him as one of the thousands of names of avocats (i.e. lawyers) licensed to practice Quebec law in Quebec courts. His name is not listed as either a lawyer or a notary. So perhaps he is a car wash operator, or an Uber driver in real life…
***Counterpart of what the Law Society of Upper Canada is for Ontario lawyers.
Or perhaps, being “virtual” as he claims, he operates out of his suitcase in seedy motels.
At any rate he is NOT listed as a member (an “avocat”) on the website of the Barreau du Québec, the professional organization representing the thousands of lawyers who practice law in Quebec. And his name does not come up in its search engines.
A Lawyer’s Rant Berating the Judge, the Judgment, & the Process
As shockingly surprising, and welcome in its totality, as Judge Martial’s judgment was (Mar. 25, 2013) the reaction of the losing lawyer Jonathan J. Sommer was more so.
Virtual lawyer Jonathan J Sommer immediately went to the Ottawa Citizen (Apr. 8, 2013) to denounce the judgment in words that I would paraphrase as “People should disregard this one little old judge, in one little old court, with regard to one little old painting. My opinion remains that there are countless Morrisseau fakes out there regardless of what he says.” Sommer entirely out of self-interest, and clearly in an attempt to attract new clients, also uttered complete falsehoods about what the judge actually said.
Sommer, after just having had his total case discredited, both his witnesses totally discredited, his expert witness hugely impugned and his “expert report” rejected, his Plaintiff discredited, a painting he claimed was fake, ruled to be 100% authentic, and even his personal performance criticized,*** this lawyer, in what I would characterize, as an unprofessional rage, immediately went to the media to criticize the judge, and the judgment. (Ottawa Citizen, Apr. 8, 2013)
***Judge Martial reprimanded him for NOT providing witnesses he expected to see from the Plaintiff, in a case of this seriousness. He also noted pointedly, that Sommer was seeking $40,000 in costs, from an Ontario Small Claims Court, where all such costs are cut off at $3,750 tops. Because that’s what Small Claims Court is all about, keeping costs down for the litigants. Probably the news had not reached Sommer at his country retreat in Quebec.
Virtual lawyer Jonathan J Sommer seeking $40,000 in costs, for a Small Claims Court action, where maximum costs are capped at $3,750, also perceptibly raised the eyebrows – hey I was there; I saw it – of Justice Mary Anne Sanderson, during the Appeal hearing, when it was cleverly brought to her attention*** by the Defendant’s lawyer Brian Shiller.
***It’s malfeasant lawyering by his opponent, if you missed it folks…
I believe in giving vent in the media, with an unprofessional and untrue rant against an Ontario court, this Quebec-domiciled lawyer hugely undermined and brought into disrepute the administration of justice in Ontario.
The article, carrying Sommer’s unprofessional rant in the Citizen, was soon duped and recopied on other internet art sites.
I wrote a blog article asking why there are no laws, or Law Society of Upper Canada rules that discipline lawyers who disgracefully, and publicly, attack judges and judgments they lose, in the media?
And so Bring the entire Administration of Justice Into Disrepute…
And who then, after spectacularly failing to prove even one single fake in court, and being sternly reminded of it, by a judge, how can a losing lawyer, in any way, claim in public, that there are countless fakes out there…?.
When he had spectacularly, utterly, and embarrassingly, and after the longest fine art trial in Canadian history, where that’s ALL he had to do – and with the painting of his choice – had just failed to provide any evidence that there was even a single fake, out there…
It was surreal madness… for a start…
Sommer had spectacularly lost in every single way a lawyer can lose a case in a court. Without a single saving grace…
I wrote that Sommer’s outburst in the Citizen was an unprofessional outburst and a disgraceful free want-ad for a lawyer trolling for gullible dupes. Like Margaret Hatfield, who now had to pay nearly $40,000 for legal costs, and who knows what else, to her lawyer, who seemed to have convinced her he could prove her painting a fake, and squeeze scores of thousands in financial restitution from the Defendant. As oddly noted in the Plaintiff’s Claim.
No siree… Not in Small Claims Court you can’t. I thought everyone knew that. But then Quebec is a long way away.
(The court records contain the detailed billing submitted by virtual lawyer Jonathan J. Sommer. By the end of the Appeal process which Sommer pursued, despite every common sense voice of reason, this misguided little old lady school teacher had lost some $60,000 trying to prove her $10,000 painting was a fake. Not a cent of which she would ever see again.)
I asked, where is the Law Society of Upper Canada, in disciplining members who misbehave in this way?
This guy was supposed to be a member of a club, which has a set of rules binding on its members. You win or lose. Then you STFU and go on to another case.
Not strike out publicly with totally fraudulent and unsubstantiated drivel against a judge, a judgment, a painting, and a legal process everyone is supposed to have trust in. And paid big bucks to have trust in.
Now you had a lawyer saying publicly, sorry, you’re wrong, you wasted your money, it’s all crap. What the judge said was essentially irrelevant. He’s a nobody from nowhere. Small potoatoes from a Small Claims Court. There’s tons of fakes out there… That’s my opinion and my client’s opinion.
After my scorching outburst, the article suddenly vanished…
Mysteriously, that angry Sommer outburst totally disappeared from the archives of the Ottawa Citizen. When mainstream media editors are adamant, that they will NOT remove articles from their archives except under the most extraordinary circumstances.
The Sommer rant also disappeared from every internet archive, and every site where it had previously been recopied.
It sank without a trace, And without an explanation as to why it was expunged so totally.
Who would possibly have an interest in having this done?
Luckily I am among those who saved very good screen grab copies for my readers…
So that law professors can have actual documents to use to educate the next generation of lawyers on grossly malfeasant behaviour they should NOT duplicate, if they wanted to avoid being disciplined or worse, by the Law Society of Upper Canada, for bringing the administration of justice in Ontario into disrepute.
And then it gets worse…
The Martial Watershed in the History of Canadian Art
The fraudulent allegations of Morrisseau fakes, promoted by the Robinson family of Toronto since 2001, were made to appear to be legitimate, for some years:
– by an aggressive Robinson family cabal of self-promoters and self-publishers
– by multiple lawyers who had no problem making income by fronting for a fraud
– by a journalistically malfeasant and negligent media intent only on publishing “fake news”
– by malfeasant fine art auctions who would rather dump and slang genuine Morrisseau art than educate and inform themselves, and do the right thing – Joyner’s, Waddington’s, Heffel – for fear of alienating a high spending client, and losing a buck
– by art dealers who refused to stand up and be counted
– by an unprincipled professional art dealer’s association which refused to discipline a clearly fraudulent member that hugely victimized the Canadian public and carried out cultural genocide against the art and artists of Canada’s Indigenous people
They all wantonly, viciously, maliciously, seditiously, and meretriciously collaborated to do GREAT IRREPARABLE HARM TO THE INDIGENOUS ART AND ARTISTS OF CANADA.
Great Canadian Cultural Heroes – Despite these overwhelming odds some highly-principled people in the Canadian art community stood above the lowlife mob, and launched – and won – significant legal initiatives, lawsuits, and court cases, against the fraudsters: Joseph Otavnik, James White, and Michael Moniz.
Other, equally principled collectors, like Ugo Matulic, spent thousands of dollars of their own money, to have Morrisseau paintings belonging to others, forensically tested by handwriting experts.
Firmly behind them stood every Deputy Judge, Judge and Justice who was ever asked to express opinions on Morrisseau fakes or the credibility of fraudsters who alleged there were.
And firmly behind them stood every single forensic expert who was ever asked to make a determinations on the authenticity or not, of some 70 Morrisseau painting signatures. Without finding forensic proof of a single fake painting or forged signature. NOT ONE. In fact ruling, that in every single case where they had a legible signature, that it was authentically done by Norval Morrisseau, with DNA certainty, and by no one else.
In fact ALL the pre-Martial Morrisseau-related lawsuits from 2001 to 2013, were won by the anti-Robinson, anti-fakes allegations individuals. IN NOT A SINGLE CASE DID THE ROBINSON CABAL WIN A SINGLE COURT DECISION OR LAWSUIT.
They and their business associate were involved in threatening many legal actions against many dealers and collectors. But NEVER FOLLOWED THROUGH ON A SINGLE ONE.
IN FACT, TELLINGLY AND DAMNINGLY, THEY FLED FROM EVERY COURTROOM ENCOUNTER WHERE THEY WOULD HAVE HAD TO SHOW THEIR EVIDENCE.
THAT IS A SPECTACULAR INDICTMENT OF A FAMILY CABAL AND THEIR CLAIMS, BECAUSE THEY DAMN WELL KNEW THEY DIDN’T HAVE EVIDENCE OR PROOF THAT COULD STAND EXAMINATION IN COURT BY THE PIERCING EYES OF ANY JUDGE.
AND THAT WAS BECAUSE THEY KNEW THE WHOLE THING WAS A SCAM FROM THE BEGINNING. HOPING TO GET THEIR WAY BY SIMPLY TERRORIZING DECENT PEOPLE WITH THE POWER OF ATTORNEY THEY APPROPRIATED FROM A DEMENTIA-DEBILITATED INDIAN ON HIS DEATH-BED.
A totally disgraceful indictment and discredit to a family and its unfounded allegations.
Kinsman Robinson Galleries have done unforgivably great irreparable harm to the Indigenous art and artists of Canada and to the many reputable art dealers who tried to support and promote them by showcasing their art.
Mainstream Media “Fake News” – Which the malfeasant mainstream media DID NOT PUBLISH. Remember, as President Trump has pointed out, endlessly, they only publish “fake news” and “they are some of the worst people I have ever met.” And I might add “they are the enemy of the (Indigenous) people.”
The racist and malfeasant Canadian mainstream media on the Morrisseau fakes file is proof in spades that Trump for all his failings is dead on with some of his observations.
But until the Martial Judgment on Mar. 25, 2013 the courts had not dealt with any measu