Notable paintings which feature large and have played key roles in the controversy surrounding the Conspiracy Theory of “thousands of forgeries by umpteen forgers,” which has been called “the greatest fraud in Canadian art history.”
These Potter paintings forced Morrisseau and his business manager to settle out of court and pay Joe Otavnik $11,000 for defaming his paintings.
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.
The pseudo-Indian art by a white man – Ritchie Sinclair – that nobody wanted, in the dying days of the Lane Gallery weeks before it went bankrupt. This was the second gallery that went bankrupt just weeks after Sinclair had his work displayed there. The other was the Scollard.
The painting that gullible CT Proxies Dr. Jonathan Browne and Dr. Julie Witmer claimed was a fake was subsequently certified as a genuine Morrisseau by a forensic scientist. Proving, once again, that you shouldn’t blindly listen to people who claim they are experts whom you meet on an internet dating site.
From Coghlan Arts’ website, where Bryant Ross claims he gets all his Morrisseaus direct from the artist or has them authenitcated by him, is his sales ad which he used to try to sell “Water Spirits’ for years, then suddenly, decided to call it a fake and destroy in front of TV cameras as a suppsed fogery. Where Bryant Ross leads, in cultural genocide of genuine Morrisseaus, can the NMHS be far behind?
No we did not pay to have this BDP painting authenticated by a top Canadian forensic scientist. But I believe because of its “known and certifiable provenance,” more than any other Morrisseau painting, it holds the key to unlocking and exposing the HOAX.
In spite of Donald Robinson saying ALL BDPs are fakes, his own son, Paul Robinson, the current boss at the Kinsman Robinson Galleries has, over the years, authenticated countless BDPs, like this one in 1999.
Dumped, Debased, & Devalued “Nature as One” damaged by being unceremonioulsy dumped by Joyner’s. Shown as still on display, for sale, minutes before the final preview closed.
This BDP, “Shaman With Power Spirits” is exactly the painting that John M Newman and fellow KRG so-called “experts” called a fake. It was subsequently declared a genuine Morrisseau by a top forensic scientist.
This is the only photograph ever found that shows a few of the paintings Donald Robinson called fakes which he gave to the NMHS to use as benchmarks for which paintings they were to “burn.” Donald Robinson claims Norval was the director of events on this occasion. But in fact he was totally passive and comatose in his wheelchair. The real director, and he has been for some 15 years is Gabe Vadas, caught by the camera dominating the scene and pointing out the fakes etc. THESE ARE THE FAMOUS WANKER 16 PAINTINGS THAT FORENSIC SCIENTISTS WOULD LOVE TO GET A HOLD OF, BUT CAN’T. THEY HAVE BEEN LOCKED UP – OR ALREADY BURNED – TO PREVENT THE WORLD FROM DISCOVERING THE TRUTH: THAT THE ROBINSON & NMHS SO-CALLED FAKES, ARE IN FACT, GENUINE MORRISSEAUS.
What forger would possibly produce a painting like this and hope to be able to sell it. Only an artist looking deep into his past would possibly do it. It gives credibility to many other similar private “Confessional Diary” paintings.
The trio involved in the controversy of Norval and Robinson mistakenly publishing five fakes in “Travels” in 1997, which were quickly removed in the 2005 “Return to the House of Invention.”
Ugo Matulic took this photo – inside KRG – of an original Morrisseau on which he was the under bidder at a Waddingtons auction, losing out to Kinsman Robinson Galleries which had the winning bid. Donald Robinson, who claims you should never buy Morrisseaus without an iron-clad paper trail of provenance, as they are likely fakes, has bought countless Morrisseaus of exactly that type, at “no provenance provided” auctions, without a paper trail of any kind – or “chain of title” as Jonathan Sommer calls it – and offered them for sale at KRG to their unaware clients. But not before increasing their original purchase price by 550%. In this case from $4020 to $22,000. DETAILS This one happens to sport a Pollock gallery label. Art gallery labels are just about the easiest type of document to counterfeit by anyone with Photoshop in five minutes. They are poor proof of provenance. Hell even the mafia produces Morrisseau gallery labels.
Note: This Kinsman Robinson Galleries label, just haphazardly and partly stuck on the back of a painting (the same one behind Matulic in the photo above.) Hell, anyone, even the cleaning lady, could have licked it and stuck it on. How’s that for proof of authenticity? Donald Robinson has always preferred his Morrisseaus to be blank on the back, like this one his gallery is selling in Toronto. That means the back is free of DNA evidence that Norval actually painted it, with an authenticated signature. Alas, missing Norval’s signature, etc., has a negative for you as the buyer; you can’t use the DNA to disprove it wasn’t painted by someone else, you know, who was helping out Norval during his lengthy “quadriplegic invalid in a wheelchair” period of painting. IN SHORT: For an authenticity guarantee to die for, on the back of a painting: a gallery label – worthless. A signature – worth its weight in gold. Better yet, a huge and showy BDP, like Norval commonly used, which provided many levels of “DNA” that a handwriting analysis scientist can test for authenticity. Blank on the back basically means, blank of authenticity.
DNA To Die For – Just one of many black, drybrush signed, titled, and dated paintings authenticated by Norval Morrisseau, Donald Robinson himself, and in this case, also by a top Canadian forensic scientist and handwriting analysis expert. Sadly, according to Donald Robinson’s own court testimony, if you bought one of Kinsman Robinson Galleries’ Morrisseau paintings that he sold in the 1990s and after, the backs were ALL blank. So you, as the buyer, have absolutely no independently corroborated proof that if you ended up with one of the 1,000 or so paintings Robinson says he sold through KRG in that time, that the painting you ended up with was actually painted by Morrisseau – who was in his horribly diminished “invalid period of painting” – instead of the complete work of one of his “apprentices” of which Norval had over 150 by 1997. In fact you may very well have a work painted by Ritchie Sinclair, a white (non-Aboriginal) artist who has claimed to have had a close painting relationship with Norval for decades. Sinclair has for years been a close business associate of Donald Robinson and the Kinsman Robinson Galleries. Sinclair’s own career as an “Indian painter” had collapsed when he discovered that there was absolutely no interest by art galleries in displaying, or consumers in buying, his “painted by a white man,” counterfeit “Indian” art. Even though Sinclair – only since Norval died in 2007 – constantly publicly flaunted a “kissing cousin” relationship with Norval, appropriated a phony Indian name “Stardreamer,” customarily wore a buckskin Davey Crockett outfit in downtown Toronto, and finally claimed, to art gallery owners – like the Lane Gallery in Toronto – that he was of “Indian” background.
DNA to Die For – James Hergel is Canada’s finest living artist. He – like Norval with his showy BDPs – splashed his DNA all over the back of his original canvases. Both would be a nightmare for any forger to duplicate. Now which one would you rather forge, a Hergel that sells for $8,000 or a Morrisseau which Norval was selling for $20 or $30 bucks?
A Morrisseau sold at auction with no DNA whatsoever on the back, which Donald Robinson testified in court was exactly how virtually every painting he ever sold – over 1,000 – looked like. So take your pick: the Morrisseau BDP type DNA, the Hergel type DNA, or no DNA at all, which was apparently the norm with all KRG paintings, sold during Norval’s lengthy “invalid period of painting.”
Ritchie Sinclair, in one of his Davy Crockett outfits, instructing the staff of Kinsman Robinson Galleries (Paul Robinson l, and John MacGregor Newman) on why they should never have published this picture and four others in “Travels” in 1997. Raising the question, of course, how could Norval Morrisseau have made such a huge mistake when he picked the pictures for his own book? Unless he had advanced Dementia. All the pictures were removed, holus bolus, from the slightly ammended book when re-issued as “Return to the House of Invention” in 2005. Sinclair still posts them all as “fakes” in 2013, but has removed any and all links or associations with “Travels” and “Return,” Norval Morrisseau, Donald Robinson, and the Kinsman Robinson Galleries. Hiding stuff is usual, and transparency is not a strong suit for Conspiracy Theorists.
Burning or destroying cultural properties is not an idea the Norval Morrisseau Heritage Society, or Aaron Milrad, can claim to have originated. Some investigators, who while admitting there is no similar Canadian precedent, say they can trace the idea back to the book burnings by NAZIs in the 1930s. To their eternal shame, in the 21st century, employees of Carleton University, the Royal Ontario Museum, the University of Regina, and the National Gallery of Canada, are being loaned out to do the dirty deed.
Cultural genocide on display. In 2005, Aaron Milrad had told a journalist “destroying” paintings he considered fake Morrisseaus, was a real option for the newly founded Norval Morrisseau Heritage Society set up by him and Donald Robinson. There is good evidence that the Wanker 16 are destined for a bonfire at an NMHS kaffeeklatsch, if they haven’t already been “destroyed,” at the behest of the 800 pound gorilla in the room, hanging in the background… (FYI – Milrad has probably the world’s worst record of misidentifying genuine Morrisseau paintings as fakes – he has heavy competition only from Donald Robinson & family. The documentary proof is clear Milrad was on the wrong and losing side, regarding multiple paintings in two out-of-court settlements that proved him totally wrong and caused huge payouts – by Morrisseau himself for $11,000 to Otavnik and by the Globe and Mail for $25,000 to Moniz – both to different collectors whose art and persons he, Morrisseau, and Vadas, had falsely defamed. Milrad and his client Morrisseau were scared to face a judge. Milrad was in the forefront also in the Hatfield case where a judge ruled a painting Milrad called a “fake” was incontrovertibly “genuine.” The judge also repeatedly “rejected,” not only the proof but the expertise of the man fronting for Milrad and his views in court, Donald Robinson. So the question regarding Milrad’s complicity in cultural genocide is huge: how many other genuine Morrisseau paintings that he has falsely called fakes, has he “destroyed? Or caused to have destroyed by his pyromaniac friends at the Norval Morrisseau Heritage Society?”)