Probing Perjury 2

sign_honest_truth_orDonald Robinson claims:

– his son Paul Robinson, detected the “fakes” first, and warned him not to buy more paintings at Randy Potters

Background: During the Hatfield trial, Donald Robinson did allow, to Judge Paul Martial twice, that he was a bit of a dunce, but that his son Paul was wiser than he was, and caught on to the supposed “fakes” quicker than he did, and tried to dissuade him from continuing to buy more suspect Potter paintings.

Paul Robinson is trying to earn his father's mantel as Principal Morrisseau Dealer in Training.

Did Paul Robinson steer his father Donald right or wrong? 

  • “At, at one point, I was still convinced that they were good and my son, who’s running the gallery today, tried to tell me they were not good and I still overrode him and bought a few…” (Court Transcripts, p 18, Hatfield v Child May 31, 2011)

In case you missed his court testimony in May 2011, Robinson repeated it for you, under oath, a year later.

  • “I should say that my son, Paul, after about half-way through when those purchases were made, perhaps five or six at a time at various auctions, my son Paul at the gallery, who now runs the gallery, he told me that I should not buy any more and he was suspicious of them, and I argued with him and bought a few more, to my great regret.”
    Q. Okay, so your son had suspicions…
    A. He did.
    Q. …you didn’t. (Court Transcripts, p 20, Hatfield v Child Feb 23, 2012)

My Take: Perjury, Delusion, or Dementia?

Really? Now why would he say something so silly? Twice. In court before a judge?

That “argument” would have been something to see…

Oh, and “to my great regret…” What was the problem he regretted? He never returned a single one back as a supposed fake; so he couldn’t have been unhappy. He never asked for a refund for a single supposed fake; so he couldn’t have believed he was ripped off. And he even told Judge Martial he sold many of them successfully “for a small profit.” Where is the evidence for regret and unhappiness?

wow_flaming_mediumThat is nothing to sneeze at; it should be a point of pride! Considering he paid $54,000 for fakes, which he testified in court were “worth nothing” were “worth zero” and managed to turn a profit on some $54,000…

After a customer brought in two paintings for authentication, Paul Robinson signed the form and sent his Dad to join the mad rush to buy the mother lode of original Morrisseau's being sold at Randy Potter Auctions. Five weeks later, on Sep 29, 1999, Donald Robinson went there and bought five.

So much of this is odd indeed, because two documents exist which prove exactly the total opposite – that it was Paul who introduced his Dad to the mother lode of genuine Morrisseaus at Potter’s in the first place. Paul’s signature on an appraisal of two paintings from the Potter auction is on a document that immediately predates his father attending his first buying spree there.

The evidence is pretty clear that far from trying to dissuade his father from going to Potter’s, it was in fact Paul, after being alerted by the paintings Matt Fountain brought into the gallery to be authenticated, who sent his Dad to investigate this sudden flood of Morrisseaus being auctioned.

Thanks to Paul’s auction alert, it’s pretty clear, that his father then went to numerous auctions, bid on 90 lots and ended up with 31 Morrisseau BDP paintings.

On May 18, 2001 Donald Robinson launched his attack on Randy Potter Auctions, saying, ultimately, that all the paintings from there were forgeries. Five and a half months later, his son Paul had apparently not received the message...

There is a second document also signed by Paul, on another appraisal of two paintings of the same type from the same auction, issued a full five months after his father told the National Post that all the paintings at Randy Potter’s were fakes…

He should have told his son who apparently still hadn’t wised up many months later and was still cashing in on appraisals, for Potter-sourced paintings his Dad had been calling fakes for months…

 

Can anyone figure out why Donald Robinson would testify in court to something which is the complete opposite of the historical documentary record?

Advertisements
Posted in Art Cartel, Art Galleries, Court Cases, Perjury or Dementia

Probing Perjury 1

sign_honest_truth_orDonald Robinson claims:

– Norval Morrisseau never, ever signed the backs of paintings in black drybrush paint, that all such BDPs are fakes

Principal Morrisseau Dealer AKA Principal Conspiracy Theorist AKA Donald Robinson. No matter which disguise he uses, no one in Canadian art history has ever before, so aggressively sought out the media spotlight for himself, by setting out to deliberately place himself, and his Conspiracy Theory about supposed Morrisseau forgeries, at the centre of a public discussion from one end of the country to the other. One can only wonder, why a person would support a Conspiracy Theory that is universally discredited by the scientific community, and put at obvious risk his entire credibility as a Morrisseau authenticator of any level

“In twenty-eight years of dealing in Morrisseau’s art, I observed that Norval had rarely written anything on the back of any canvas, but when he did, it was always in pencil or ballpoint pen – never in black paint.” (Court Trans/Hatfield v Child: May 31, 2011 p 32)

“And never ever have I ever seen one, nor have I ever known anybody to know one that has – was painted in – in black paint in the back… Morrisseau did not use drybrush paint to sign, title, or date his art in the 1970’s, or any other time.” (Court Trans/Hatfield v Child Sep 1, 2011 p 33) (Glossary: BDP)

“It’s worth nothing… It’s zero.” Donald Robinson on the value of each of these thousands of BDPs. (Court Trans/Hatfield v Child: May 31, 2011 p 44)

My Take: Perjury, Delusion or Dementia?

“It’s a Lie” – In the Hatfield trial, Morrisseau family members in a group, submitted a sworn Affidavit which called Donald Robinson’s allegations a “LIE.” That they had all seen Norval sign and title his painting exactly like that many times.

Numerous people, most of whom had never previously met each other, or had any association with each other, all separately submitted Affidavits saying that they had – contrary to what Robinson was claiming – seen Norval sign and title the backs of paintings in black paint, many times going back decades to the early 1970s.

morrisseau_lamont1_1970_350baOthers saw him do it in the 1980s; still others in the 1990s. In Ottawa; in Thunder Bay; in Vancouver.

Wolf Morrisseau, Norval’s younger brother, and for years his business manager, swore he saw Norval do it some 2,000 times or more in the 1970s. In fact he said he was the one who started him doing it, to increase sales in foreign countries where English writing is preferable to Cree Indian syllabics and a lot more universally understandable.

Donald Robinson had an answer for all the sworn affidavits, when questioned by Defence Counsel Robert Dowhan.

“Q. All right, and you tendered as Exhibit 10 to this proceeding a document that you brought yourself that there are one, two, three, four, five, six individuals that say they witnessed Norval Morrisseau sign paintings on the back in black acrylic paint with a brush.
A. Yeah….
Q. They’re all lying?
A. They are all lying, absolutely. They’re complicit in this whole scheme.
Q. All right.” (Court Trans/Hatfield v Child Sep 1, 2011 p 24)

Most Damning of All – the “DNA” Speaks for the BDPs – There are now some 70 forensic findings, by three of Canada’s top handwriting analysis experts who have analyzed the signatures on the back of the very BDPs that Robinson says were all forged.

morrisseau_fish_authWithout a single dissenting finding, they have unanimously found, with DNA certainty, in every case tested, that the signatures were made by Norval Morrisseau, and could not have been made by anyone else.

But Robinson refuses to recognize any of it charging that the professional forensics experts who have testified in hundreds of court cases – like Dr. Atul K Singla – are liars too.

“… there’s a huge motivation, in my opinion, to produce a false appraisal just to satisfy the person requesting it… I believe fully that the two forensic investigators asked to do these things and have in fact done have stated the, the similarities but completely ignored the differences, and both of those appraisals are, those authentications, handwriting analysis are very badly biased and totally false.” (Court Trans/Hatfield v Child Feb 23, 2012 p 25)

Which makes everything quite simple really: everyone is lying – except Robinson; everyone is self-serving – except Robinson…

sig_lamont_daviesfaIn fact the very black paint DNA that Robinson claims is fraudulent saved scores of these genuine Morrisseau paintings from being reduced to rubbish by the Robinson family and their compliant outreach workers at the KRG branch plant operation: the Norval Morrisseau Heritage Society.

Norval wins this one, speaking from the grave, with the handwriting DNA he left on the back of thousands of his paintings from his high period of the 1970s and early 1980s.

But which were a marketing irritant under the skin of the Robinson family and their attempts to sell the wobbly stuff from Norval’s 1990s “Wheelchair Invalid Period” of painting.

NOTE: The Stupid Forger

The forensics experts have the final say about forgers and forged signatures.

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

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

Noting the huge signatures on the back of hundreds of Morrisseau BDPs, complete with titles, with dates, with symbols, with idiosyncratic marks, handwriting analysis experts, like Dr. Atul K Singla, say:

– a forger’s very first concern, above all else, is to avoid getting caught.

– a forger’s second concern is to copy an artist as closely as humanly possible, to avoid getting caught.

– a forger would never write a signature on the back, if the artist never did it, which is what Donald Robinson claims is true.

– a forger would never write in black drybrush on the back, if the artist never did it, which is what Donald Robinson claims is true.

– a forger would always write less, not more. If an artist doesn’t write anything, why would a forger sign a name? If an artist writes only a name, why would a forger add a long title? Or add symbols? Or dates? Each additional bit of writing is another departure from the norm of what the artist would do and so would inevitably trip up a forger, when a handwriting expert gets at it. Why would any forger want to lay all these traps for himself?

– a forger would conform with a passion, and never vary from a known Morrisseau signature. Then why are the signatures wildly all over the place, differing in size, in placement, in care, many harshly clear, and others too faint to make out?

Said John Sommer the Plaintiff’s lawyer and no forensic expert: “Ahaa! Proof of forgery!”

sign_fact_orAbsolutely not, rebutted Dr. Singla firmly. Only an artist would dare depart from a normal signature, to vary the size, attack of the letters, because – hell – he’s expressing himself, on a good day or a bad day.

A forger would never do that. He conforms, because he knows if he does not, he will get caught.

morrisseau_wheel_hatfield190faDr. Singla said all this points to one thing: the Morrisseau BDP signatures, on the back of the paintings, are absolutely not the work of a forger. And he has an MA and a Ph.D. in forensics to back him up, and the experience of testifying in over 500 court cases dealing with forged signatures.

Finally the BDP DNA of signatures, that have been wildly all over the place have been independently evaluated by three of Canada’s top forensic document examiners and handwriting analysis experts, over the years. The men do not know each other.

Yet in some 70 findings they have unanimously found, with DNA certainty, that these hugely varying, wildly all over the wall signatures are authentic signatures of only one man, the irrepressible Norval Morrisseau, without a single dissenting finding.

sign_shameAnd that Donald Robinson is just as wrong as wrong can be for whatever reason.

Posted in Art Galleries, BDPs - Black Drybrush Signed Painting, Forensic Expert Findings, Perjury or Dementia

The “Case of the Missing Paintings”

SHOCKING DISCLOSURE OF THE DAMAGE DONE…
– To Canada’s First Nations Art Heritage by the “Conspiracy Theorists” and their Gullible, Feckless,  and Compliant Partners in Cultural Genocide…

abbott_lydiaTopics:
The Stevens Graph
The Bad & the Beautiful – Part 1
The Bad & the Beautiful – Part 2
The Bad & the Beautiful – Part 3
The Bad & the Beautiful – Part 4
Joyner Canadian Fine Art
Heffel Fine Art
Terror on Elm Street – The Elmwood Spa Book Launch
James slips up – Big Time… 

James Stevens

James Stevens

In 2011 James Stevens published “A Picasso in the North Country,” a truly important book, not only in Norval Morrisseau’s life, but in world history. It is a work that rivals in significance, the epic “Picasso: Creator and Destroyer,” one of the landmark biographies of all time, which Arianna Huffington wrote in 1988. (A Picasso in the North Country: Lake Superior Art Gallery, 2011)

It is the information which is outstanding – no we don’t mean the text is great literature – but for what it unveils about the private Morrisseau, “the creator and destroyer,” which we will leave for another day.

Canadians should be eternally grateful to Stevens for compiling a work no one else could have written, and for preserving for the Ages, absolutely vital information about the life of Norval Morrisseau which would have otherwise been lost forever.

Stevens wrote a personal biography, in great graphic detail, of the entire life span of Norval Morrisseau as the artist exposed himself, to intimates, through hundreds of personal vignettes drawn from interviews, diaries, and recordings. Much of it is shocking but highly revelatory, of a man who chose to live by no one’s rules but his own. And go absolutely overboard in doing so.

People questioned whether Norval was in a condition to know what he was doing when signing Affidavtits of Forgery in 2003.

By 1999 Norval was paying, big time, for living a “no holds barred” lifestyle, for decades. He had the most debilitated body and mind of any leading Canadian of his generation.

Norval chose to live his life the way he lived it, with utter reckless abandon without the least concern for either man or beast; Stevens has equal right to analyze and publish his take on a public figure, warts and all, like Huffington on Picasso, and Issacson on Jobs.

He had a public duty to do so; he and people he sought out had been along for much of the ride…

Picasso, Jobs, and Morrisseau, are giants of creativity in their own fields, but not one of whom I’d ever want to share a dinner table with, or shake hands with. They don’t even rate at the bottom of a list of decent human beings. (More explosive stuff on this to come.)

Stevens clearly also wanted to use his publishing opportunity to do a pictorial book that also mirrored Norval’s life as an artist, with pictures to showcase his artistic output – a catalogue raisonné if you will.

A book of priceless annecdotes, and tell tale pictorials...

A book of priceless anecdotes, and tell tale pictorials…

He used some 150 pictures to illustrate every period of Norval’s artistic life, from 1950 to 2007 when he died. (Norval’s painting career effectively ended in 1995, according to his son Christian; lasted in full bloom till 2001 according to the Morrisseau art cartel).

The Stevens book should have given us a nice pictorial representation of Norval’s artistic output over time.

It did not; it is a disaster…

But, I believe, it is not Stevens’ fault…

Why? Because I happen to believe that James received a midnight visit, or a SLAPP suit threat, from an aggressive Conspiracy Theorist “Enforcer” who scared the living daylights out of him…

Here’s my take… how I discovered it all…

Plotting Morrisseau’s Art Legacy

Figuring that Stevens was conscientious, and that he had done his best to publish Norval’s most representative paintings from every year – and more when Norval really blossomed – I figured I could tabulate the results, and scale them proportionally, to a bar graph, and so create a representative pictorial display of Norval’s output by year and period.

The resulting “Stevens Graph” would be a measure of Norval’s artistic output as good as any other.

One could easily predict that plotting the pictures should have produced a nice curve, rising steadily as Norval’s power and output rose through the 1960s, and peak powerfully during the late 1970s when he had the most shows, won the most honours, and annually produced the most paintings.

This curve should have at least held in the opening and middle years of the 1980s, before starting to fall off, rapidly in the late 80s and early 90s as Norval’s physical and mental health declined precipitously.

As Norval’s old friend Lloyd Comber, from Pikangikum, said, after he encountered him in 1987, “I noticed that his art wasn’t as good as it used to be.”

The orange “Morrisseau Curve” below shows the peaks of this probable projection. And I expected that Stevens’ pictorial display would reflect that.

I decided to use all the dated pictures that James had published throughout his book, some 81, as the source material to plot.

I knew, starting out, that this methodology would distort my results badly, bulging the graph in the 1970s, when Norval’s brother Wolf encouraged him, big time, to indulge his passion for writing dates on the back of his paintings, and unfortunately, diminishing it, after 1990, when Donald Robinson claims Norval “never even did it once.”

So I was primed to watch out for these distortions in the “Stevens Graph.”

I took 81 dated pictures and logged them, properly scaled, by number to Norval’s lifeline. The green bars of the graph below, reflects the numbers of pictures Stevens selected from every year.

The green Stevens Graph charts the destructive path of the Conspiracy Theorists across Norval's most prolific period.

The green Stevens Graph charts the destructive path of the Conspiracy Theorists across Norval’s most prolific period.

The Shocking Stevens Graph – The resulting Stevens Graph is shocking in what it shows:
– a huge overrepresentation in the 1960s
– a huge and inexplicable hole in the 1970s BDP period
– a huge hole after 1989, during Norval’s 17 year “Invalid Period”

I had fully expected the Stevens Graph of green bars to stretch up and touch the orange Morrisseau curve in a rough correlation of sorts.

Nothing of the kind happened.

What the Stevens Graph shows, is abnormality run amok: the sixties spiking unusually high; Norval’s output then declining markedly, and then dying out completely in the early 70s.

It gets worse.

By the mid-70s when Norval received the Order of Canada, had his coffee table book produced, got his Honourary Ph.D. and had the biggest “orange” crush dots (see graph) of art shows of his career, the paintings are all – Pooff – gone.

They are totally missing from Stevens’ published record of pictorials.

It is to me, it is a stunning example of what ART TERRORISM has accomplished to wipe out a whole generation of genuine paintings from a high-end period in the catalogue raisonné of Canada’s top Aboriginal artist.

Where are the missing BDPs from 1974?

Where are the missing BDPs from 1974?

Stunningly, and inexplicably, there are no pictures from 1974, 1975, 1976, 1977, 1978, 1979, 1980, or 1981, when Norval was widely regarded by experts, to be at the peak of his power.

Which – not coincidentally; but compromisingly – is exactly the period that Donald Robinson and the Conspiracy Theorists have targeted with their campaign against the so-called forgeries. 

Where are the missing BDPs from 1974?
Where are the missing BDPs from 1974?

 And remember my fear, of getting far too many from this period, when there were more “dated” paintings available, by far, than from any other period of Norval’s entire painting life?

What the hell happened?

I know for a fact that Stevens didn’t lack pictures.

Where are the missing BDPs from 1976?

Where are the missing BDPs from 1976?

There are hundreds of pictures from those years available. Many collectors would have gladly loaned them to Stevens.

So I am absolutely sure, that, when Stevens started to assemble his materials during the countdown to publication, and he started to collect images to illustrate his book, he gathered up hundreds of possible paintings from Norval’s high period. Including hundreds of BDPs from the 1970s. Like all those that illustrate this article.

Did he just forget he had them? Did he never realize what a huge hole in Norval’s catalogue raisonné he had created in his book? Why did he ignore them?

Where are the missing BDPs from 1976?

Where are the missing BDPs from 1976?

It is all so especially shocking, because – as I noted above with my fear of the ballooning effect – the 70s are when Norval dated his pictures more so than any other time.

I expected an abnormally high spiking of pictures exactly because of that; and an uncommonly low representation from the 60s when Norval didn’t date his paintings aggressively.

Inexplicably, exactly the reverse is shown in the Stevens Graph. The 60s have a huge spike in pictures; the 70s have a total wipe out in representation; and the 1990s and beyond are gone absolutely as well.

Where are the missing BDPs from 1977?

Where are the missing BDPs from 1977?

Where are the missing BDPs from 1979?

Something very fishy is going on here.

 Why is there this huge hole in the middle of the most powerful painting period in Norval’s catalogue raisonné?

What happened to all the missing pictures – all the BDPs from the 1970s?

 

The Plot Against the BDPs

I do not know Stevens; I have not talked to Stevens.

But I think I know, with a certainty of somewhere around 100%, exactly what went on.

Here goes:

That Stevens was working on publishing a major book on Morrisseau, was an open secret for the last few years.

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

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

As everyone also knows, Donald Robinson, aided and abetted by a gullible and compliant media, had launched a huge attack against BDPs as forgeries, starting with the National Post article, May 18, in 2001. (Glossary: BDPs)

BDPs are the “1970s style black drybrush signed, titled, and dated on the back” pictures. They are from Norval’s high period. when he was hugely prolific and did much of his best work. Donald Robinson has sworn in court testimony, on multiple occasions, that BDPs are all forgeries – that Norval never painted them, nor signed a single one of them in that style.

He charged that these BDPs are all part of the thousands of forgeries he claims to have discovered, that are out there, produced by a diabolical – but always unidentified – syndicate of forgers, and connivingly, being sold as genuine by his leading business competitors in the retailing of Morrisseau art, even though he claims they know they are forgeries.

Paul Robinson is trying to earn his father's mantel as Principal Morrisseau Dealer in Training.

Paul Robinson is working hard trying to earn his father’s mantle as Principal Morrisseau Dealer.

Gabor Vadas, who had been Norval’s companion since they met and lived on the streets of Vancouver, is widely regarded as the “Puppetmaster” who controlled the badly deteriorating Morrisseau, kept him away from the courts, away from the TV cameras, and away from his family. When Norval died, he ended up with everything…millions and millions of dollars worth of paintings.

The documentary record testifies that he was strongly supported in these self-declared beliefs by fellow Morrisseau Forgery Conspiracy Theorists: Paul Robinson, Gabe Vadas, Bryant Ross, Aaron Milrad, Michele Vadas, Mark Anthony Jacobson, and Ritchie Sinclair. To simplify it: basically the Vadas family and their lawyer, the Robinson family, and its two “enforcers.”

Aaron Milrad, the "Dumb Indian's" lawyer...

Aaron Milrad, the “Dumb Indian’s” lawyer…

 Note: Absolutely, importantly, I am leaving Norval Morrisseau out of the Conspiracy Theory entirely. Unlike every other charter member of the art cartel involved in promoting the Theory on websites, blogs, court testimony, and media interviews – who are all exclusively white men hovering around his wheelchair – there is not a single solitary video clip, television interview, or audio tape of any kind, on this planet or any other, in this world or the next, of Norval Morrisseau himself, talking about forgeries or forgers of any kind. So I cannot count Norval as a member of the Conspiracy Theory group unless one can include for membership, one “Dumb Indian.”

Bryant Ross, whose house at Aldergrove was the spiritual home of the Conspiracy Theorists.

Bryant Ross, whose house at Aldergrove was the spiritual home of the Conspiracy Theorists.

That “Dumb Indian” – Stunningly – but absolutely – the only proof of any kind that the Conspiracy Theorists have ever produced, in over 13 years, to support their view that there is a Conspiracy of thousands of forgeries, by umpteen forgers, “out there,” rests entirely, and only, on the say-so of this man…

And guess who all these white guys around Norval’s wheelchair use as their sole supporting source for the entire Theory? The answer: why the guy in the wheelchair, one “Dumb Indian…,” you know, as cover, or the escape hatch, when the “Lance
Confession” comes – as it ultimately will – down the road…

White men have done this with Indians since time began. Why do you think it has changed in the 21st century?

Using their legal association with Norval Morrisseau, an artist in spectacular physical and mental free-fall, as a club against their main business competitors – some 40 art galleries across Canada – the Conspiracy Theorists around Norval’s wheelchair, have sought to root out all BDPs – thousands of them – from the public record, by denouncing them all, as forgeries.

The Don and Ritchie tag-team posing with Conspiracy Theory Proxy #4, Margaret Hatfield who would waste tens of thousands of dollars chasing a forgery theory which had not proof...

The Don and Ritchie tag-team, posing with Conspiracy Theory Proxy #4, Margaret Hatfield, who thanks to her friendship with these two men would waste some thirty or forty thousand dollars of her paltry pension chasing a forgery theory for which no one has ever demonstrated any independently verifiable proof…

Donald Robinson told Deputy Judge Paul Martial, overseeing Hatfield v Child, that in the last few years he has been totally dedicated to researching all of the thousands of alleged fake BDPs and rooting them out. A business associate of his, and an acolyte, Ritchie Sinclair – who is challenging him for the title of Principal Morrisseau Conspiracy Theorist – has posted over a thousand of these BDPs on a malicious and defamatory website.

Clearly, by repeatedly showing up as a duo in court cases – as the “Don and Ritchie Show” – they have nailed their flag to the mast, with their self-serving court appearances, web sites, blog sites, and “Expert Reports.”

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was to faded or indistinct for him - the consummate scientist - to hassard a guess, you know like the Conspiracy Theorists are famous for doing...

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was to faded or indistinct for him – the consummate scientist – to hazard a guess, you know like the Conspiracy Theorists are famous for doing…

  • They persist even though their claims have been completely discredited by some 70 academic scientific forensic reports saying with DNA certainty that their charges are ludicrous, their reports worthless, and their claims of hundreds of forgeries, as wrong as wrong can be.

These scores of forensic findings, by three of Canada’s top forensic document examiners and handwriting analysis experts, have proven, with DNA certainty, that some 70 paintings that the leading Conspiracy Theorists, Robinson and Sinclair, call forgeries, in actual fact are not, but bear genuine signatures of Norval Morrisseau, and could not have been signed by anyone else. Without a single dissenting finding.

sign_shameI believe that Sinclair and Robinson have one ultimate destiny – the laughing stock of history, elbowing into that special place reserved for Holocaust Deniers, and those who loudly claim: that the world is flat; that Lance never doped; that “little green men came out of a space ship and got me pregnant, Dad!”

It is their right in a country which allows free speech.

But it doesn’t mean the rest of us have to take seriously anything they say… at all…

Their “Right” to Engage in Art Terrorism – appended to the right of free speech, no matter… especially if it is wildly ludicrous – is coupled a codicil to protect everyone else in a “free will” society: spout what you will, but, “You do not have – you never have – the Right to be Believed.”

  • More importantly, by extension, you do not have the right to force your beliefs down anyone else’s throat, no matter how self-righteous you are, or how loudly you scream, or in an attempt to prevent others from dissenting with you, as they exercise their own freedom of speech on facts and issues which you have propelled into the public arena for debate…

You cannot threaten people who dissent with the Conspiracy Theory, with physical force, which has been done by Conspiracy Theorists…

You cannot threaten to put people who dissent with the Conspiracy Theory, into “a meat grinder” like in “Fargo” as has been done by Conspiracy Theorists…

You cannot threaten people who dissent with the Conspiracy Theory, with SLAPP suits, which has been done by Conspiracy Theorists…

Michele Vadas manned the phone to advance the cause of the Conspiracy Theorists...

Michele Vadas manned the phone to advance the cause of the Conspiracy Theorists…

That Conspiracy Theorists engage in all these diabolical and anti-democratic tactics is hugely compromising evidence that they are hurting, big time, in trying to maintain a completely ridiculous and clearly bankrupt Theory against basic common sense, and the huge onslaught of scores of independent Canadian scientific findings.

1 – The Damning Hatfield Disclosures 2012 – The Hatfield v Child court case has given the Canadian public a wonderful insight into exactly how the members of the cartel operate together to try to pressure a leading, and highly reputable business competitor, Artworld of Sherway, whom they accused of knowingly engaging in a “conspiracy” to sell scores of BDP forgeries, into bowing to their will.

I heard it all – in the public gallery of a court case that went on for five long days, over a two year period – and the court transcripts confirm, the dates, times, and specifics, of all the ways the members of the group worked together against Artworld of Sherway, including the use of:

Mr. Smith AKD Principal Morrisseau Dealer AKA Principal Conspiracy Theorist AKA Donald Robinson. No matter which disguise he uses, no one in Canadian art history has ever before, so aggressively sought out the media spotlight for himself, by setting out to deliberately place himself, and his Conspiracy Theory about supposed Morrisseau forgeries, at the centre of a public discussion from one end of the country to the other. One can only wonder, why a person would support a Conspiracy Theory that is universally discredited by the scientific community, and put at obvious risk his entire credibility as a Morrisseau authenticator of any level.

– intimidating SLAPP lawsuit by a gullible proxy – little old lady Hatfield
– preparatory corporate espionage and surveillance – by “Mr. Smith” AKA Donald Robinson
– fabricating Expert Reports – Donald Robinson
– intimidating phone calls – Michele Vadas
– intimidating fax – Aaron Milrad
– intimidating letter– Aaron Milrad
– intimidating email – Aaron Milrad
– intimidating Affidavits of Forgery – Gabor Vadas, Norval Morrisseau
– defamatory media advisory – Clark R Purves
– intimidating affidavit – Michele Vadas
– malicious defamation on website – Ritchie Sinclair
– intimidating blogs – Ritchie Sinclair & Principal Morrisseau Dealer

  • Members of this small group are documented in the public record, and in court transcripts, as using numerous of the same variety of threatening tactics against other art galleries, auction houses, book launches, etc., warning people to remove BDPs from their sales lists, from the walls of their showrooms, from their auction listings, and to “burn” books that dared to use them as illustrations of Norval’s art.

If you think this is Chicago in the 1920s, you would be wrong.

This is all stuff going on in the Canadian art scene in the 21st century, in “Toronto the Good.”

Or as Jack Pollock observed, in his “Dear M” memoir of confessions to his psychiatrist in the 1980s, all part and parcel of “what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.”

So, faced with all these multi-level threats, from Conspiracy Theorists, do people knuckle under?

2 – The “Heffel Fine Art” Fiasco 2006

Mr. David Heffel sells thousands of paintings every year. He can't possibly be expected to know which are real and which are fakes so when someone complains he takes them down.

David Heffel quickly panicked when he was threatened by a Conspiracy Theorist, and unceremonioulsy dumped several genuine Morrisseau paintings from his Fine Art Auction. He had no choice, since obviously, he couldn’t tell the difference between a real one and a fake.

Well, after receiving such threats, Heffel of Vanvouver, BC, quickly delisted several genuine Morrisseau paintings owned by Joseph Otavnik, at the very last second, from their fine art auction. Otavnik, brandishing a forensic report proving his paintings as authentic, exposed the Hoax of the Gabe Vadas (and Morrisseau?) claim that his paintings were forgeries, and won a large financial pay-off from them.

They begged him to settle out of court, they were so afraid of going before a judge knowing they didn’t have a scintilla of believable proof. (Including an artist in such physical and mental decline that he was totally incapable of giving credible testimony on anything before an independent judge – besides no longer being able to paint anything worth looking at…)

sign_shamemorrisseau_heffelsduo190faOne painting Heffel delisted, “Spirits 2b,” which was later proven, with DNA certainty, to have beeen authentically signed by Norval Morrisseau, by forensic scientist Brian Lindblom was responsible for forcing Norval Morrisseau and his business manager – the same two who had cowed Heffel into dumping the paintings – to settle out of court and pay the owner $11,000 in compensation, rather than face a judge, knowing he’d be tougher to fool than the Heffels.

Heffel also delisted “Grandfather Speaks of Great Ansistral Warrior 1977” which was later proven, with DNA certainty, to have been authentically signed by Norval Morrisseau, by forensic scientist Kenneth J Davies.

screen_cat_heffel_grandfather_400delistForensics by top Canadian scientists proved that Heffel, reacting precipitously out of fear, had irresponsibly dumped several genuine Morrisseaus from their auction listings, and hugely tarnished these genuine Canadian heritage treasures in the market place by doing so.

 

Nature as One, damaged by being unceremonioulsy dumped by Joyners.

“Nature as One” a genuine Morrisseau badly damaged by being unceremoniously dumped by Joyners.

3 – “Joyner Canadian Fine Art” Fiasco 2011 – I believe as a result of receiving similar threats, Joyner Canadian Fine Art of Toronto), after having, for months, posted the Morrisseau’s BDP “Nature as One,” for sale, suddenly delisted it, literally at the “very last second” from its fine art auction.

The Bad and the Beautiful – Part 1 – The painting had been in the possession of their fine art expert, Lydia Abbott, for months, pictorially posted in their catalogue, and I had examined it on the last day of preview, still up for sale, two days before the auction.

The Bad & the Beautiful - Hey Lydia Abbott is allowed one mistake. So she had the painting for months, but only dumped it with seconds to go... She promised not to do it again... We'll let it go...

The Bad & the Beautiful – Hey, so what if Joyner’s Art Expert, Lydia Abbott, had the painting for months of examination, and then only dumped it with seconds to go… When you’re this drop dead beautiful, we’ll overlook her dissing a Great Canadian Heritage Treasure – a genuine Morrisseau painting –  this time…

The auctioneer started the sale, with the sudden announcement that Morrisseau’s “Nature as One” had been delisted. Someone had obviously received a last minute, threatening “midnight phone call,” attacking this typical Norval Morrisseau 1970s BDP as a fake, and demanding they remove it from their listing.

Staff gossip said it was a fake. The owner of the painting, whom I was able to discover, said she was not informed of the Joyner decision, was shocked and has been unable to sell the painting, at any price, since it was “defamed as a fake” by Joyner’s precipitous delisting.

Joyner’s has not been able to produce any evidence whatsoever that it is a fake, nor has it revealed who exactly maligned the painting. Take your pick of the Conspiracy Theorists.

sign_shameWhich, of course, leaves only one culprit, for defaming a genuine Morrisseau painting, and damaging Canada’s artistic heritage – Joyner’s.

Geoffrey Joyner failed to take a stand on principle and knowledge.

Geoffrey Joyner failed to take a stand on principle and knowledge, and just gave in to empty and unjustifiable threats. Since he is not “drop-dead beautiful” like his art expert, his behaviour is not excusable.

I believe – like Heffel – Joyner’s “dumped” a genuine Morrisseau out of fear of repercussions – likely legal threats – from the Conspiracy Theorists.

And exactly like Heffel, rather than making a stand with courage, on knowledge, expertise, and principle, or calling in a forensic scientist, chose to dump a single painting that had no effect on their bottom line. Even if it was a genuine painting by Morrisseau.

Remember, fine art auctions – Heffel, Joyner’s, Bonham, Sotheby’s, Waddington’s – are first and foremost money making operations. They are not there to preserve, protect, or promote the Canadian art heritage. But to profit from it. The two don’t go together as witnessed by the shabby and defamatory treatment many genuine Morrisseaus get at several of the top Canadian fine art auctions.

Pssst: A Trade Secret – Because they sell thousands of paintings by hundreds of artists every year, the fine art auction staff can’t tell if their paintings – any of them – are genuine or fake. It’s not rocket science, Dear Diary. In fact Robert Heffel once told me that when a “supposed” Krieghoff comes in on consignment he used to get Dennis Reid of the Art Gallery of Ontario to come in and authenticate it for them. It’s what one would expect when confronted with the same questions about a Morrisseau, Canada’s top Aboriginal artist; instead they all just “dump” the Indian’s work into their Heritage Trash bin

With exactly the same cavalier disregard as white policemen, who have “dumped” public concerns about some 600 missing young Indian girls into the trash bin. With predictable results: their totally complicit negligence has resulted in letting psychopaths like Pickton and others, to run amok, to terrorize the public, and to murder and kill at will, along BC’s “Highway of Tears.”

It’s all part of Canada’s racist past – and present. Hell, they’re only Indians…

When a single painting threatens their bottom line, out it goes… regardless if it is genuine or fake. And gets hugely tarnished in the market place as a result, with the owner getting nothing… zip… nada… when he or she tries to sell it afterwards… anywhere. Thanks to the infamy being broadcast, for years, on the internet, including by the auction house’s own “Past Auctions” files.

And the ripple effect extends the tarnish to the reputation of its owner or consignor. Completely without justification.

Past Auctions catalogues memorialize "wrong calls" by fine art auction houses, forever. In one sudden delisting, Joyner's devalued a painting it publicized as worth an estimated $15,000, as being utterly worthless. This official Joyner act of "cultural cleansing" was immediately picked up by Conspiracy Theorist bloggers, who then posted for the world that "Joyner's delisted it as a fake." It is my belief that fine art auction houses can't wash their hands of being complicit in what I consider is a kind of irresponsible cultural genocide. That a bit of courage, a bit of expertise, a bit of principle, and a call to an independent forensic scientist would have been the responsible way to go when confronted with phone threats, etc., from Conspiracy Theorists. They do this with Krieghoff, all the time; but they just "dump" on Morrisseau, a Canadian Indian. Shame...

Past Auctions catalogues memorialize “wrong calls” by fine art auction houses, forever. In one sudden delisting, Joyner’s devalued a painting it publicized as worth an estimated $15,000, as being utterly worthless. This official Joyner act of “cultural cleansing” was immediately picked up by Conspiracy Theorist bloggers, who then posted for the world that “Joyner’s delisted it as a fake.” It is my belief that fine art auction houses can’t wash their hands of being complicit in what I consider is a kind of irresponsible cultural genocide. That a bit of courage, a bit of expertise, a bit of principle, and a call to an independent forensic scientist would have been the responsible way to go when confronted with phone threats, etc., from Conspiracy Theorists. They do this with Krieghoff, all the time; but they just “dump” on Morrisseau, a Canadian Indian. Shame…

The picture of “Nature as One,” and its listing, is permanently frozen into the Joyner catalogue, and branded forever, by auction floor scuttlebutt as “suddenly delisted as a fake.” And the infamy will live for years in the murkiest corners of Google storage on the internet.

It’s how Conspiracy Theorists destroy Canadian art heritage, and how compliant, uninformed, uncaring, and unconcerned, fine art auctions, play along and trash Great Canadian Art.

Joyner did not officially call “Nature as One” a forgery. But by treating this authentic Morrisseau as a “leper,” within minutes of the announcement, the feeling spread across the auction floor that Joyner suddenly considered it a “forgery,” resulting in the precipitous delisting. And, with the painting branded for life, the owner would find it virtually impossible to sell anywhere, at any price.

Something I’ve actually confirmed with the owner, who lives in Nova Scotia… So much for investing in First Nations art, anywhere in Canada!

This kind of auction floor chit chat about a “fake” has never accompanied the delisting of countless other paintings that I have witnessed over hundreds of auctions over many years.

4 – Fiasco at the Elmwood Spa Morrisseau Art Exhibition and Book Launch 2010

Elmwood Spa

Elmwood Spa

My wife Joan Goldi and I had been given private access to see a huge Morrisseau art show that had been up on three floors of the Spa, and open to the public, for almost a year, and had been closed for a couple of months. Preparations were underway for a major new Morrisseau book to be launched, a few days later.

Everything looked fine to us. Lots of great Morrisseau paintings, some spectacular ones, including many fine BDPs from the 1970s.

elmwood_fish190The paintings had apparently been collected over many years, by the owner of the Elmwood Spa, Sherry Brydson, a passionate collector of Canadian fine art, who had clearly spared no expense to get the best paintings that were available. She had been advised in her collecting by Joseph McLeod, still regarded as the top expert on Norval Morrisseau’s art from the 1960s to the 1980s period. He had supplied many of the paintings through his gallery.

Ms. Brydson had family ties to super-wealthy Ken Thomson, himself a Canadian fine art fanatic.

elmwood_1 

(Note: Many years ago I wrote Thomson, often called Canada’s richest man at the time, saying that his Krieghoff collection was great, but that what his display, then in a small private gallery, needed was a fine educational video to tie the whole thing together. He graciously wrote me a personal letter saying he quite agreed, saluted my interest as a fellow devotee to Canadian art, but said, regretfully, he had no money…)

elmwood_tryptI looked forward to the book launch, a couple of days ahead. And I wanted that new Morrisseau book…

A few days later, we showed up as invitees to the book launch, and were stunned…

Terror on Elm Street -Incredibly some 20 BDP’s that had been on display, on three different floors, for almost a year, were now all suddenly gone and replaced with other paintings.

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

Jessica Wilson had never experienced anything like it before…

The Bad and the Beautiful – Part 2 – When we inquired about these stunning developments, the gallery curator, Jessica Wilson, told us that she had received a threatening phone call from Paul Robinson, owner of the Kinsman Robinson Galleries, warning her to dump the paintings he wanted gone, or else.

Paul Robinson is trying to earn his father's mantel as Principal Morrisseau Dealer in Training.

Paul Robinson, a Principal Conspiracy Theorist, has been reported making intimidating phone calls, in the Elwood Spa incident.

Because of the intimidating phone call, Wilson told us that the Elmwood Spa had quickly removed over a dozen fine Morrisseau BDPs from their walls. And this, in spite of the fact that they had been up for almost a year, and were now only slated to be up on public display for a couple of more days, and only as a backdrop for a one day book launch of a new pictorial volume celebrating paintings from the exhibition.

Yet they removed them. Fear can do that to people…

Mark Anthony Jacobson's phone call scared Jessica Wilson.

Mark Anthony Jacobson’s phone call scared Jessica Wilson.

Wilson also told us she had received utterly vile phone threats from Mark Anthony Jacobson – who at the time operated one of the filthiest websites ever to disgrace public discourse in Canada. Astonishingly, Jacobson, an artist himself, has, with his vicious attacks on genuine Morrisseau paintings, helped to depress, hugely, the value of all Canadian Aboriginal art in the market place.

Like several of his white colleagues involved in attacking genuine Canadian Indian art and artists, like Ritchie Sinclair from downtown Toronto, they love dressing up in Indian hats and costumes and performing Indian rituals.

Gabe Vadas, a public school dropout from Powell River, BC, like several of his white colleagues, like Ritchie Sinclair from downtown Toronto, also involved in attacking genuine Canadian Indian art and artists, he loves dressing up in Indian hats and costumes, chanting “Indian” mumbo-jumbo, and performing “Indian” rituals.

With his vile attacks calling genuine Morrisseau art as forged, he has succeeded, big time, in scaring buyers away from buying Indian art of any kind. 

sign_shameOn behalf of the Conspiracy Theorists, he attacked anyone who had BDPs or paintings of the type that Kinsman Robinson Galleries wanted gone.

In fact, in sync with all the Indian “mumbo-jumbo” numerous Conspiracy Theorists play around with – Daniel Boone jackets, fur hats, pseudo-Indian names, Indian “adoptions,” Bear Dance hocus pocus, etc., Jacobson – you won’t believe this – bestowed an “Eagle Feather” on Donald Robinson for his work in denouncing as forgeries, thousands of genuine Norval Morrisseau BDPs from the 1970s.

(Rumour has it that, since Jacobson couldn’t find a real eagle feather, he substituted a turkey feather, knowing that Donald Robinson couldn’t tell the difference. Now you know, Dear Diary.)

The sacred turkey feather bestowed on Donald Robinson by Mark Anthony Jacobson for his many contributiona as the Principal Conspiracy Theorist.

Wrapped in its sacred bundle, is the sacred turkey feather, bestowed by Mark Anthony Jacobson on Donald Robinson in recognition of his many contributions as the Principal Conspiracy Theorist.

Wilson told us she literally feared for her physical safety, that she had never encountered a vicious attack like that or anything similar.

We were more stunned to hear that, in view of the multi-level extreme threats of dire consequences if they went ahead with the Morrisseau book launch, the Spa suddenly cancelled it as well, only hours before the event.

Donald Robinson, and his vice-President of his Kinsman Robinson Galleries, in warm embrace with kingpin enforcer of the Conspiracy Theorists, Mark Anthony Jacobson. It is not known if this photo was made before he made the threatening phone call to Jessica Wilson, or after...

Donald Robinson, Principal Conspiracy Theorist, and his Kinsman Robinson Galleries Associate Director John MacGregor Newman, in warm embrace with kingpin enforcer of the Conspiracy Theorists, Mark Anthony Jacobson. It is not known if this photo was made before he made the threatening phone call to Jessica Wilson, or after… Jacobson a very recent convert to the group ran the vilest website we’ve ever encountered on the Canadian internet, featuring ALL the worst words in the dictionary, and many which are not, targeted at people like Ugo Matulic, who spent thousands of dollars to have key paintings evaluated by Canada’s top forensic scientists. Observers in the Canadian fine art community, just shake their heads, and wonder, how can a man like Robinson, who has long headed one of the leading art galleries in Canada, consort happily with the two most discredited website bloggers – Jacobson and Sinclair – in Canadian history? He has frequently hosted their posts on his KRG blog site and multiple times inside his gallery, where many say they get their orders, if not their pay cheques. PS – We stand corrected, Jacobson’s website is the second vilest in Canadian history, edged out – just slightly – by that run by the Montreal dismemberment murderer. And just beating out that operated by Ritchie Sinclair. 

The speeches would be made, celebrating Norval, but the Brydson book that was to be unveiled and sold, was kept under lock and key and not even available for viewing.

Before the hugely watered-down event began, we noticed that a leading Conspiracy Theorist “enforcer” Ritchie Sinclair, and his roommate/assistant Garth Cole (a Supervising City of Toronto Information Officer), were walking around and clearly checking to see if the banned paintings had all been properly removed as “ordered.”

Sinclair, who regards himself as the chief enforcer for the Conspiracy Theorists, in fact, featured the Brydson book on his malicious and defamatory website as being full of forgeries.

screen_elwood

 

 

The Bad and the Beautiful – Part 3

Joan Goldi didn't arouse the slightest interest in Ritchie Sinclair when she followed him on his enforcement tour.

The attractive Joan Goldi didn’t arouse the slightest interest in Ritchie Sinclair when she followed him closely on his “enforcement” tour for the Conspiracy Theorists…

Ritchie Sinclair and his roommate Garth Cole, seemed totally oblivious to the fact that they were being followed by a beautiful woman on three floors of the Elmwood Spa…

My wife followed Sinclair and Cole (they did not know who we were) from floor to floor, as they checked to make sure the “orders” had been followed to the letter, or, we surmised, if they would have to take further action to force compliance…

This was easier than you may think since Sinclair was wearing his customary “Daniel Boone” hunting costume which he wears during his “enforcement” outings. We presume he wears it in honour of the legendary Indian fighter, whose exploits he seeks to emulate, with his numerous public attacks on some of Canada’s top Indian artists as being lowlife forgers.

Ritchie Sinclair, resplendent in his “Daniel Boone”** costume, on one of his many visits to the Kinsman Robinson Galleries, instructing the staff in how to spot a fake… Watching with rapt attention are key Conspiracy Theorists, Paul Robinson l, and John MacGregor Newman… Donald Robinson was not present, we presume, because, well frankly, he wanted to forget this embarrassing chapter in his life as a publisher, and a Morrisseau authenticator… (** Daniel Boone was another legendary Indian Fighter. Numerous photos exist showing that Sinclair has an obsession with putting on a variety of these costumes, in which he dresses up to appear in public. But we must discount – we cannot confirm – the rumours that among them is a “French maid’s outfit,” which he supposedly wears on more private occasions.)

The two Conspiracy Theorist "enforcers" working the Elmwood Spa case were Mark Anthony Jacobson (vile website & phone calls) and Ritchie Sinclair (surveillance and compliance policing). Both also claim to be artists, in their other lives...

The two Conspiracy Theorist “enforcers” working the Elmwood Spa Case were Mark Anthony Jacobson LEFT (vile website & phone calls) and Ritchie Sinclair (surveillance and compliance policing). Both also claim to be artists, in their other lives…

 Their surveillance and enforcement activities completed, the enforcer and his assistant did not even bother to stay for any of the official celebrations to begin, or to hear the speeches from the Gallery owner, and the expert’s (Barry Ace) insightful talk about Norval Morrisseau.

I watched the “Theorist” duo exit the building, smilingly, as they went off to report “Mission Accomplished.” I understood; enforcers are not really intellectuals; their skills lie in other areas.

This is all serious stuff for a lot of businessmen and women in the Canadian fine art market.

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

82 year old Joe McLeod, for decades considered the leading authority on Norval Morrisseau art, has been the special target for the Conspiracy Theorists, who have used Proxies to attack him in court, and “enforcers” to physically intimidate him on the street, by his car, and at his home and place of business.

Joe McLeod was really the target of this corporate aggression; he has long been a target of Kinsman Robinson Galleries, accused by Donald Robinson and Ritchie Sinclair of knowingly selling forgeries.

sign_shameRitchie Sinclair, a website blogger, and a passionate Conspiracy Theorist, had previously physically threatened Joseph McLeod, the main business competitor of Kinsman Robinson Galleries, on so many occasions, that the police finally arrested him, and charged him with Criminal Harassment. (The police document proving all this is on the web.)

In 2010, Ms. Hatfield testified in her court case exactly what she had been told, in private – ooops! – about Joe McLeod by Ritchie Sinclair, a long-time acolyte, and business associate of the Kinsman Robinson Galleries.

When she was asked if the had contacted McLeod, the Morrisseau expert who had signed her Certificate of Appraisal for a painting she bought, she snarked:

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

In spite of being affectionately called “Maggie” by Conspiracy enforcer, Ritchie Sinclair – and whom I watched, only seven feet in front of me, plant a huge kiss on the top of her head – I have watched Ms. Hatfield, up close over two years, show physical and mental signs of being nothing, if not devastated, to have lost some $30,000 to $40,000 in legal fees after being encouraged to act as a proxy by the Conspiracy Theorists.

“I had found out from Mr. Sinclair that Mr. McLeod was involved in the forgery as well as in their distribution. I certainly did not contact him.” (Court Transcripts: May 31, 2011 p 32)

sign_shameThe accusation was outrageous, of course, but it disclosed to all Canadians who the target of the Conspiracy Theorists was, and who the shooters were, and how they operated behind the scenes with gullible proxies to advance their cause.

He passed a little old lady school teacher straight into the arms of the Conspiracy Theorists. The experience has set her back tens of thousands in legal fees.

Dr. Jonathan Browne, an expert on dung beetles, but AKA CT Proxy #3, aided and abetted cultural genocide against the art heritage of Canada’s First Nations. He passed a little old lady school teacher straight into the arms of the Conspiracy Theorists. The experience has set her back some 40,000 in legal fees.

But don’t feel too bad for a retired “little old lady school teacher.” She and another beginning art collector, Dr. Jonathan Browne – who should have smelled a rat long ago; hell, he’s an authority on the dung beetle – have been gullible converts to the Conspiracy Theory for several years, even coming from hundreds of miles away to act as support observers in Otavnik v Sinclair in 2010. All without proof of any kind – in fact, against the scientific reports of Canada’s top forensic experts – just to show common cause with the losing side, the Conspiracy Theorists.

They have both, been willing proxies helping to commit cultural genocide against the art of Canada’s First Nations artists.

David Silcox - "The threats and all..."

David Silcox – “The threats and all…”

By the way, the situation is so bad, and the tactics of the Conspiracy Theorists so effective, that David Silcox, normally the last word in gracious and composed behaviour, at Sotheby’s of Canada, expressed his annoyance to me about it all.

He said Sotheby’s was actually thinking of not accepting Morrisseaus on consignment anymore for their fine art auctions.

Confessed Silcox:“It’s just not worth the trouble. With the threats and all.” 

Calling James Stevens… 2011

It’s in this atmosphere that word leaked out that Stevens was starting to assemble the pictures for his book.

Great Canadian Cultural Hereo James Stevens

Great Canadian Cultural Hero James Stevens I believe has cast in stone, the sleeper evidence, on multiple levels, that will ultimately put a conclusive end to the most sordid period in Canadian art history. More on this to come…

So, I surmise, a Conspiracy Theory “enforcer” contacts James Stevens…

It’s pure conjecture on my part, with the only evidence, knowledge of what has been going on with other people in the Morrisseau art business community. It seems as good an explanation as any, for the totally lopsided pictorial display in his book, and the huge hole in Norval’s BDP period, which has for the past decade been the special target of the Conspiracy Theorists, with website defamations, emails, phone calls, letters, Affidavits, espionage visits, physical attacks, and meat grinder threats.

So the fact is that the Stevens book would not be the first book to be ordered “burned” by members of the art cartel.

It is absolutely clear to me – without fear of the slightest contradiction – that James Stevens was contacted by a Conspiracy Theorist “enforcer” or his lawyer, threatening him with a SLAPP suit, or worse, if he published any of the forbidden BDPs that the cartel had denounced as forgeries.

James, I believe, got scared, big time, and was brow-beaten into doing Norval Morrisseau a huge disservice, by omitting the powerful BDP paintings from his high period because of threats.

Clearly reeling from the “enforcer” threats James wiped out Norval’s powerful late 70s period from his book.

He made up for the huge hole in his catalogue raisonné by spiking in a huge number of extra 60s stuff, which the cartel members didn’t object to. They weren’t BDPs. But it way over represented the period in Norval’s art history.

And, I believe, to express his pique with the cartel, and their strong arm tactics against him, James just expunged all the paintings they were offering for sale, namely those they claimed Norval painted after 1989, when he came under control of an all-white business management. This group would be the initiators of the Conspiracy Theory of thousands of forgeries by umpteen forgers, and find it an effective tool to destroy their business competitors in the secondary market of selling Morrisseau paintings.

Donald Robinson claims the 1990s – when he was the Principal Morrisseau Dealer selling direct-from-the-artist paintings – was one of the most productive and successful of Norval’s entire career, and that he was a vigorous painter till 2001, even though, those who disagree are legion, and say Robinson’s bumph is just the expected hype from a motivated seller – the Principal Morrisseau Dealer.

Why is this period, then, also hugely, and suspiciously, missing in Stevens’ book?

The green Stevens Graph charts the destructive path of the Conspiracy Theorists across Norval's most prolific period.

The green Stevens Graph charts the destructive path of the Conspiracy Theorists across Norval’s most prolific period.

Well, I believe Stevens was warned by the Conspiracy Theorists not to publish BDPs from the 70s, with which he complied. But clearly PO’d big time by their high-handed tactics, and exercising his own freedom of action, he just refused to publish the stuff they were selling, and thus, in effect, refusing to acknowledge that they were genuine Morrisseaus, from the entire 18 year period after they took control of his affairs…

Was the pressure of the Conspiracy Theorists winning points on James, in spite of himself?

I believe so. James is an expert on the life of Norval Morrisseau, not the art of the artist. He is an informed amateur not a recognized “Appraisal granting” expert.

Sorry James – James is not a journalist; James is certainly not, an investigative journalist. Nor is he, unlike me, a trained and longtime practicing professional historian.

His strength is in collating, in gathering, in compiling information. He has no skills, in professional art assessment, historical document examination, handwriting analysis, or evidence processing.

When he departs from his proven and valuable skill set, and starts to do analytical history, in his ending chapter on fakes, he awfully tarnishes the book, for the Ages. It is mindlessly, unverified, gossip masquerading as truth, that is merely recycled publicity hand-outs from Conspiracy Theorist propaganda.

James makes bald statements about fakes as if they were true, without offering any independently verifiable evidence to support his allegations.

So he knuckled under, more than a bit, to the huge media attack by Conspiracy Theorists.

It gets worse; and here’s the proof:

The Bad and the Beautiful – Part 4

Norval Morrisseau and Josie Sschwiola who bought the painting behind them.

Norval Morrisseau and Josie Schywiola who bought the painting behind them.

Why writers with no formal university degrees in history or investigative journalism write at their peril...

Why writers with no formal university degrees in history, or investigative journalism write at their peril…

 James published one picture with a caption alleging it as a possible fake. He used as his authority Blake Debassige, carefully adding “Dr.” in front of it, to try to give more weight to his forgery argument.

Which is irrelevant, to begin with, since Debassige is not a “Doctor” of expertise on Morrisseau, but in his own art. It’s a common attribution mistake that amateur writers often make, when trying to add punch to something when they lack real evidence.

Clearly Stevens should not have used Debassige, nor his doctorate, as proof of possible Morrisseau frauds in his book.

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

Ugo Matulic whose public-spirited generosity in paying for dozens of independent forensic analyses of alleged “forgeries” has panicked the Conspiracy Theorists big time. In 2010 Kinsman Robinson Galleries of Toronto, launched a SLAPP suit against him in Ontario Superior Court to try to shut him up and stop his public-spirited investigation into alleged frauds in the Morrisseau art market. Every single “forgery” KRG has alleged has been ruled “authentic” by findings from top Canadian forensic experts whom Matulic has commissioned to do an analysis. It’s a scandal of mega proportions. In 12 years of making allegations about thousands of forgeries, and umpteen conniving forgers, KRG or the Robinsons have never taken a single painting, person, or company to court, or to the police. But they issue a SLAPP suit to shut up an investigative journalist, who has the world’s biggest archive of compromising Morrisseau files to back up his allegations in any court, in this world or the next. Why would they seek to “Shoot the Messenger,” instead of taking a forger to court?

Alas, in doing so, both Stevens and Debassige have exposed themselves as utter dunces in the Morrisseau authentication department.

On Dec. 19, 2011, thanks to the far-sighted efforts, and public-spirited passion of Ugo Matulic, who traced down the ownership of this painting, “Arrangement of Underworld Spirits 1980,” and using his own money, had the signature evaluated by top Canadian forensic document examiner and handwriting analysis expert, Kenneth J Davies. Davies certified, with DNA certainty, that the painting was an authentic work, signed by Norval Morrisseau, and by no one else.

This finding gives a resounding vote of confidence to the judgment of Joe McLeod of Maslak McLeod, who had appraised the painting previously, as a genuine Morrisseau, and just another of the many fallacious appraisals of Morrisseau works assessed by Donald Robinson and Kinsman Robinson Galleries.

Blake Debassige made a bad call, or did he? Just like Norval had a mostly "hate" relationship with other artists, who he said, were just copying his style of painting, so they resented his high profile attention in galleries and the media. Promoting so-called Norval "fakes" is one way to level the playing field.

Blake Debassige made a bad call, or did he? Just like Norval had a mostly “hate” relationship with other artists, who, he said, were just copying his style of painting, so they resented the high profile attention he got in galleries and the media. Promoting so-called Norval “fakes” is one way to level the playing field.

So both James and Debassige were utterly wrong about the authenticity of the only alleged example of a forgery Stevens published in his book.

This is hugely devastating to Donald and Paul Robinson and their tribe of Conspiracy Theorists who have claimed that there are over four thousand forgeries “out there,” and that they are so easy to tell that even an amateur could pick them out – meaning you dear reader.

In fact I have heard KRG Associate Director John MacGregor Newman tell a client that he “can spot the fakes instantly, a hundred yards away.”

So, given the huge supply of alleged fakes available, and the utter ease of being able to identify them, how can Stevens – who is hardly an amateur, and has seen more than his fair share of Morrisseaus in his life – pick only one, and it turns out to be an authentic Morrisseau, proven with DNA certainly, by one of Canada’s top forensic document examiners?

One out of 4,000 forgeries, to chose from, and James picks the authentic one? You couldn’t write this in a movie script without being laughed off the job…

Thanks James, again, for inadvertently showing what an utter Hoax the whole Conspiracy Theory of Morrisseau forgeries is.

Will James send up high res photos of the back of this painting for forensic analysis...?

Will James send us high res photos of the back of this painting for forensic analysis…?

Sorry James #2 – We lied…

James actually did publish one picture dated 1977, that we did not plot on the Stevens Graph. For a good reason.

James did not use it to illustrate the body of his story on the life of Morrisseau. He used it at the end of the book, in an addendum chapter where he wrote his unscholarly and unsubstantiated analysis of forgeries. The painting is a classic BDP he got from a Private Collection. Together with “Arrangement of Underworld Spirits,” they are his only proof of forgeries.

Challenging James – I am certain the back of the painting has BDP signatures and titling. If James had high resolution images of the signature sent to an independent handwriting expert, I have not the slightest doubt that the verification would come back as “an authentic signature by Norval Morrisseau and by no one else.” I challenge James to pay to have that done, or to send us the photos so we can have it done…

Do it for Norval, for Canada’s National Art Heritage.

And then issue a public retraction, for his allegations about the paintings, and the chapter…

Still the 81 other dated pictures Stevens published stand for something.

Was that another subliminal message by Stevens…?

James Stevens, without knowing it – at least he said nothing about it in public – by publishing the pictures he supposedly chose – actually I believe it is more accurate to say, were chosen for him – said something powerful, for the Ages, about the damage created by the Conspiracy Theorists of thousands of supposed fakes by numerous forgers out there, and the actions of its enforcers.

  • Inadvertently, the Stevens Graph shows the enormous damage this group and its wrong-headed Conspiracy, has caused to the artistic heritage of Norval Morrisseau and to collections of countless hundreds of Morrisseau art lovers around the world.
Have the genuine Morrisseau paintings from the 1970s been the target all along since Donald Robinson introduced his Conspiracy Theorist to the world on May 18, 2001.

The overwhelming number of Canadians are asking: have the genuine Morrisseau paintings from Norval’s 1970s BDP period, been targeted for defamation, all along, since Donald Robinson introduced his Conspiracy Theory to the world on May 18, 2001?

In short, what the Stevens Graphs shows is not, that the supposed forgeries are the primary victims of the Conspiracy Theorist campaign manipulations, but that the primary victims are the genuine paintings of Norval Morrisseau from the period when he created his fabulous BDPs during the 1970s.

Collateral damage of CT attacks are also the hundreds of dealers and collectors who, believing in Norval as an artist, bought and invested in his paintings. Their loyalty to Norval has lost them millions of dollars in valuations, as the spurious attacks by Conspiracy Theorist Extremists has contaminated the market for Canada’s top Aboriginal Artist, and many of his fellow Aboriginal artists.

sign_shameAnd that, say knowledgeable Morrisseau collectors, is exactly whom the Conspiracy Theorists were intending to target all along. Nailing the thousands of genuine Morrisseaus from his 1970s high period that were in the hands of their main business competitors, and had been making it hard to sell their wobbly 1990s stuff from Morrisseau from his “Invalid Period” of painting.

Posted in Art Auctions, Art Cartel, Art Galleries, BDPs - Black Drybrush Signed Painting, Canadian Cultural Heroes

Randy Potter & Donna Shea

Great Canadian Cultural Heroes #3 & 4

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

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

Randy Potter from Port Hope, ON, easily wins my vote for the “Last Honest Auctioneer.” Here’s why:

The words “crooked auctioneer” go together like ham ‘n cheese, or peanut butter and jam. It is something I know more about than anyone you know because over the last 15 years I have attended literally hundreds of antique and fine art auctions and previews – going to two or three a week, all over southern Ontario, but also in Ottawa, Calgary, and Vancouver.

I have been ripped off, cheated, lied to, and conned, numerous times, in spite of being more savvy than most, about all the ways auctioneers boost sales and separate a sucker from his cash. But I have perhaps been bamboozled less frequently than most of my colleagues on the auction circuit.

postEven at the marquee fine art auctions I have seen men in suits lie scores of times, looking the audience straight in the face, claiming they have sold this or that painting to entirely fictitious beings: “the woman behind the post, or “the man at the back,” etc., and then asking exit signs, and fire extinguishers to “hold your card a little higher please.”

lampOr thanking ceiling fixtures or door knobs for their purchase, when, there was not a real buyer there, or a painting sold, or a card held up, or anyone that needed thanking. Auctioneers in suits act like this, many scores of times in an auction because they don’t want the audience to feel that nothing is selling, and so get cold feet about spending or consigning.

Or do shill bidding; using “exit lights,” or curtains, to do proxy bids to move the one real bidder they do have in the audience to his maximum and the minimum the auction will sell it for. The bidder thinks he’s bidding in a fair market place, against another real bidder, and thus establishing the item’s real value. When there is actually no one else bidding there at all. You’re being taken for a ride by the auctioneers, way beyond what the market says the painting is really worth.

exitSo auctioneers often lie. It’s all part of their trade.

At a recent Toronto fine art auction the auctioneer said “Pass” twice in an auction, meaning he acknowledged to the audience that only two items had not met their reserve and hence did not sell. Out of some 300 lots he had auctioned off.

In fact, data published days later, as “Prices Realized,” showed that, in actuality he had failed to sell or find a buyer for over 35% of his offerings.

chandelierThose, of course, included the numerous times when he thanked the fire extinguisher for buying, or asked the light fixture to lift his paddle number “a little bit higher please” and after an appropriate pause to give the light fixture time to respond, said a heartfelt “thank you.”

Glaringly misleading behavior by auctioneers is commonly on display at many auctions.

Is there an honest auctioneer out there?

I always thought so – solicitously charming a prospective buyer into bidding is standard salesman behavior – until, every time I brought up the subject, with another auction-going colleague, and the name of an auctioneer I thought was a good candidate, I was quickly set straight with, “Well, listen to this – true story – because this is what he did to me.” The facts of the story soon made it abundantly clear that my colleague had proven his point, and I had to look for another candidate for an “honest auctioneer.”

Fifteen years and counting, I’ve despaired of ever adding to my list of “honest auctioneers.”

I’m getting ahead of myself.

Fine art auctions and Norval Morrisseau paintings have become high profile in the news over the last dozen years, as alleged “crooked auctioneers” are accused of selling Norval’s forgeries by the thousands.

  • The Morrisseau art cartel has quite viciously, and repeatedly, targeted Randy Potter as a particularly awful kind of allegedly crooked auctioneer, publicly accusing him aggressively, of supposedly, deliberately, selling hundreds, some say as many as 2,000, forged Morrisseau paintings, and doing it knowingly, fully aware that they’re fakes, but doing it year after year, for the money, and just ripping innocent people off with his cold and calculating auctioneering crookedness.

The charge is shameful and despicable; I know, from fact, that the truth is the polar opposite.

Randy Potter & Donna Shea – Randy Potter and his wife Donna Shea have run Randy Potter Auctions for years, first out of Pickering in the late 1990s, and then from Port Hope from around 2000 on, till they took a breather sometime around 2008.

I do not really know Randy or Donna. I have never socialized with them. I have not been at their house, or they at mine, and we have never dined out together.

I met them, and know them, only as many hundreds of others have done, by going to their auctions over the years.

Let me tell you about that “crooked” auctioneering couple, Randy Potter and Donna Shea.

I first ran into them, probably in 1998, when hunting antiques, and soon discovered that Randy is a rough diamond, no doubt a handful-and-a-half, for his wife Donna, who is a professional nurse in her real job.

scrimshawThe Antique Ivory Scrimshaw – I had my heart set on an antique “ivory” scrimshaw he had at an auction, and called him over. It was the first time I ever talked to him. So I asked, the usual “How do you tell if it’s real?”

How many times I’ve been bamboozled by auctioneers who quickly spot a “live one,” and are eager to talk him up to bid high, just to boost his bottom line.

But not Randy. He knew I was excited with the discovery, but said “Well, stick a hot needle in it. If it goes in, it’s a plastics compound. If it doesn’t you’ve got ivory.”

I looked at him. Our eyes met. “But I wouldn’t stick a pin in that one.”

I could tell instantly that Randy knew, the minute he’d opened his mouth, he’d lost a high bidder.

But, to him, what he did was the right thing, as I could tell, he had been taught by someone a long time ago…

  • I was truly taken aback. Randy Potter had knowingly taken money – a lot of money – out of his own pocket, and put it in mine. Of a guy he’d never met, and might never meet again.

And lost a possible few hundred dollars in doing so.

Do that a few dozen times at an auction with other customers and you’re soon down multi-thousands in possible income.

Not a good economic model.

And for what? Just a matter of personal principle?

I was grateful that not everyone has an MBA that teaches them how to run their business without a conscience.

hider_indianduoThe Hider Battleship Painting – After years of looking I finally saw a listing for a favorite painter of mine, AH Hider. It was a big oil, of an unnamed battleship steaming on the high seas.

Art Hider was one of Canada’s top artists at the end of the 19th century and early 20th, was famous for his historical and horse racing pictures, and was hugely in demand for advertising illustrations for calendars, war recruiting posters, and ocean line shipping prints.

I had numerous glorious web pages promoting him as a superb, but undeservedly lesser known, great Canadian painter. I wanted the world to know about him. His family was ecstatic about my website.

The listing was at a Randy Potter auction.

We got up early to be first in the door so I could examine the painting closely before the crush of people arrived. There was hardly anyone there when I arrived.

I got a shock. The painting was displayed on a special easel at the centre of the front of the auction hall to make sure everyone saw it and knew that Randy considered it special.

hider_princeofwales

All of which I hated because I wanted items I want to buy to be in the back corner or under a rug. Putting them up front – and egads on an easel no less! – brings too many high bidders.

I desperately wanted him to shove it to the back of the room, take it off the easel, and put it on the floor, but said nothing. It was his right to promote each item to the best of his ability so he can get the best exposure and the best prices for his consignees.

Then I got another shock.

Plastered all around the painting were seven or eight pages of printouts in colour of my website promoting Hider as a great unknown, but very valuable, Canadian painter, etc.

In short, as my website pages seemed to suggest, Randy had found a sleeper painting that should be worth a lot of money for some lucky bidder. I could see the painting slipping out of my reach, thanks to the hype from my own web site, which Randy was using to promote his item.

In fact my website hype had propelled the painting on to the easel, and to the front of the room. And now it’s glorious pages screamed out “You’re dumb if you don’t buy this rare painting, and make yourself a lot of money!”

I gnashed my teeth.

In my mind’s eye, I saw a painting I hoped to get for merely hundreds of dollars, go for several thousands, and well out of my reach.

It was anguishing, after years of waiting and looking for Art Hider works, which rarely come up for sale.

This time I just couldn’t hold myself back, and went over to Randy, whom I probably hadn’t seen for at least a year.

  • “Holy cow Randy, you’re using my own propaganda, from my own website, against me to bid me up on a painting I really wanted to bid on… Geez…” I looked anguished, tried a thin smile, and left it at that, hanging… I knew, by all that is fair, I didn’t have the right to say it…

I expected him to say, “Sorry, but I’m trying to do the best for my consignors. We found that on the internet and so thought it was nice promotional stuff our customers would like to know.” And smile, you know, like “that’s the way the cookie crumbles,” unfortunately, in the auction business.

And I remembered the old saw, you hear constantly at auctions, where friends who attend often end up bidding against each other, excusing it all with, “You know… No friends at an auction.” Always delivered with a smile, of course. I’ve known of close friendships broken because of that…

It was really what he, as a businessman, should have said, I knew it. Donna, had she been listening in, would probably have said so as well. “C’mon Randy. What are you? An auctioneer, or some kind of bleeding heart…?”

Randy said not a word, but purposefully walked over to the Hider painting, and semi-apologetically tore down all the promotional pages from around the painting, and stuffed them in the garbage.

I couldn’t believe it… I was stunned.

Randy Potter had taken money out of his pocket and put it into mine.

I believed it was a lot of money, possibly a thousand or two thousand dollars…

For the second time, for a guy he really didn’t know. And might never see again.

Multiply that a few dozen times in an auction for different customers… the math wasn’t good for a business.

But someone a long time ago had raised Randy to be the kind of guy he was. And he just couldn’t be different than he was taught…

And for some reason he wouldn’t, or couldn’t change. It’s funny but upbringing can do that to some people.

Randy should have taken an MBA. Then he could have learned how to run his business without a conscience. And do it only for the money, regardless of the cost to others, and the damage to his self-respect.

People now started to drift in. When the auction started the place was packed. None had seen my web promo Randy had removed from around the painting.

I got the painting for $400.

  • My research – of course I didn’t share it with anyone in the auction hall – confirmed that it’s a magnificent oil of the battleship Prince of Wales which had brought Winston Churchill to meet with President Roosevelt in Placentia Bay in Newfoundland during World War II. It is shown, months later, steaming in the company of another battleship HMS Repulse in the background. They are on the way to meet their doom, both to be sunk, with thousands of their crew, by Japanese air attack in the Pacific. It sealed the end of battleships as useful ships of war.

It was probably painted by Hider sometime in 1941 when the sinkings made world headlines, for use on a calendar or poster.

It hangs in a special place in my house, but I don’t think of all the history when I look at it.

Instead, I think of Randy Potter, an auctioneer who made it possible, by deliberately taking money out of his pocket and putting it into mine.

A guy he hardly even knew.

The Morrisseau BDP Paintings – One day, in January 2000, when my wife and I went to one of his auctions, Randy Potter had numerous big Morrisseaus plastered around the walls of his auction hall. They were huge acrylics in glowing colour on canvas. They were not framed, just pinned up at the top by thumb tacks. So you could flip them over to read all the writing which most of them had on the back.

potter_selling

A typical scene with Randy leaning on the counter as his assistants bring up the next item for sale. On the wall, the way he tacked up his Morrisseaus. You could lift them with a yardstick or he’d take them down for you if you wanted to see them up close.

And they totally dominated the auction hall, they were so stunning. Probably about 20 in all.

Exactly the Very Letters & Canvas that Donald Robinson Saw – The typical BDP signature on the back of almost all of Randy Potter’s Morrisseaus, that Donald Robinson and other Morrisseau collectors saw. The Conspiracy Theorists, at first in love with the signatures, would suddenly change their minds, saying the huge titlings on every canvas were all forged, never explaining why such a huge forgery would possibly be put there by even the dumbest forger, knowing it could betray his faking instantly. In fact the Stupid Forger was ultimately turned in, by exactly this signature DNA, thanks to handwriting analysis by top Canadian forensic scientists. The Dumb Forger turned out to be, with DNA certainty, none other than Norval Morrisseau himself. After some 70 different examinations, by 3 scientists, without a single dissenting finding. More examinations are coming in… Donald Robinson would never accept these scientific results, forcing everyone to conclude that he, as the world’s top Morrisseau authority, and Principal Morrisseau Dealer, 90 different times, made 90 different authentications of these paintings – like this one on January 26, 2000 – that proved to be utterly wrong. I believe, it’s probably the worst failure rate as an art appraiser in the History of Western Civilization.

They were the biggest and most glorious Morrisseaus I’d ever seen. These and most of the other hundreds I was to see there, over the next eight years or so were BDPs, “1970s style, paintings, black drybrush signed, titled, and dated on the back” with Norval’s large and generous hand. (Glossary: BDPs)

We had been following Norval’s life and art for some 30 years at that point, and had spent decades involved in living in remote Aboriginal villages as educators, and producing educational film and television programs with, for, and about First Nations groups and organizations. In the late 70s we were friends with novelist Sheila Burnford (Incredible Journey, Bell Ria) who together with her friend Susan Ross had introduced Jack Pollock to Norval Morrisseau in 1962.

Reality Check 2000 – Remember, this was in the days before there was a Morrisseau Forgery Conspiracy, nor Conspiracy Theorists. There was no claim of forgers or forgeries of Morrisseaus by anyone, anywhere. None… nix… nada…

Not by Robinson; not by Morrisseau; not by Vadas; not by Milrad; not by Ritchie Sinclair.

In fact, Morrisseau collectors and retailers from near and far would end up finding their way to Randy Potters to try to snag some of these artistic treasures, which a longtime Morrisseau collector, facing hard times, was now dumping on the market to raise some cash.

And proudly preening himself in the midst of the glory of it all was Donald Robinson, Principal Morrisseau Dealer, doing everything – and then some – in his power to try to grab all the artistic treasures that he could for himself.

The scuttlebutt among the local intellectuals in the small town auction – you know the ones whose idea of fine art is hanging a calendar in the outdoor privy – was scoffing. “C’mon, get real. No artist can have 20 big paintings for sale at once. And he had twenty others a month ago.”

I walked over to Randy who was leaning on a counter top, surveying the crowd.

“Hey, Randy, where’d you get these?”

“Oh some guy had a bunch, and was tired of getting ripped off by guys in fancy suits in downtown Trawna. He thought we ran an honest auction out here so he’s sending them to us. He’s happy with what we’ve done for him, so he sends us more from time to time.”

“You think they’re really genuine Morrisseaus?”

His reply was no-nonsense brusque, and hardly what you’d expect from an auctioneer, who is supposed to be a hard-assed salesman.

Principal Morrisseau Dealer aka Principal Conspiracy Theorist Donald Robinson. No one in Canadian art history has ever before, so aggressively sought out the media spotlight for himself, by setting out to deliberately place himself, and his Conspiracy Theory about supposed Morrisseau forgeries, at the centre of a public discussion from one end of the country to the other. One can only wonder, why a person would support a Conspiracy Theory that is universally discredited by the scientific community, and put at obvious risk his entire credibility as a Morrisseau authenticator of any level.

Principal Morrisseau Dealer aka Principal Conspiracy Theorist Donald Robinson. No one in Canadian art history has ever before, so aggressively sought out the media spotlight for himself, by setting out to deliberately place himself, and his Conspiracy Theory about supposed Morrisseau forgeries, at the centre of a public discussion from one end of the country to the other. One can only wonder, why a person would support a Conspiracy Theory that is universally discredited by the scientific community, and put at obvious risk his entire credibility as a Morrisseau authenticator of any level.

“Hell, don’t ask me. Haven’t got a clue. I’m no art expert… If you want to ask someone, ask that guy over there. He’s a big shot art dealer from Toronto, who buys from me all the time. He seems to think they’re real. He wrote the book on Morrisseau. Ask him if they’re real or not.”

And that was all he said, Dear Diary, not a word more.

How many hundred times, in a similar situation, have I been regaled and massaged with glowing tales of the “fantastic” offering an auctioneer had found. How wonderful and valuable the find, pumping up to the maximum the worth of something I knew he didn’t really have a clue about but was hyping to get sales. It was the norm in the auction business; lying to promote sales. 

But Randy was no ordinary auctioneer.

Donald Robinson: Principal Morrisseau Dealer – I looked over at the person he was pointing to, a man at the wall, studiously flipping up the bottoms of the Morrisseau canvases to examine the writing on the backs.

That man turned out to be Donald Robinson, who, a year and a half later, would do the most astonishing about face in Canadian art history, and would maliciously attack and defame Randy Potter and publicly accuse him of being some kind of lowlife scammer, knowingly selling fake Morrisseaus to hundreds of ignorant buyers.

But on this day he was singing a different tune. He was praising the art and telling anyone who would listen that they should buy it. That day he ended up being the happy purchaser of ten fine canvases himself.

On the same day my wife and I ended up with two very fine Morrisseaus for which the bidding was stronger than on most of the others. But having long been visual artists by profession, as well as art collectors, we know a good painting when we see it.

morrisseau_soma190faIn line at the office counter, to pay for our successful Morrisseau purchases, we struck up a conversation with Donald Robinson. He asked which ones we got and he confessed that he was the under bidder on both of them, telling us grimly – obviously still feeling the loss – that they were “very fine Morrisseaus.”

(It would turn out that he had given them his 3rd and 4th highest bids, that he would make over a six month period, on the 28 lot purchases he would make at Potters. But he bailed out against our passionate winning bids.)

The Guy Who Wrote the Book -Aware of the typical gossip among the local types around the auction hall, that Randy’s paintings couldn’t be real Morrisseaus, but were possibly fakes, we asked Donald Robinson directly, “Are these real or fakes?”

morrisseau_fish_authHe laughed, and said firmly. “Oh, they’re real alright. Trust me! I’m the guy who wrote the book on Morrisseau.”  (“Travels to the House of Invention,” in 1997) In 2012, in court testimony, he would claim that at the time (2000) he had already been an experienced expert in selling Morrisseau art for 18 years. (Claim in court transcripts 2012)

As I started to roll up the canvases, with the acrylic turned in, thinking to protect the paint surface from rubbing on outside surfaces and picking up dirt, he stopped me and said, “Don’t do that. Your roll’s too tight and you’ll compress and crack the acrylic by rolling it in on itself.”

Then he showed me how he was rolling his, in a large diameter roll, with the acrylic on the outside to take the strain off the paint surface.

He invited us down to see his gallery. A couple of days later we went, and he gave us a tour.

We noted his prices for typical Morrisseaus was from $9,000 to $12,000, and thought, hey, not a bad business, after buying them at Randy Potters for $800 to $900 each.

He also recommended that we use the same kind of frame he used for all his Morrisseaus, and gave us the name of his framer whom we then used.

The Birth of the Conspiracy Theory – May 18, 2001

Murray Whyte would regret that publishing before verifying his sources can embarass you for the rest of your life. In 2012 he was sent back to school at Ryerson to brush up on Jouranlsim 101.

Arts Journalist Murray Whyte would learn that publishing before verifying one’s sources can embarrass you for the rest of your life. In 2012 he was sent back to school at U of T to brush up on Journalism 101.

Sixteen months later we read, with astonishment, in Murray Whyte’s article in the National Post, on May 18, 2001, that Robinson now claimed – specifically targeting Randy Potter – there were hundreds of fake Morrisseaus out there. Robinson was to claim that every Morrisseau Randy sold was an easy-to-tell forgery, and that Randy knew it and kept up his alleged deception. And that Randy was the willing and conniving conduit for a diabolical group of forgers madly painting fake paintings for him to sell. Thousands of them…

Just what the hell is going on here…?

One moment Robinson’s desperate to buy my two paintings; the next he claims, like all the others, they’re lousy fakes?

To me, at the time, the claim and Donald Robinson’s total and inexplicable about face, was preposterous and totally unbelievable; 12 years later I am more certain than ever of that. And a growing mountain of incontrovertible scientific evidence and courtroom testimony, by Robinson, and by many others has proven me right.

The only painting - of 28 that Robinson purchased at Randy Potter Auctions, which has so far surfaced. Robinson and his fellow Conspiracy Theorists, at the Norval Morrisseau Heritage Society have done their utmost to prevent photos of these - front and back - from being made accessible to the public for independent scientific analysis.

A very rare low res image of only a couple of the 31 paintings that Donald Robinson purchased at Randy Potter Auctions, which have so far surfaced. Robinson and his fellow Conspiracy Theorists, at the Norval Morrisseau Heritage Society, have done their utmost to prevent photos of these – front and back – from being made accessible to the public for independent scientific analysis. And no, we don’t think it’s because of embarrassment. There’s something far worse they’re hiding. They know very well if they let anyone see the backs, forensic scientists will prove, with DNA certainty, that the paintings they all call fakes, were in fact signed by Norval Morrisseau himself. Driving the last nail into the coffin of the Conspiracy Theory they have been promoting for over 12 years…

In fact both my paintings were forensically examined in 2011 and 2012, and each found by one of Canada’s top forensic document examiners and handwriting analysis experts, to have been signed, with DNA certainty, by Norval Morrisseau, and by no one else.

Just two of some 70 or so separate forensic findings that prove Robinson to be more wrong in appraising art than anyone I’ve ever heard of, in world art history.

By 2013, the Robinson claims of 2001, and the years since, have all been utterly reduced to little more than the elementary basics of MBA 101: corner the market, knock out your competitors, and manipulate supply and demand.

Consider these facts:

father_son1977_pottersbaI went to more Randy Potter auctions, from 1999 to 2008, than Robinson ever did, often when there were Morrisseaus for sale. I saw, and examined more Morrisseaus there than he ever did, and saw more of them sold.

morrisseau_fatherandson190faNever once – not a single time – did I ever hear Randy Potter hype his Morrisseau paintings, in any way shape or form, to me, or to anyone else.

He was not a huckster, nor a hustler, nor a con-man in any sense of the word. He was the polar opposite of the fictional man Robinson tried to portray him to be in the National Post, and in the years since.

It was frankly one of the most malicious defamations I’ve ever encountered in Canadian history.

Randy was, in fact, the antithesis of the popular view of an auctioneer.

morrisseau_Jesuit-Priest-Bringing1976_190faHe hawked his Morrisseaus, exactly like he did his silverware, his furniture, his ceramics, his bicycles etc., just as “stuff” he was offering on auction day.

I have seen scores of auctioneers, at hundreds of auctions, over many years, hype the bejeesus out of paintings they have for sale, trying to wring every possible dollar out of some gullible dunce in the audience.

Randy Potter is not among them.

He never gave the Morrisseaus any hype of any kind at all, other than calling out “Now we have Lot #145 a Morrisseau.” In fact he would sometimes hype non-Morrisseau stuff if he had a great “Coca-Cola” advertising sign someone consigned, or use reliable third party promo info, like he planned to do for my Hider painting.

But never his Morrisseaus. Totally In line with his confession to me that, “Hell, don’t ask me. Haven’t got a clue. I’m no art expert.”

To claim anything else is totally dishonest, and reprehensible.

In fact, when the first shipment of Morrisseaus was sent to him and his wife Donna Shea – a nurse by profession – they realized they knew nothing about Norval or his art and hit on their strategy to sell them. Testified Donna in court:

  • “… when we got those paintings, we knew nothing about Morrisseau paintings. So my husband, the auctioneer; got on the telephone and called the galleries in Toronto that dealt with all of the native art. There was numerous ones. He called them and said… we have these paintings, the Morrisseau paintings, they are going up for sale on a certain night, if you would like to come down and see them, you are more than welcome to check them out. We had numerous galleries that came down, and they were sold. The gallery people bought them, and these are the people that were to know, and supposed to know, what a Norval Morrisseau looked like.” (Court Trans/Otavnik v Sinclair: Mar 18, 2010 p20)

In the end, some 200 of Canada’s top First Nations galleries, Morrisseau collectors, and fine art dealers would buy Morrisseaus from Randy and Donna. Including Donald Robinson who, according to his bidding behaviour, came prepared to spend some $168,000 on some 90 Morrisseau paintings he set out to buy.

Refunds for Fake Morrisseaus – Out of some 2,000 sales, over 10 years, not a single Morrisseau painting was ever returned to Randy Potter for a refund. Not a single customer ever asked for his money back, or complained they were sold a fake. A truly awesome encomium for honesty for a retail business, of an astonishing 100%. Name me the Toronto businessman who can claim that?

And even Robinson, who bought 31 Morrisseaus for $53,228.73 never brought a single one back, never asked for a refund, nor complained to Randy he was sold a fake.

  • “Mr. Donald Robinson has never returned or attempted to return any of the Norval Morrisseau paintings he purchased from my auction and later implied were fake in the May 18, 2001, National Post article.” (Affidavit, Randy Potter, Mar 11, 2005)

cheque_robinson_misssuper

And another thing: Robinson, whose chutzpah is nothing if not legendary, did bring back one painting he claimed was a fake, demanding a refund for $267.50 cents. But – you won’t believe this – not for a Morrisseau, but for a Robert Davidson…

Without saying a word – I’m absolutely certain – Randy, with no questions asked, paid Robinson the entire amount he demanded, down to the last 50 cents.

And, in the process, going far, far beyond the bounds of what any other retailer, let alone any auctioneer, on the planet, would ever do to satisfy a disgruntled customer.

Because Robinson, in another display of his legendary chutzpah, came back to demand a refund on the Davidson, a full 14 months after buying the painting.

No auction anywhere in Canada would ever have given him a refund, even had he brought it back a day after buying it. And no Canadian fine art auction will give refunds beyond a month after purchase and then only if you have incontrovertible proof from an accepted independent authority that your painting is a fake.

They would have all, unanimously, laughed Robinson out of the building.

Robinson very well knew all that. It was all standard in the professional world he lived in.

But he knew something else too, of which he was equally sure.

That Randy Potter was a decent guy, far above the norm in the auction – let alone the fine art business.

That Robinson could demand something so absolutely inappropriate for a long-ago completed sales transaction because he knew Randy would come through, with the $267.50, no matter how outrageous was Robinson’s demand.

But Robinson knew something else: he had to move fast – in a manner of speaking – if he ever expected to get his 200 bucks back.

He very well knew, the day he went to get his refund, that he had already slammed Randy in private to a journalist who would publish the next month, in the national media, his accusation that Randy was a lowlife scammer. He probably knew after his accusations came out, in the National Post, even Randy’s good will might have been stretched past the point of no return, and he might not give him back his two hundred bucks.

cheque_davidson600sup

This is all stunning proof that actions speak louder than words, all around.

About the honesty of some people.

Which brings us back to the alleged Morrisseau fakes… With all the evidence in, where, on the planet, is there a single person left, anywhere, who believes that Robinson personally, truly believed the 31 Morrisseau paintings he bought at Potters really were fakes?

Would a guy who played hardball over $200 just throw away $54,000 on fake paintings?

In the end, for all their malicious defamation in the national media and the courts, neither Donald Robinson nor his Conspiracy Theorists ever took Randy Potter to court.

Which has to be the ultimate proof for sincerity.

Why not? Obviously none of them had proof of anything, but that their claims would only get them laughed out of a police station or a court. And they very well knew it. Why?

Because all along the Conspiracy Theory was nothing more than just shabby MBA 101.

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

Joseph Otavnik, took paintings from Randy Potters, which Donald Robinson called fakes, and had them evaluated by a Canadian forensic scientist, who certified them as authentic Morrisseaus. Otavnik then used them to win the first court  victory over the Conspiracy Theorists, Norval Morrisseau and his white business manager, Gabe Vadas, who declined the honour to meet in front of a judge with their supposed proof of forgery and chose to pay him off with $11,000.

 MBA 101: Market Manipulation – Plan 1 – Why the vitriol against Randy Potter?

Partly it was because Randy Potter was the feeder line for funneling hundreds of 1970s Morrisseaus from private collections to many of the Kinsman Robinson Galleries major business competitors across Canada.

And they were siphoning off the buyers because they were selling a lot cheaper than at KRG. Clearly KRG business was hurting as it was pricing itself out of the market by January 2000.

Then with truly staggering chutzpah that is hard to imagine, Robinson tried a variety of tactics to make money off Randy’s good fortune in acquiring sales rights for so many fabulous Morrisseaus.

Robinson desperately sought a way to cut a deal for himself, so he could funnel all the money to himself, and secondly so he could control the flow to the market in a way that would not undermine the high priced sales at his own Kinsman Robinson Galleries.

morrisseau_heffelsduo190fa

Another Randy Potter painting Donald Robinson called a fake, “Spirits 2a & b,” whose forensics sent Norval Morrisseau and Gabe Vadas running from a judge and reach for a wallet to pay off Joe Otavnik.

“Gimme the Source – In an affidavit (2005) and court testimony (2010), Donna Shea – who, as Vice-President of Randy Potter Estate Auctions Ltd., and as a professional nurse, is a vigorous and assertive personality in her own right, said Donald Robinson tried to make her do something he knew was utterly unprincipled.

  • “Mr. Donald Robinson made a number of attempts to discover the source and contact names of the Norval Morrisseau paintings being auctioned at Kahn Auctions during this timeframe.” (Affidavit, Donna Shea, Mar 11, 2005)

Robinson demanded Donna give him the name of the consignor, obviously so he could contact him, and try to make an end run around Randy and Donna, and strike a side deal to siphon off future Morrisseau consignments to Robinson, instead of Potter.

This was Robinson’s attempt to get Donna to break the sacrosanct law of all auction houses, which he very well knew was followed by all the top fine art auctioneers in Toronto: to not disclose the identity or address that was the heart of the private confidentially agreement between a consignor and an auction.

moniz190

Michael Moniz took another Randy Potter painting, which Donald Robinson called a forgery, “Father and Son 1977,”  had it evaluated by a Canadian forensic scientist, who certified it as an authentic Morrisseau, and then used it in a court case, to win some $25,000 from CTVglobemedia for defamation of his painting and himself.

In fact Robinson follows it himself with paintings he sells in his art gallery. He will not disclose where he got a painting he sells, nor from whom he bought it.

It stands to reason; no gallery owner wants a buyer to call up the previous owner to find out that a painting he paid $10,000 for, the gallery had bought for $400 at an auction. And then tarted up with a gallery label and perhaps even some provenance as “coming directly from the artist.”

Donna stuck to the ethical conventions standard in her business, and absolutely refused to betray her confidentially agreement with her consignors. She has an obligation to them first, and then to her business. Why should she do something that would undermine her reputation and her ability to make a living?

Being rebuffed at trying to siphon off business for himself from the flood of fine Morrisseaus coming on to the market, Robinson was clearly squirming in his suit.

“Gimme a Cut” – Donald Robinson ultimately discovered the identity of the Morrisseau art consignor (David Voss) and tried to talk him into dumping Randy and Donna, to abandon their auction, and to sell his paintings through the Kinsman Robinson Galleries.

morrisseau_fatherandson190faDavid Voss put his back up to what he called Robinson’s “threatening manner,” and considered his business “tactics he used are low down if not dirty,” and unprecedented in his long experience with many other people in the business.

“I told him I wanted nothing to do with him and that in the future it would be better not to use threats to begin a business relationship. He has tried several times since then to contact me.” (David Voss Declaration, Oct. 29, 2001)

It was exactly because of the arrogant “big shot” role players in suits from downtown Trawna, that are so notoriously infamous all over Canada, that Voss actually decided to send his hundreds of painting to a small town auction of decent, salt of the earth, country people like Randy Potter and Donna Shea.

Robinson, rebuffed again, must have been boiling in his suit.

“Slow ‘er Down” – Finally Robinson asked Donna Shea to slow down the flood of Morrisseaus, saying that so many coming on to the market at once were deflating his gallery prices, as people were buying from Potters for $1,000 instead of from him for $10,000.

  • Note: This was exactly an echo of what was to happen with Riopelle in 2003, when his widow announced she was going to dump 50 of his works on the market at once. Two daughters of the artist successfully petitioned the court to stop the sale, complaining the value of their paintings would be damaged by the sudden glut on the market.

Obviously Robinson too, was in a panic. He had failed to capture the source and suppliers of all the paintings. Now, like the Riopelle daughters, he wanted to control the outflow, and he wanted Randy and Donna to help him out to manipulate the market for his own financial benefit.

  • “Mr. Donald Robinson was concerned about the number of Norval Morrisseau paintings being sold at Kahn Auctions and cautioned us to slow down the number of paintings being sold as he could not sell them as quickly at his gallery.” (Affidavit, Donna Shea, Mar 11, 2005)

Donna refused. As auctioneers they sell in bulk, and what consignors send they expect to be sold pronto, and the cash sent immediately. Doing market manipulation to help out Kinsman Robinson Galleries business plan was not part of their mandate.

They had no interest in pinching off the supply just to help Robinson maintain his high gallery prices. They had bills to pay today. Their consignor, David Voss, would not have been happy at delaying sales just to help out a “Trawna suit,” especially when it was Donald Robinson.

  • “I am frustrated to say the least, that people like Donald Robinson have such control over the market that he does what he wants and does not care who he hurts or what damage he does. Someone should remind him if it wasn’t for the small collectors he wouldn’t exist.” (David Voss Declaration, Oct. 29, 2001)

Robinson was now triply unhappy with Donna Shea and Randy Potter Estate Auctions Ltd.

The good fortune was flowing to everyone but him… as this fabulous collection was being dispersed across Canada through all the top fine art galleries.

What made Robinson quadruply unhappy was the fact that the prices they were offering Morrisseaus for, were far below what he was charging for his… And these competing paintings were all coming from Norval Morrisseau’s prime years during the 1970s.

Grrrhh... Inside KRG the tension was palpable as hundreds of wonderful Morrisseaus from Norval's high period, coming from Randy Potters, were competing with their wobbly stuff from Norval's "Invalid Period."

Grrrhh… Inside KRG the tension was palpable as hundreds of wonderful Morrisseaus from Norval‘s high period, coming from Randy Potters, were competing with their wobbly stuff from Norval‘s “Invalid Period.”

 Grrrrhhh…

In March 2000, Robinson stopped buying Morrisseaus at Potters, and retired to the backrooms of the Kinsman Robinson Galleries to consider his options…

His main supplier of paintings, Norval Morrisseau. had long ago dried up as a source for paintings for him. In fact Norval’s son, Christian, said 1995 marked the end of his father’s career as a painter.

David Voss wasn’t playing ball; Randy and Donna weren’t playing ball… And funneling all the good stuff to Robinson’s business competitors…

What to do, now?

Randy kept selling scores more Morrisseaus, from David Voss, mostly from Norval’s high period, the 1970s. They were almost all BDPs.

Surely MBA 101, had a strategy for that, somewhere…

MBA 101: Market Manipulation – Plan 2

Murray Whyte had even the sug-heading wrong. He had not talked to Norval at all. He was passing of as fact somehting which was only heresay from a man many people reported could not communicate.

Murray Whyte had several sub-headings factually wrong. He reports blatantly that “artist identifies paintings as forgeries” and “Morrisseau says is a forgery” as statement of fact. The truth is Whyte had not talked to Norval at all. He had not heard him make the allegations, nor had he checked them with him to find out if they were true.  He was passing off as fact, gossip he heard somewhere, which was only a hearsay report he took at face value, about a man many people reported could not even  communicate. It was the most basic lapse in Journalism 101, but on a grand scale. Furthermore, his main title “alleges;” all his other headers say the forgeries exist. It is classic witless, and compliant journalism, that gave undeserved life to a ludicrous and unsubstantiated Conspiracy Theory, being promoted by one small Toronto family-owned and operated gallery, and prolonged it, years after it should have been euthanized by common sense, and the reports of Canadian forensic scientists.

A year later Randy and Donna were thunderstruck, along with countless other Morrisseau collectors and retailers across Canada, to see Randy Potter and Randy Potter’s Auctions being vilified in the National Post by Donald Robinson, as some kind of lowlife scammers, and sellers of hundreds of forgeries.

In court testimony in 2010, Robinson claimed he couldn’t really remember even talking to Donna Shea and couldn’t actually even recall her.

Donna, who’s a hands-on auction personality, seemingly everywhere at once, on the floor, on the phone, at the cash register, or joshing around with all her customers, certainly remembered Donald Robinson, who spent five long evenings at her auction and bought $54,000 worth of wonderful Morrisseaus from her. A very sociable gal, she certainly went out of her way to express her gratitude to a good client. In fact she’s every bit as memorable a personality as Randy.

Sad Sack - But then, making 90 wrong authentications at 90 different times can not be a happy memory, especially for the Principal Morrisseau Dealer...

Sad Sack – But then, making 90 wrong authentications at 90 different times, at Randy Potter Auctions, can not be a happy memory, especially for the Principal Morrisseau Dealer…

Alas, it’s awful to get old and have your memory slip up on you.

Q. Mr. Robinson, did you have a conversation with Donna Shea at the auction, ever?
A. I may have. I don’t remember it.
Q. She testified that she remembers you, uh, not, not at all? You don’t remember any conversations at all?
A. No. (Court Trans/Otavnik v Sinclair: Mar 18, 2010 p154)

The “Dumb Indian” with the Magic Memory – Luckily Robinson had an artist who had no such mental failings, whatsoever. In the last decade of his life, Norval may have been a virtual quadriplegic, tied to his wheelchair, unable to hold his head up, or his tongue in his mouth, thanks to a lifetime of totally abusing his body and brain with extreme overindulgence in alcohol based substances (booze, perfume, shaving lotion), overdoses on extreme drugs, and wild sex with anything within reach (animal, mineral, or vegetable).

People questioned whether Norval was in a condition to know what he was doing when signing Affidavtits of Forgery in 2003.

In 2001, some people questioned whether Norval really had total recall of 10,000 paintings he had painted over a 50 year period, as Donald Robinson loudly claimed. In court testimony, in 2012, Norval‘s brother Wolf said when he visited his brother in this time period, he was lucid for only minutes at a time before drifting off into “never never land” and confessed to him that he just couldn’t remember which paintings he had painted and which he had not…

But Norval was fortunately blessed with a truly fabulous memory with total recall.

The Preposterous Mr. Robinson – As Donald Robinson told Murray Whyte, the same journalist to whom he denounced Potter Auctions as the source of nothing but forgeries. When Whyte suggested Morrisseau might not remember all of over 8,000 (Robinson claims it’s 10,000 or more) paintings he ever painted over a 50 year period, Robinson blasted him.

Saying it was “preposterous” for him to even suggest that Norval’s memory was not picture perfect. Because, insisted Robinson, it was.

“Mr. Robinson, however, said it was preposterous to think Mr. Morrisseau would not recognize his own work.

“It’s not possible,” he said. “Norval has an excellent memory for longer-term things. His mind is still very good.”

Mr. Morrisseau could not be reached for comment.” Wrote Murray Whyte, cryptically.

In that one sentence the entire underpinning for Whyte‘s article was destroyed. He should have cancelled the publication, because there are many other clearly sloppy factual juxtapositions, fallacious sub-titles, and incorrect word associations in the article, all of which contribute to causing the uninformed reader to believe utterly false facts, including that there were so-called “Robinson forgeries,” when the incontrovertible truth was, and is, that there were none, neither then, nor now. But hey, he had a deadline; he had spent the time; he had produced something; it was a neat idea… Baaahh, what the hell; it’s only about art… What could be the harm…?

Robinson was so desperate and “over the top” with his insistence for one simple reason: Norval’s ability at “TOTAL RECALL” – regardless of how utterly preposterous the claim was, to every other Canadian in the know – was his only proof, of any kind, that there were thousands of fakes out there, by umpteen diabolical forgers. He had nothing else, at all.

Robinson was clearly counting on two things: Norval’s infallible brain, and his own aggressive say so, were an unbeatable combo to make a Conspiracy Theory stick…

Other observers might say that it was Robinson who was “preposterous” with a totally unbelievable claim about his artist, who, in the last decade of his life, had unarguably the most wasted body of any prominent Canadian by far. Every single video tape in existence incontrovertibly shows this…

Could his mind be far behind?

In 2004, Norval speaks at length on fakes and forgeries for the CBC program “Life & Times” finally clearing up a mystery of the biggest and best kept secret on Morrisseau forgeries: are there really thousands of forgeries, and who are the forgers? Or is the whole damn thing a figment of the imagination of your white business managers? Above a screen grab of Norval in the midst of his explanation that stunned viewers who had tuned in to hear what he had to say.

Robinson said, “preposterous,” Norval never felt better, nor was his mind more far-seeing…

Doubting Thomases answered, well then, why does no video tape exist, or even audio files, anywhere on the planet, from Norval’s “Invalid Period” of him talking – let alone talking about fakes and forgeries, during the last ten years of his life?

And question why Robinson never produced him to demonstrate his fabulous memory?

There were many who said this was Edgar Bergen and Charlie McCarthy all over again…

Shockingly – but tellingly – he couldn’t produce a talking Norval even for Whyte who ghosted his story of the alleged Potter fakes.

This article will always mark the nadir of Whyte’s journalistic career, for rushing off to publish without verifying Robinson’s accusations, with the supposed source, Norval Morrisseau, the man with the magical memory. Whyte said he tried to contact him but Morrisseau “was unavailable.” You know, like Charlie McCarthy…

Whyte would have to make do with Robinson, doing all the talking for the “Dumb Indian.”

Which suited Robinson just fine…

And on such frail, unreliable, and untrustworthy underpinnings the Morrisseau Forgery Conspiracy was founded…

In fact, speaking for a “Dumb Indian” can end you up in saying some dumb things yourself, as Robinson proved in court testimony in 2012, saying emphatically, as one of his key planks in his case for forgeries, that it was preposterous to suggest that even 500 paintings could come from a collector, nor even out of a “small place” like northern Ontario. Obviously not an area that Robinson has even a passing familiarity with.

  • “I certainly can’t agree that you could obtain 500, or even worse 800, (originals) like this in northern Ontario…” Court Transcripts, p 18 Hatfield v Child, Sep 1, 2011)

I happen to know of individual collectors who have many hundreds, and know of another one who had about 1,000 Morrisseaus, which he obtained directly from the artist.

Said one friend who lived in Thunder Bay in the 60s, “Hey, everybody in Thunder Bay had Morrisseaus. Many people like us, had several.” Which would be proof enough that in Thunder Bay alone there could be thousands of Morrisseaus.

Brian Lindblom with years of experience working for the RCMP, was the first forensic scientist to expose the Hoax of the Conspiracy Theorists, and to put doubt into their claim of thousands of forgeries by umpteen diabolical forgers, and conspiring art dealers.

Brian Lindblom with years of experience working for the RCMP, was the first forensic scientist to expose the Hoax of the Conspiracy Theorists, and to put doubt into their claim of thousands of forgeries by umpteen diabolical forgers, and conspiring art dealers.

Even in the Whyte National Post article, where Robinson scoffed that so many genuine works could come from a single credible source, Whyte quoted a man who said exactly the opposite, in spades. Michael Rogozinski, President of Empire Auctions, who has generations of Canadian auction and fine art gallery blood in his veins – far more than Robinson – said breezily:

“Over the last 30 years, he (Morrisseau) would be on reserves and paint paintings for food and liquor. You give him acrylic paint and a canvas and tell him you’ll take him out for dinner and give him some liquor and he’ll paint. There are probably thousands of these things on reserves all over the country.” (National Post, Whyte, May 18, 2001)

Rogozinski said – directly targeting the Robinson thesis head on – in so many words, that lots of Morrisseaus are proof of Norval, not proof of forgeries. Leaving the understood conclusion unsaid, that only a total idiot would even think of making any fakes – let alone the thousands Robinson claimed – when thousands of originals are littered all over the place and can be picked up for a song or less…

It’s easy to see how a sharp-eyed hustler in the backwoods, seeing that the city folk down in Trawna seem to be developing a show, or something, down in Ottawa to honour Norval, could come up with a smart idea:

  • “Hmmmh… why don’t I just go around and scoop up all these old canvases of Norval’s that I know are lying around all over the place up here: in garages, fish camps, under beds, in attics, log cabins, hunting lodges, pool halls, etc., and ship ‘em down to the panting city folks. They’ll cost me virtually nothing to buy and even a sale of $500 apiece is all pure profit for me.”

Which is exactly where David Voss came in…

Which is how this story began.

But how’s a suit from Trawna gonna know about any of that…?

The final word must go to a man whose family was in the Canadian fine art business before Donald Robinson was even born, Michael Rogozinski, who believes that common sense alone should dismiss the charge of thousands of forgeries by umpteen forgers. 

“He’s a great artist and I respect him a great deal, but Norval Morrisseau’s paintings are not worth so much money that it’s worth someone’s while to sit there and paint forgeries.”

Make that one… let alone thousands…

This is the view universally held by informed observers in the Canadian fine art market, where the feeling is unanimous that the forgeries allegations are a hugely wrong-headed pretense that is ludicrous beyond belief. And their beliefs are backed up by scores of forensic reports by top Canadian scientists.

Why Donald Robinson and his family would publicly promote such a ludicrous Conspiracy Theory, against the common sense of countless informed Canadians like Rogozinski, and top independent Canadian forensic scientists, like Dr. Atul K Singla, Brian Lindblom, and Kenneth J. Davies, should be subjected to the most rigorous public scrutiny, because in doing so they have hugely damaged the Canadian fine art market, and the art heritage of Norval Morrisseau and other First Nations artists, and wrongfully defamed the reputations of many fine and decent Canadians, like Randy Potter and Donna Shea.

Without credible, independently verifiable evidence of any kind.

Postscript:

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was to faded or indistinct for him - the consummate scientist - to hassard a guess, you know like the Conspiracy Theorists are famous for doing...

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was to faded or indistinct for him – the consummate scientist – to hassard a guess, you know like the Conspiracy Theorists are famous for doing…

By 2013, numerous paintings from the Potter auctions – all supposedly fakes according to Donald Robinson’s claim – that have been sent to three different top Canadian independent forensic document examiners and handwriting analysis experts, have been found to have been signed, with DNA certainty, by Norval Morrisseau and by no one else.

When, in fact, if what Donald Robinson claimed was true, beginning in 2001, not a single one would ever have passed any scientific test for authenticity.

In a stunning further finding, not a single Morrisseau that originated at a Randy Potter auction – not a single one, of many – has ever failed a test for authenticity carried out by an independent forensics expert.

I couldn’t help but remember what Norval’s most successful art dealer had said about the business he was in “… what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.” (Jack Pollock, “Dear M: Letters from a Gentleman of Excess”, 1989)

But I prefer to take my leave thinking warm, affectionate thoughts of two utterly decent, salt of the earth Canadian originals, Randy Potter and Donna Shea, two Great Canadian Cultural Heroes.

 

Posted in Art Auctions, Art Cartel, BDPs - Black Drybrush Signed Painting, Canadian Cultural Heroes, Forensic Expert Findings, Media

5 – Otavnik v Sinclair

The Conspiracy Theorists Lose Court Case Round #5 – Otavnik v Sinclair

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

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

morrisseau_jesuit_preist_190

A representative screen grab of “Jesuit Preist Brings Word 1974” showing Ritchie Sinclair’s malicious attacks were always aimed at both paintings and people.

In 2010, the fifth Morrisseau-related court case came about, when Joe Otavnik took a rather late-blooming Conspiracy Theorist, Ritchie Sinclair, to court, for publicly defaming and devaluing his painting “Jesuit Preist Brings Word 1974” as a forgery. Sinclair may have started late, climbing aboard the Conspiracy Theory train, but he made up for it, with ferocity, once he got going.

morrisseau_senate190Ritchie Sinclair owns a website on which he has posted over 1,000 low resolution images gathered from all over the web, of paintings created in the 1970s by Canada’s most famous Aboriginal artist, Norval Morrisseau.

Sinclair has declared that all these 1000 paintings are forgeries – “Inferior Counterfeits” – even though he has never seen, or personally examined, over 99% of them, and even though they were all painted long before Sinclair had even heard of Norval Morrisseau, or even seen a copy of painting by him, according to Sinclair’s own court testimony in 2012.

morrisseau_astralplainscouts_winartgall190morrisseau_redbird_uvic190collAstonishingly, the 1000 paintings that have been labelled as forgeries by Sinclair include paintings that are in famous art museums that exhibit First Nations art: the Canadian Senate Chamber, the Smithsonian Institution, Winnipeg Art Gallery, University of Victoria Art Gallery, Thunder Bay Art Gallery, National Museum of the American Indian, University of Oklahoma Fred Jones Jr. Museum of Art, Art Gallery of Nova Scotia, McMaster University Art Collection.

Dr. Jonathan Browne discovered to his considerable embarassemnt that not practicing due diligence before following bad advice is not something a neophyte art collector should do.

Dr. Jonathan Browne had discovered, in 2008, to his considerable embarassemnt that not practicing due diligence before following bad advice is not something a neophyte art collector should do. He had driven all the way from Ottawa to lend support to his friend Ritchie Sinclair,  who ran the most anti-Aboriginal website in Canadian history, and is the very guy who steered him wrong in the first place.

Ms Hatfield, a close friend of Ritchie Sinclair, who ran the most anti-Aboriginal website in Canadian history.

Strange Bedfellows – Jonathan Browne, who had been spectacularly wrong about his own expertise in art and the friends he chose to rely on, now travelled from Ottawa to court to show his support for Ritchie Sinclair. Sitting together with Margaret Hatfield, another clueless beginning art collector – whom he’d met on an internet date, they hoped to watch the judge denounce “Jesuit Preist” as a forgery.

The duo of neophyte art collectors would be hugely disappointed. “Jesuit Preist” would be certified as a genuine Morrisseau by a top Canadian forensic scientist.

Making this “2 for 2” for Browne in falsely calling a genuine Morrisseau a fake. Proving, you may have a Ph.D. in dung beetles, but know bugger all about art.  

Memory Loss: Norval Morrisseau & Principal Morrisseau Dealer

book_krg_travels_covsupIn one of the more surreal moments in Canadian art history Sinclair has labelled as forgeries -“Inferior Counterfeits” as he likes to call them – five paintings chosen by Morrisseau himself, for inclusion in his book “Travels to the House of Invention,” written by the artist and published in 1997 by Donald Robinson of the Kinsman Robinson Galleries. 

We have already shown above (Court Case #3) that by the time of his frenzied Affidavit of Forgery signing period (Mar 14, 2003 – Apr 8, 2005) Norval couldn’t tell authentic from fake works of his own art.

People questioned whether Norval was in a condition to know what he was doing when signing Affidavtits of Forgery in 2003.

People questioned whether Norval was in a condition to know what he was doing when signing Affidavtits of Forgery in 2003?

By 2003, Norval’s physical and mental deterioration, which accelerated rapidly after the mid 90s, are demonstrable in videos as early as 1997, and dramatically so by April 2002. That Norval had largely “left the building” by early 2002, was testified to by his brother, Wolf Morrisseau. And Norval’s documented and egregious errors in authentication of his own work are clear as early as 2001.

All this is reported by numerous independent observers who saw and interacted with Norval at the time, and is completely understandable for an artist who had abused his body, for decades, with an overload of alcohol-based substances (boxes of shaving lotion, and perfume, etc.,) volatile drugs, and wild sex of every kind, with anything handy: animal, mineral, or vegetable.

We only mention these things because of the fact that Donald Robinson’s mind is clearly not as good as Norval Morrisseau’s.

whyte_murray190

When Murray Whyte of the National Post suggested that Norval, in his deteriorated condition might not remember all his paintings, Donald Robinson exploded that it was “Preposterous” for him to even suggest such a thing.

Forgetfulness coming with advancing age can be the only reason and excuse for why the Principal Morrisseau Dealer and Principal Conspiracy Theorist, has consistently and aggressively denied Norval’s precipitous decline that everyone else saw, maintaining that Norval never felt better, that his mind had never been sharper, and telling Murray Whyte of the National Post in May 2001, that Norval, at that time, had total recall of every one of the 10,000 paintings he had ever painted in his 50 year career.

And, in an explosion of bravura bombast, said it was “preposterous” for Whyte to question that reality.

But other “experts” draw attention to Robinson’s own forgetfulness and highly defective memory.

In October 2008, Ritchie Sinclair launched the most malicious attack anyone ever mounted against the artistic and cultural heritage of Canada since the Canadian government set out to destroy Aboriginal cultural treasures related to the potlatch ceremonies of West Coast Aboriginal people in the 1920s.

In October 2008, Ritchie Sinclair launched the most malicious attack by a white person on the artistic and cultural heritage of Canada’s First Nations people since the Canadian government set out to destroy Aboriginal cultural treasures related to the potlatch ceremonies of West Coast Kwakwak’wakw people in the 1920s.

Thanks to proof supplied to the public by Ritchie Sinclair, Norval’s mental decline apparently started much earlier, and was clearly in play, and visible in a book, “Travels to the House of Invention,” as early as 1997. And was not caught by Donald Robinson.

The evidence Sinclair brings to the table is powerful indeed, and hard to beat, even by Donald Robinson.

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

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

For five years Sinclair has publicly posted this proof that Norval could no longer reliably recognize his own work, and neither – of course – did Donald Robinson, who calls himself the Principal Morrisseau Dealer, and was the publisher of the book containing the forgeries identified by Sinclair.

Sinclair apparently considers himself a superior authority over both the artist himself, and his principal dealer Donald Robinson. And is not shy in saying so…

morrisseau_travels_evils510

  • Sorry Ma! – Be that as it may, what is incontrovertible is that when Donald Robinson re-issued a very slightly modified book, “Return to the House of Invention,” in 2005, with only a sparse few sentences of text changed, he stunningly dropped out the entire section which Sinclair objected to, and claimed was full of forgeries…

And who’s to disagree on that as being a good move…?

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

Ritchie Sinclair, resplendant in his “Davy Crokett**” costume, on one of his many visits to the Kinsman Robinson Galleries, instructing the staff in how to spot a fake… Watching with rapt attention are key Conspiracy Theorists, Paul Robinson l, and John McGregor Newman… Donald Robinson was not present, we presume, because, well frankly, he wanted to forget this embarrassing chapter in his life as a publisher, and a Morrisseau authenticator… (**Davy Crockett was another renowned Indian fighter.)

Premiere Performance: the Don and Ritchie Show

Principal Morrisseau Dealer aka Principal Conspiracy Theorist Donald Robinson. No one in Canadian art history has ever before, so aggressively sought out the media spotlight for himself, by setting out to deliberately place himself, and his Conspiracy Theory about supposed Morrisseau forgeries, at the centre of a public discussion from one end of the country to the other. One can only wonder, why a person would support a Conspiracy Theory that is universally discredited by the scientific community, and put at obvious risk his entire credibility as a Morrisseau authenticator of any level.

Principal Morrisseau Dealer aka Principal Conspiracy Theorist Donald Robinson. No one in Canadian art history has ever before, so aggressively sought out the media spotlight for himself, by setting out to deliberately place himself, and his Conspiracy Theory about supposed Morrisseau forgeries, at the centre of a public discussion from one end of the country to the other. One can only wonder, why a person would support a Conspiracy Theory that is universally discredited by the scientific community, and put at obvious risk his entire credibility as a Morrisseau authenticator of any level.

Now in 2010, faced with a lawsuit for defamation of title by Joseph Otavnik, Sinclair and Robinson chose to join forces, and became a tag-team that would work together as courtroom performers.

The “Don and Ritchie Show” would make a number of courtroom appearances over the next few years, and become the public face of the Conspiracy Theory, with the duo eagerly putting themselves, with their controversial theories, front and centre, into the public spotlight like absolutely no one had ever done before in the history of Canadian art.

Or for that matter, in Canadian business. With the possible exception of Ex-Conrad Black…

Though, because Ritchie was dragged into court, and was depending on his business associate and fellow Conspiracy Theorist to help get him out of a jam, they had little choice on their first outing together.

This was to be the very first time that Conspiracy Theorists had to “put up or shut up” in front of a judge.

(Note: Remember that Gabe Vadas, Norval Morrisseau, the Globe executives, Val Ross, and Aaron Milrad had all, chosen to “cut a deal and run,” refusing to face a judge in earlier court cases; remember too, that in over 12 years, no Conspiracy Theorist has ever taken anyone to court, either for being a forger, or for selling alleged forgeries. Not one…)

For Ritchie Sinclair’s defence, Donald Robinson fabricated an elaborate and huge 114 page “expert report,” calling the painting “Jesuit Preist Brings Word 1974” a forgery.

The only painting - of 28 that Robinson purchased at Randy Potter Auctions, which has so far surfaced. Robinson and his fellow Conspiracy Theorists, at the Norval Morrisseau Heritage Society have done their utmost to prevent photos of these - front and back - from being made accessible to the public for independent scientific analysis.

Only a poor low res image is available for a couple of the 31 alleged fakes that Donald Robinson purchased at Randy Potter Auctions in 1999-2000, and is all we have, thanks only to an investigative sleuth. Robinson and his fellow Conspiracy Theorists, at the Norval Morrisseau Heritage Society, have done their utmost to prevent photos of them all – front and back – from being made accessible to the public for independent scientific analysis. After 13 long years and counting… Why not? It is a mounting record of damning evidence that – contrary to its own published mission statement to the contrary that it will not ally itself to any business – the NMHS is little more than a pliant and willing adjunct of outreach workers for the Kinsman Robinson Galleries and its 13 year long campaign to keep this information from the public.

Alas! He disappointed countless readers who eagerly thumbed through his report, for an explanation as to how, as a self-proclaimed Morrisseau expert with 18 years experience,
1 – he had ended up, at a Randy Potter auction, buying 31 BDPs that were painted in a similar style, and signed, titled and dated exactly like “Jesuit Preist,” and paying $54,000 to buy them?
2 – how and when he discovered they were fakes?
3 – and why was he sure now, when he wasn’t then?
4 – and how he came to be so utterly wrong, so many times, in bidding some 90 times in all, on 90 different lots of those exactly similar kind of paintings?
5 – And why – if you can believe this? – that he took back another painting he claimed was a fake, demanding a refund for $267.50, but never, ever, bringing back a single Morrisseau – not one – never asking for a refund, never even complaining to Potter that they were fake, and just throwing $54,000 down the drain…?

Seriously now, 90 bids on fakes is a lot of bad calls by any standard; especially by the person who claimed to be the world’s top expert acting in his chosen field of specialization. The Principal Morrisseau Dealer, acting supposedly at the peak of his expertise after 18 years at it…

  • I would hope that if a “Principal” Surgeon at a hospital was asked to remove tonsils and ended up cutting off the patient’s testicles by mistake, his operating privileges would be removed.

Well by the second or third time he did it, at least?

Sad Sack - But then, making 90 wrong authentications at 90 different times can not be a happy memory, especially for the Principal Morrisseau Dealer...

Sad Sack – But then, making 90 wrong authentications at 90 different times can not be a happy memory, especially for the Principal Morrisseau Dealer…

But doing it 90 times…?

Is he really smarter than his Dad, as Donald Robinson claimed, before Deputy Judge Paul Martial...?

Paul Robinson – Is he really smarter than his Dad, as Donald Robinson claimed, before Deputy Judge Paul Martial…?

In the Canadian fine art world you apparently still get to keep your job and keep buying and selling and authenticating art… And get to keep calling yourself “Principal Morrisseau Dealer” when you should be calling yourself, more properly, “Principal Testicle Remover.” 

Robinson did allow, to Judge Martial twice, that he was a bit of a dunce, but that his son Paul was wiser than he was, and caught on to the fakes quicker and tried to dissuade him from continuing to buy more suspect Potter paintings. Really? Now why would he say something so silly?

  • “At, at one point, I was still convinced that they were good and my son, who’s running the gallery today, tried to tell me they were not good and I still overrode him and bought a few…” (Court Transcripts, p 18, Hatfield v Child May 31, 2011)

In case you missed his testimony in May 2011, Robinson repeated it for you, in court testimony a year later.

  • “I should say that my son, Paul, after about half-way through when those purchases were made, perhaps five or six at a time at various auctions, my son Paul at the gallery, who now runs the gallery, he told me that I should not buy any more and he was suspicious of them, and I argued with him and bought a few more, to my great regret.”
    Q. Okay, so your son had suspicions…
    A. He did.
    Q. …you didn’t. (Court Transcripts, p 20, Hatfield v Child Feb 23, 2012)
After a customer brought in two paintings for authentication, Paul Robinson signed the form and sent his Dad to join the mad rush to buy the mother lode of original Morrisseau's being sold at Randy Potter Auctions. Five weeks later, on Sep 29, 1999, Donald Robinson went there and bought five.

After a customer brought in two paintings for authentication, Paul Robinson signed the form and sent his Dad to join the mad rush to buy the mother lode of original Morrisseau’s being sold at Randy Potter Auctions. Five weeks later, on Sep 29, 1999, Donald Robinson went there and bought five.

Which is all so very odd indeed, because two documents exist which prove exactly the opposite – that it was Paul who introduced his Dad to the mother lode of genuine Morrisseaus at Potter’s in the first place. Paul’s signature on an appraisal of two paintings from the Potter auction is on a document that immediately predates his father attending his first buying spree there.

The evidence is pretty clear that far from trying to dissuade his father from going to Potter’s, it was in fact Paul, after being alerted by the paintings Matt Fountain brought into the gallery to be authenticated, who sent his Dad to investigate this sudden flood of Morrisseaus being auctioned.

Thanks to Paul’s auction alert, it’s pretty clear, that his father then went to numerous auctions, bid on 90 lots and ended up with 31 Morrisseau BDP paintings.

On May 18, 2001 Donald Robinson launched his attack on Randy Potter Auctions, saying, ultimately, that all the paintings from there were forgeries. Five and a half months later, his son Paul had apparently not received the message...

On May 18, 2001 Donald Robinson launched his attack on Randy Potter Auctions, saying, ultimately, that all the paintings from there were forgeries. Five and a half months later, his son Paul had apparently not received the message…

There is a second document also signed by Paul, on another appraisal of two paintings of the same type from the same auction, issued a full five months after his father told the National Post that all the paintings at Randy Potter’s were fakes…

He should have told his son who apparently still hadn’t wised up many months later and was still cashing in on appraisals, for Potter-sourced paintings his Dad had been calling fakes for months…

 


…Back to Robinson’s Expert Report
– Oh, yeah, and another thing. Donald Robinson also did not explain how a three-year degree in electrical engineering, qualifies him to engage in forensic document examination and sophisticated handwriting analysis, when experts that the RCMP use for this highly specialized science, like Dr. Atul K Singla, have spent many years of dedicated study at universities on two continents, on only those specific areas of scholarship.

And taken further university courses over the passing decades, to stay abreast of all the latest international developments in one of the most complex sciences there is.

Singla has an M.A. and a Ph.D. in Forensic Science, and a further two year diploma from a UK university beyond that. He has testified as an expert witness in his chosen profession, over 500 times.

Alas! Dr. Singla, charges for his expert services, and it’s not cheap; Donald Robinson prepared his huge report for Sinclair for free, saying he did it as a public service.

Hey, it’s a free country!

Every night millions post comments to thousands of media blogs around the world, offering proof, for free, if any was needed, that in a free society you don’t need to be qualified to say whatever you feel the urge to, or for that matter, be ashamed to promote your business in any way you like.

And who hasn’t received all those spam emails offering you advanced degrees or certificates to help impress your clients?

During the trial, both Robinson and Sinclair testified at length and with great passion, that Judge MD Godfrey should dismiss “Jesuit Preist” as a totally worthless and diabolical fake.

In his finding, Judge MD Godfrey completely ignored the passionate testimony and “expert report,” of the Conspiracy Theorists, and told Otavnik, that the integrity of his painting was as intact – authentic if you will – as it was the day he bought it.

He pointedly refused to call it a fake, deliberately ignoring the strong demands to rule it as a forgery from the opposition. In fact he upped the ante against them, by assuring Joe Otavnik that there was no evidence that their attacks had even done any damage to it, or depreciated its value, since Otavnik had not tried to sell it.

Judge Godfrey dismissed the case without costs, neither burdening Otavnik with court costs, nor finding that his painting was a forgery, or that its value was even damaged by all the bluster from those clamouring for him to call it a fake.

Further, he chided Otavnik for trying to save money by not getting an independent scientific forensic examination, for “Jesuit Preist,” and seemed to recommend he do so.

He clearly implied that had Otavnik produced such a forensics report of authenticity his judgment would have been more decisive.

Otavnik later did exactly what Judge Godfrey suggested.

morrisseau_Jesuit-Priest-Bringing1976_190fa

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was to faded or indistinct for him - the consummate scientist - to hassard a guess, you know like the Conspiracy Theorists are famous for doing...

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was too faded or indistinct for him – the consummate scientist – to hazard a guess, you know like the Conspiracy Theorists are famous for doing…

On Dec 19, 2011, one of Canada’s top forensic document examiners and handwriting analysis experts, Kenneth J Davies, found that the painting “Jesuit Preist Brings Word 1974,” which had been publicly defamed by the Conspiracy Theorists as a forgery, in fact, had been signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

Foiled by Forensics Part 5 – This was the fifth stunning rebuff in a court case, as to the reliability of the Conspiracy Theorists, as credible authenticators of what are authentic Morrisseaus and forgeries.

This was also the first time a painting Conspiracy Theorists called a cheap, worthless forgery, was de facto, confirmed as authentic by a judge, who absolutely refused to allow the slightest taint thrown by Robinson and Sinclair to stick to the painting, which – as a great credit to Judge Godfrey’s far-sightedness – was subsequently further authenticated, with DNA certainty, by an independent scientist as a genuine Morrisseau.

The Don and Ritchie tag-team posing with Conspiracy Theory Proxy #4, Margaret Hatfield who would waste tens of thousands of dollars chasing a forgery theory which had not proof...

The Don and Ritchie tag-team posing with Conspiracy Theory Proxy #4, Margaret Hatfield, whom they would convince to become a member of the Conspiracy Theorists. She would waste tens of thousands of dollars of her remaining pension, chasing a forgery theory which had no proof…

The case of Otavnik v Sinclair left the “Don and Ritchie Show” batting “0 for 1”… ; not a promising start for the Principal Morrisseau Dealer and his acolyte, business associate, and fellow Principal Conspiracy Theorist.

They would have to retire back to the drawing room at the Kinsman Robinson Galleries, to reshape the program for their next performance as a tag-team. And try to make up for their dismal showing at Otavnik v Sinclair.

Posted in Art Cartel, Canadian Cultural Heroes, Court Cases, Forensic Expert Findings

4 – Browne v Bugera

The Conspiracy Theorists Lose Court Case Round #4 – “CT Proxy #3” Browne v Bugera

Dr. Jonathan Browne discovered to his considerable embarassemnt that not practicing due diligence before following bad advice is not something a neophyte art collector should do.

Dr. Jonathan Browne, of Ottawa, ON, discovered to his considerable embarrassment, that neophyte art collectors should practice due diligence, before spending big bucks, or risk ending up taking bad advice from malicious gossips, that could cost one dearly, financially and personally.

In 2009 (Jan 19), the Conspiracy Theorists – acting through another naïve proxy, a pair of amateur art collectors, Dr. Jonathan Browne, and Dr. Julie Witmer, of Ottawa, ON – convinced them to launch a lawsuit against longtime western Canadian Morrisseau art retailer Bearclaw Gallery, of Edmonton, AB, claiming that they had been sold a forgery “Grandfather Speaks of Great Ansistral Warrior 1977.”

Browne claimed, in media interviews, that members of the Norval Morrisseau Heritage Society, and other subscribers to the “Conspiracy Theory of Forgeries,” assured him “Grandfather Speaks” was a fake, and convinced him that he had been duped, by a crooked art dealer, into fraudulently buying a work they all claimed was a total, diabolical forgery.

Browne refused to divulge which members of the NMHS told him he had been duped into buying a fake but it is easy to guess. He was an elite patron of the National Gallery of Canada, where Greg Hill was a curator and Ruth Phillips his collaborator on the NGC Morrisseau catalogue.

For a brief moment in time they were proud and elite patrons of the National Gallery of Canada, until...

For a brief moment in time they were proud and elite patrons of the National Gallery of Canada, until…

Phillips and Hill had collaborated before, with Donald Robinson on the notorious Wang episode.

They were also going to wade into another controversy, with eyes wide closed, but in secrecy – in the Red Lake Fiasco. 

And, come out looking damn silly – again…

Browne, Red Lake, Wang, the bogus, and clearly wrong-headed, totally unsubstantiated warning to the public about forgeries, after Hearn filed his case…. is there no stopping this pair of Conspiracy Theorists, from making fools of themselves?

Ruth Phillips has gone out of her way to become the public face of the Norval Morrisseau Heritage Society. She spouts Conspiracy Theory with a passion few can match but does so in private. She has made numerous notorious false evaluations that have been rudely overtunred by Canadian forensic scientists.

Ruth Phillips has gone out of her way to become the public face of the Norval Morrisseau Heritage Society. She spouts Conspiracy Theory with a passion few can match but does so, only in private – like maybe to Dr. Browne – to avoid lawsuits. (Working through gullible Proxies, making them pay the legal bills, and taking the fall at the end, is classic Conspiracy Theorist operations procedure.) She has made numerous notorious false evaluations on Morrisseau originals that have been rudely overturned by Canadian forensic scientists. Recently, completely without any credible evidence, whatsoever, she warned Canadians to be aware of the many Morrisseau forgeries that are out there. With her awful record of authentication, silence would be a better option…

Of course they had no independently verifiable evidence for any of it; of course they just heard it somewhere, and repeated it on cue. With friends like these, Browne…

Greg Hill of the National Gallery of Canada hired Ruth Phillips to write for his Norval Morrsisea catalogue in 2006. He has made numerous fales evaluations on genuine Morrisseaus that forensic scientiest have overturned. The daring duo, from Ottawa, live in the town that relies on scientist more than any other in Canada, and yet they - all academics themselves - Browne, Phillips, Hill - sneer at their expertise to validate signatures in art.

Greg Hill of the National Gallery of Canada hired Ruth Phillips to write for his Norval Morrisseau catalogue in 2006. He has made numerous false evaluations on genuine Morrisseaus that forensic scientists have overturned. The daring duo, from Ottawa, live in the town that relies on scientists more than any other in Canada, and yet they – all academics themselves – Browne, Phillips, Hill – sneer at their expertise to validate signatures in art.

Two passionate Morrisseau collectors offered Browne the opportunity to have a top Canadian scientist evaluate the signature on the back of the painting. They even – can you believe this? – offered to pay for the forensics themselves…

Dr. Browne stubbornly refused and brushed off their offer. A scientist with a Ph.D., refusing to consult fellow scientists? With all the bills paid? The mind boggles.

He preferred taking his advice from one Ritchie Sinclair, who claims to have spent a few months at a Community College, though he admitted, in court, he had not finished his one year course… Not the best move, one would think. For either of them…

Dr. Browne, brusquely brushing aside forensic scientists, chose to listen to his friends among the Conspiracy Theorists.

And so he posted a huge public website warning everyone out there to beware of fake Morrisseaus… Which, to repeat, he refused to have independently analyzed, beforehand, by top Canadian forensic document examiners and handwriting analysis experts… Though the option was given him by passionate Morrisseau collectors who preferred to take their chances of authenticating Morrisseaus with a scientist, instead of idle kaffeeklatch Conspiracy Gossip from the cafeteria of the National Gallery of Canada.

For a brief moment in time, this header expressed the anguish of a neophyte art collector who listened to idle gossip from friends instead of practicing due diligence.

For a brief moment in time, this header expressed the personal anguish of a neophyte art collector who listened to idle gossip from friends instead of practicing due diligence. A forensic scientist soon set a scientist art collector straight on his website header.

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

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

The owner of Bearclaw Gallery, Jackie Bugera, whose mother had been a close friend of Morrisseau, and retailed his art for decades, remained utterly committed to the painting, holding resolutely firm against all comers, that she was no crook, or fraud artist, and stood by “Grandfather Speaks” as a fine and authentic work by the artist.

Note here the huge difference in response, by an informed art dealer from Edmonton, AB, standing on principle and knowledge; whereas the Heffel boys from Vancouver, BC, (Heffel Auction) opted to “cut and run,” when put into the position of supporting a painting they had for sale when someone claims it’s a forgery.

screen_cat_heffel_grandfather_400delist

By the simple act of unceremoniously delisting a painting they had posted on their website for ages, Heffels turned a painting they publicized on offer at $10,000 to one that was worth $0 in the market place.

The Courage to Stand on Principle and Knowledge – In fact, to show how careless behavior by art auctioneers damages Canada’s fine art heritage, “Grandfather Speaks” was one of the paintings Heffels had unceremoniously delisted, so leading to the Otavnik v Vadas and Morrisseau lawsuit at about the same time.

And the fact that they dumped it, was now used to affirm, “See, the Heffel boys called it a fake too…”

Robert Heffel had quickly dumped "Grandfather Speaks" when Conspiracy Theorists warned him it was a fake, instead of standing with courage on principle, and going for a forensic scientist, instead of the broom and dustpan.

Robert Heffel had quickly dumped “Grandfather Speaks” when Conspiracy Theorists warned him it was a fake, instead of standing with courage on principle, and going for a forensic scientist, instead of the broom and dustpan.

Unlike the Heffels, Bugera stood strongly behind “Grandfather Speaks,” the integrity of her gallery, her reputation, and her expertise on Morrisseau art, and left no doubt that she regarded the comments Browne claimed were made to him by members of the Norval Morrisseau Heritage Society, and the Conspiracy Theorists, as totally lacking in substance or merit and as being completely malicious and defamatory.

But Bugera, like any retailer, hates an unhappy customer, and quietly settled with Browne with a refund, but refusing utterly, to sign any document admitting to wrong-doing, or allowing that “Grandfather” was the fake Browne said the NMHS, and the Conspiracy Theorists all claimed it was.

(The Conspiracy Theorists would not make this mistake twice, and would try to demand exactly such a document, on their next outing with the CT Proxy # 4 Margaret Hatfield lawsuit.)

Dr. Browne's fellow Conspiracy Theorist replace the images he was asked to remove from his malicious and defamatory website with these place markers, screaming to the world, that no one is going to change the minds of this group on Conspiracy Theorists, even though by 2013, over 70 different authentications have

Dr. Browne’s fellow Conspiracy Theorist Ritchie Sinclair, replaced the images he was asked to remove, from his malicious and defamatory website, with these place markers, screaming to the world, that no one is going to change the minds of this group of Conspiracy Theorists, even though by 2013, over 70 different authentications have proven that 70 paintings formerly denounced as fakes by this group of wrong-headed extremists, are in fact, genuine Morrisseaus.

Part of Bugera’s deal with Browne was that he get his collaborator and fellow Conspiracy Theorist Ritchie Sinclair to remove all – dozens – of Bugera’s Bearclaw Gallery paintings from his malicious and defamatory website.

To show that Sinclair’s malevolence remained undiminished, he put a flashy stop sign where the pictures had been and put her Bearclaw Gallery name prominently above and below each glaring icon, which stated that so many forgeries were available it was hard to chose. And deliberately tried to leave the impression that Bugera was a crook, and was continuing to sell forgeries.

Bugera also asked Browne to remove his malicious and defamatory “Morrisseau Buyers Beware” website, and absent himself from further involvement in the controversy, in exchange. (Alas it was not to be. See below.)

morrisseau_grandfather_speaks190fa

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was to faded or indistinct for him - the consummate scientist - to hassard a guess, you know like the Conspiracy Theorists are famous for doing...

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and was sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was too faded or indistinct for him – the consummate scientist – to hazard a guess, you know like the Conspiracy Theorists are famous for doing…

On Apr 1, 2012, one of Canada’s top forensic document examiners and handwriting analysis experts, Kenneth J Davies, found that the painting, which had been the subject of the Browne lawsuit, “Grandfather Speaks of Great Ansistral Warrior 1977,” which had been publicly defamed by the Conspiracy Theorists as a forgery, in fact, had been signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

Foiled by Forensics Part 4 – This, however belated, was the fourth stunning rebuff in a legal suit, as to the reliability of the Conspiracy Theorists, as credible evaluators of what are authentic Morrisseaus and forgeries, including to the ultra-secret Norval Morrisseau Heritage Society. Some of its members were behind a court action they allegedly encouraged Browne to launch – he claimed they alerted him about “Grandfather Speaks” being a fake – without having any independently verifiable evidence of any kind – hey, even Norval was dead.

All the false claims were just backed up by numerous malicious and defamatory charges, made by a number of “anonymous sources” to a pair of hapless – and clearly panicking – victims, Dr. Jonathan Browne and Dr. Julie Witmer.

Loose Lips Sink Ships – The forensic finding also hugely impugned Heffel Auction with its precipitous delisting of numerous genuine Morrisseau paintings, just because its experts didn’t have a clue how to tell a genuine one from a fake, or have the inclination to seek out independent scientific corroboration – either way – rather than just dumping them and permanently damaging great Morrisseau original works in the market place.

We Apologize Wholeheartedly for Our Total Lack of Due Diligence? – We are not aware if Robert or David Heffel have ever apologized to Jackie Bugera or Joe Otavnik for their hasty and improper action,  resulting in damage to their painting, their business reputation, and for giving false ammunition to those who chose to maliciously claim “Grandfather Speaks” was a fake.

He passed a little old lady school teacher straight into the arms of the Conspiracy Theorists. The experience has set her back tens of thousands in legal fees.

Dr. Browne passed a gullible little old lady school teacher straight into the arms of the Conspiracy Theorists, who were on the lookout for their next Proxy to launch and pay for their next attempt to hype their wild and scientifically discredited claims. Dr. Browne’s intervention has set her back tens of thousands in legal fees.

Note: One can only imagine the private toll this awful experience has taken on Dr. Jonathan Browne and Dr. Julie Witmer, who at the time were listed on the masthead of the National Gallery of Canada, right underneath billionaire Wallace McCain, as elite and proud patrons.

They not only lost, what they now know, is a scientifically confirmed, masterpiece Morrisseau painting they once loved, and now hate… But they also, sadly, appear out of their depth, as hapless dupes, for apparently naively falling for idle gossip by NMHS rumourmongers, probably at an NGC cocktail party.

They have since, removed themselves as listed patrons of the National Gallery of Canada.

Note 2: But not from the Morrisseau controversy. If you can believe this, in 2010 he got a call from Margaret Hatfield who was the owner of a Morrisseau painting she was worried about. Instead of steering her straight to an independent forensic scientist, this Ph.D. sent her into the arms of the same Conspiracy Theorists who had landed him in such a mess.

Thanks to him this little old lady would waste tens of thousands on a lawyer to pursue a fool’s errand, five long days of court costs over two years, on a case she as much as admitted, to a reporter, that she figured she lost and now also faced court costs for the Defendants she had defamed. Tens of thousands of dollars out of a retired school teacher’s pension. On a predictable wild goose chase.

She was opposed by a top Canadian scientist, a forensic document examiner, and handwriting analysis expert, with an M.A. and a Ph.D. in Forensics, who said her painting was a genuine Morrisseau, with DNA certainty.

But she decided believe the same Ritchie Sinclair whose advice sank Jonathan Browne, and put her trust in the opinion of Donald Robinson who has no credentials in art, but a degree in electrical engineering… The mind boggles.

Does she thank Dr. Browne for his advice?

We are not aware if Dr. Browne has sent her his apologies?

He better send cash… She may appeal… What a find, as a Proxy…

 

Posted in Court Cases

3 – McLeod, White, Bugera, Child, Kim v Sinclair

The Conspiracy Theorists Utterly Shot Down in Court Case Round #3 – Joe McLeod, Jackie Bugera, James White, Donna Child, Sun Nam Kim v Ritchie Sinclair

In October 2008, Ritchie Sinclair launched the most malicious attack anyone ever mounted against the artistic and cultural heritage of Canada since the Canadian government set out to destroy Aboriginal cultural treasures related to the potlatch ceremonies of West Coast Aboriginal people in the 1920s.

In October 2008, Ritchie Sinclair launched the most malicious attack carried out by white people on the art heritage of Canadian First Nations people, since the Canadian government set out to destroy Aboriginal cultural treasures related to the potlatch ceremonies of West Coast Kwakwak’wakw people in the 1920s.

In December 2008, five leading Canadian Morrisseau art retail merchants launched a lawsuit charging defamation against Ritchie Sinclair, one of the leading Conspiracy Theorists, who, as a Ritchie-come-lately, didn’t “discover” Morrisseau fakes until October 2008, when he suddenly saw an opportunity for self-promotion, and quickly became an extremist convert.

morrisseau_lisa_idiotAs the operator of a notoriously malicious website he attacked their paintings as forgeries as well as their personal reputations, and those of First Nations artists they represented or associated themselves with, such as Goyce Kakegamic, Joshim Kakegamik, Don Ningewance, and numerous members of the Morrisseau family.

He has posted over 1,000 low resolution images gathered from all over the web, of paintings created in the 1970s by Canada’s most famous Aboriginal artist, Norval Morrisseau. Mr. Sinclair has declared that all these 1000 paintings are forgeries, even though he has never seen, or personally examined, over 99% of them, and even though they were all painted long before Mr. Sinclair had even heard of Norval Morrisseau, or even seen a painting by him, according to Sinclair’s own court testimony in 2012.

Astonishingly, the 1000 paintings that have been labelled as forgeries by Mr. Sinclair include paintings that are in famous art museums that exhibit First Nations art: Smithsonian Institution, Winnipeg Art Gallery, University of Victoria Art Gallery, Thunder Bay Art Gallery, National Museum of the American Indian, University of Oklahoma Fred Jones Jr. Museum of Art, Art Gallery of Nova Scotia, McMaster University Art Collection.

A typical page, maliciously attacking prominent members of Canada's Aboriginal art community and highly reputable art gallery owners.

A typical page, maliciously attacking prominent members of Canada’s Aboriginal art community and highly reputable art gallery owners.

Sinclair, with postings that started on Oct 13, 2008, made an abrupt about-face, that utterly perplexed informed observers of the scene, and started to denounce the very same paintings – and people too – that he had been praising for several years before.

Morrisseau “masterpieces” he had celebrated, now became instant “Inferior Counterfeits.” And people he had praised for publicizing Norval Morrisseau’s art became instantly transformed into lowlife “forgers” including some of the top Canadian Aboriginal artists.

And now, at last, in his new guise as chief witch hunter, or attack dog for rooting out supposed Morrisseau forgeries, he began to get the attention and respect he had craved for so long, from Donald Robinson, and the staff of the Kinsman Robinson Galleries.

inferior_wallshame

Sinclair’s malicious attacks were deemed so defamatory, a judge made him take down his website, and then ordered him to put up a disclaimer when he remounted it.

Encouraged by the support, from the Principal Morrisseau Dealer, he quickly accelerated his attacks from paintings to people.

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

Ritchie Sinclair, resplendant in his “Daniel Boone”** costume, on one of his many visits to the Kinsman Robinson Galleries, instructing the staff in how to spot a fake… Watching with rapt attention are key Conspiracy Theorists, Paul Robinson l, and John McGregor Newman… Donald Robinson was not present, we presume, because, well frankly, he wanted to forget this embarrassing chapter in his life as a publisher, and a Morrisseau authenticator… (** Daniel Boone was another legendary Indian Fighter.)

Sinclair – a white guy, who likes to flash a pseudo-Indian name he made up: “Stardreamer” – has maliciously ridiculed and defamed numerous First Nations artists on his website, characterizing them as some kind of lowlife “forgers,” including Dr. Goyce Kakegamik, famed wildlife artist Don Ningewance, and numerous members of the Morrisseau family.

Sinclair’s other website targets, including the Plaintiffs in the case against him, were all the leading Canadian galleries selling Morrisseau art. Most operated in the Toronto neighbourhood of the Kinsman Robinson Galleries, and were its main business competitors.

The gallery owners, all highly reputable and principled Canadian business people, all signed, individual sworn affidavits saying that, with his “untrue statements” and “allegations of fraud,” and by maliciously, and publicly, attacking and defaming as fakes, some 200 of their genuine Morrisseau paintings, valued near a million dollars, Sinclair had greatly and materially damaged:
– their overall fine art retail businesses,
– their reputations so they would not attract new customers and were losing old ones,
– their ability to sell genuine Morrisseau paintings of any kind to anybody,
– made them liable to lawsuits from customers, all based on untrue charges and malicious lies.

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

Joe McLeod, considered by most Morrisseau collectors as the top authority on the high point of Norval’s career from the 1950s to the 1980s, has kept up a close Morrisseau family connection since the 1960s. His expertise in both art and insights from living in Indian communities years ago, has made him a special target for white Conspiracy Theorists. The attacks escalated into physical aggression by Ritchie Sinclair, against the 82-year-old  McLeod, so many times that the police arrested him and charged him with Criminal Harassment.

All these decent and highly reputable people had been involved in selling legitimate Morrisseau paintings for decades. Joe McLeod since 1960, while Sinclair was still dirtying diapers, and Bugera since 1980, a time period in which Ritchie Sinclair had not even heard of Morrisseau or even seen a painting of his.

Sinclair even maliciously attacked these people personally, in secret, as disclosed by Margaret Hatfield in her testimony in a later related case. When asked why she had not used due diligence in discussing her concerns with Joe McLeod, who had signed a Certificate of Appraisal that came with a painting she bought, she blurted out in court the astonishing statement:

“I had found out from Mr. Sinclair that Mr. McLeod was involved in the forgery as well as in their distribution. I certainly did not contact him.” (Court Transcripts: Hatfield v Sherway, May 31, 2011 p 32)

Just three years before – between 2003 and 2005 – all these upright Canadian business people and Morrisseau retailers had been served with SLAPP suit Affidavits of Forgery by other Conspiracy Theorists, namely Gabor Vadas (and supposedly Norval Morrisseau), alleging that hundreds of their paintings, which were identified by number and images, were forged. Allegations the Defendants all vehemently denied.

Independent experts who cross-checked the names and numbers of the hundreds of so-called forgeries with other documentary evidence, showed that the Affidavits of Forgery were ludicrously in error, on many paintings.

Paintings Morrisseau authenticated at one time, he denounced as forgeries the next. Paintings one Conspiracy Enthusiast claimed Norval had denounced, were certified by the artist on paper, the next time. Or the other way around.

A painting that had been published by the artist as a promo in a newspaper was declared a fake, when it appeared in a gallery catalogue. It’s all, actually worse than it sounds.

The listings are damningly confused and totally inconsistent.

Remember, these Affidavits were supposed to be cut and dried, black and white, to separate Truth from Fiction, and to separate, without a mistake, Forgeries from Authentic works, with an accuracy of 100%.

People questioned whether Norval was in a condition to know what he was doing when signing Affidavtits of Forgery in 2003.

People questioned whether Norval was in any condition to know what he was doing when signing Affidavtits of Forgery in 2003. One thing they knew for sure: the Affidavits were contradictory, confused, riven with errors, and demonstrably wrong on many listings.

The only thing that was clear in the whole mess, was that the artist, who supposedly signed these Affidavits, at this point in his life, had clearly lost any ability to tell whether paintings were his authentic works or not.

The documentary proof for this conclusion is absolutely huge, and incontrovertible. And opens the question: just how many years before had Norval’s mental deterioration been so evident?

Was this evident mental decline exactly why no audio tape or video tape exists of Norval talking on any topic – and absolutely nothing, on fakes and forgeries – during the last eight or nine years of his life? At a time amateur video had become common, cheap, and easy to use. And during the very period the “Fakes Conspiracy” as first reported by Donald Robinson first raised its head.

In 2004 an entire one-hour CBC documentary was shot on Norval – The Life and Times of Norval Morrisseau. It was first aired on Feb. 24, 2005.

Everyone who had been targeted in Affidavits of Forgery, or media assaults as forgers, and creeps, eagerly waited to hear what Norval would say in public about the huge Conspiracy Theory of thousands of forgeries, by umpteen diabolical forgers. And which Donald Robinson had spouted so loudly every chance he got.

Whom would Norval name? What proof would he give?

Leading Canadian Morrisseau collectors who had just received Affidavits of Forgery signed by Norval, or had been defamed in website attacks, gathered around their TV sets to finally “Hear Norval Speak.”

It would be huge – a landmark in the exposure of the Conspiracy Theory – because it would be the very first time in history, anywhere, anytime, that Norval was ever shown on video or audio-tape, to utter even one world on fakes, frauds and diabolical forgers.

In a stunning shocker, for those who had just received Affidavits of Forgery, allegedly signed by Norval Morrisseau, who supposedly directed the campaign against them, they found Norval said not a single thing about forgers and forgeries, which his white business managers claimed consumed Norval’s every waking moment and was his constant preoccupation in his final years.

In 2004, Norval speaks at length on fakes and forgeries on the CBC program "Life & Times" finally clearing up a mystery of the biggest and best kept secret on Morrisseau forgeries: are there really thousands of forgeries, and who are the forgers? Or is the whole damn thing a figment of the imagination of your white business managers?

In 2004, Norval at last speaks up, about fakes and forgeries on the CBC program “Life & Times,” finally clearing up the  mystery behind the biggest Conspiracy Theory in Canadian art history: are there really thousands of forgeries, and who are the forgers? Or was the whole damn thing just a figment of the imagination of Norval’s white business managers?

Shock piled on shock. In the CBC “Life and Times,” a documentary series based entirely on contemporary subject interviews, Norval Morrisseau DID NOT SAY A WORD ON ANYTHING AT ALL.

The man who supposedly orchestrated and “validated” the entire “forgeries” campaign against the leading Canadian art galleries was the subject of a one hour documentary in which he was shown as totally incapable of talking – make that communicating – on any subject of any kind.

In his own documentary Norval played the role of the “Dumb Indian” – to perfection. Without even being coached…

In fact the producer of the show complained bitterly that “Norval couldn’t talk at all.”

Imagine the Producer/Director’s distress, after hassling CBC for two years to make a documentary of the Life and Times of Norval Morrisseau, to finally meet the artist in person, and discover that the man he was supposed to film (in 2004) while he talked about his life couldn’t utter a word.

So he couldn’t use Norval at all, except as a wheelchair dummy being pushed around here and there, like a sack of potatoes for photo ops by his business associates. But no interview of any kind.

– NOT ONE CLIP, NOT ONE SENTENCE, NOT ONE WORD.

As a filmmaker myself, I recognized instantly, what was every director’s worst nightmare – an interview subject who is tongue-tied – gone into maddening overdrive – a subject who is incapable of uttering a single word…

Not only that, but Norval’s face never ever showed any awareness of, or interaction with his surroundings; he did not exchange a flicker of recognition of any kind with any human being that came close.

It was damning evidence, that clearly, “Norval has left the building.”

Gabor Vadas, who had been Norval's companion since they met and lived on the streets of Vancouver, is widely regarded as the "Puppetmaster" who controlled the badly deteriorating Morrisseau, kept him away from the courts, away from the TV cameras, and away from his family. When Norval died, he ended up with everything...millions and millions of dollars worth of paintings.

“I’m deserved of all of it.” – Gabor Vadas, who had been Norval’s companion since they met and lived on the streets of Vancouver, is widely regarded as the “Puppetmaster” who controlled the badly deteriorating Morrisseau, kept him away from the courts, away from the TV cameras, and away from his family. When Norval died, he ended up with everything…millions and millions of dollars worth of paintings.

So the producer had to let Norval’s white business manager do all the interviews and speak for the “Dumb Indian.”

In the most telling moment – the most communicative editorial comment by the filmmaker – in the entire film, he showed Gabe Vadas, Norval’s white business manager and a leading Conspiracy Theorist, “rubbing his hands with glee,” declaring that everything of Norval’s was all going to be his. “I’m deserved of all of it. Whether people like it or not, it doesn’t matter.”

The filmmaker ended up having to use Norval’s talking footage from decades before, when he was still relatively healthy and mentally had it together.

The film – shot in 2004 – raised a huge question for informed Morrisseau collectors and fans, and especially those just targeted or about to be targeted by SLAPP suits supposedly signed by him: just for how many years before had Norval been this way, unable to utter a single word, or communicate a single idea or thought?

This is absolutely key because – and here’s the kicker for the entire Conspiracy Theory – the only “proof,” of any kind, that there are supposed forgeries – other than the hot air from the white Conspiracy Theorists themselves, endlessly quoting each other – are these eight Norval Morrisseau “deathbed” signatures, on Affidavits of Forgery that he apparently made at a time he was unable to communicate anything even remotely reliable about the authenticity of his paintings.

Brian Lindblom with years of experience working for the RCMP, was the first forensic scientist to expose the Hoax of the Conspiracy Theorists, and to put doubt into their claim of thousands of forgeries by umpteen diabolical forgers, and conspiring art dealers.

Brian Lindblom, with years of experience working for the RCMP, was the first forensic scientist to expose the Hoax of the Conspiracy Theorists, and to put doubt into their claim of thousands of forgeries by umpteen diabolical forgers, and conspiring art dealers.

There is further, absolutely stunning documentary evidence for this, which has not even been published anywhere yet.

To test whether the photocopied Affidavits of Forgery served on Bugera, Child, White, McLeod, and Kim (and allegedly simultaneously also to Randy Potter, an auctioneer, and Gary Lamont another dealer) had any merit, on any level, as reliable sworn documents, a representative sample of a so-called forgery was randomly selected from each affidavit and sent to some of Canada’s top Forensic scientists for analysis, asking, is it fake or is it real.

(Note: No original Affidavits were ever served on anyone, or seen by anyone, except Gabor Vadas, the man who assembled them and sent out photocopies. Said one forensic examiner who saw what was sent out: “These look just like ‘cut and paste’ assemblies.” Leaving the Affidavits doubly impugned as genuine credible legal documents: the signatory was believed to have “left the building,” and they looked extremely suspicious as dupes, when they should have been originals.)

morrisseau_shamanuworldMM190The question everyone wanted to know? Is each painting really a forgery, as the Conspiracy Theorists – which, at this stage, included Norval, because he was still alive – maintain, in eight different sworn legal documents, or are some of these representative test paintings genuine?

The gallery owners were sure of one thing; they stood behind their paintings as authentic, and had no fear of sending them out to three different top Canadian independent professional document examiners and handwriting analysis experts, which they did at various times.

Then the scientific forensic reports started to trickle back:

morrisseau_spiritcompfamm300Scientific Forensic Authentication for Joseph McLeod – On Jan 24, 2002, one of Canada’s top forensic document examiners and handwriting analysis experts, Brian Lindblom, had found that three paintings:
– “Spirit Composition 1979” (aka Great Migration 1979),
– “Shaman Underworld 1978,” and
– “Family 1971” (aka Four Warriors 1971),
which had been publicly defamed by the Conspiracy Theorists as fakes, on two Affidavits of Forgery signed by Norval Morrisseau, in fact, had been authentically signed, with DNA certainty, by Norval Morrisseau, and that no one else could have.
morrisseau_familyMM190morrisseau_warriortbirdfa190Scientific Forensic Authentication for Jim White – On Jan 24, 2002, one of Canada’s top forensic document examiners and handwriting analysis experts, Brian Lindblom, found that the painting “Copper Thunderbird 1977” (aka Warrior Thunderbird), which had been publicly defamed by the Conspiracy Theorists as a fake on a Declaration of Forgery authorized by Norval Morrisseau, in fact, had been authentically signed, with DNA certainty, by Norval Morrisseau, and that no one else could have.

morrisseau_wheel_hatfield190faScientific Forensic Authentication for Jim White – On Aug 24, 2010, one of Canada’s top forensic document examiners and handwriting analysis experts, Dr. Atul K Singla, found that the painting “Wheel of Life 1979,” which had been publicly defamed by the Conspiracy Theorists as a fake on an Affidavit of Forgery signed by Norval Morrisseau, in fact, had been authentically signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

Scientific Forensic Authentication for Donna Child – On Aug 24, 2010, one of Canada’s top forensic document examiners and handwriting analysis experts, Dr. Atul K Singla, found that the painting “Wheel of Life 1979,” which had been publicly defamed by the Conspiracy Theorists as a fake, on an Affidavit of Forgery signed by Norval Morrisseau, in fact, had been authentically signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

morrisseau_gus_spirits77_190faScientific Forensic Authentication for Sunni Kim – On Apr 1, 2012, one of Canada’s top forensic document examiners and handwriting analysis experts, Kenneth J Davies, found that the painting “Shaman With Power Spirits 1977,” which had been publicly defamed by the Conspiracy Theorists as a fake on an Affidavit of Forgery signed by Norval Morrisseau, in fact, had been authentically signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

Scientific Forensic Authentication for Jackie Bugera – On Apr 1, 2012, one of Canada’s top forensic document examiners and handwriting analysis experts, Kenneth J Davies, found that the painting “Grandfather Speaks of Great Ansistral Warrior 1977,” which had been publicly defamed by the Conspiracy Theorists as a fake in a Statement of Claim approved by Norval Morrisseau, in fact, had been authentically signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

morrisseau_cycleofsalmon190Scientific Forensic Authentication for Donna Child – In December 2012, one of Canada’s top forensic document examiners and handwriting analysis experts, Kenneth J Davies, affirmed that the painting “Cycle of Salmon 1974” which had been publicly defamed by the Conspiracy Theorists as a fake on an Affidavit of Forgery signed by Norval Morrisseau, in fact, had been authentically signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

Scientific Forensic Authentication for Jim White – In December 2012, one of Canada’s top forensic document examiners and handwriting analysis experts, Kenneth J Davies, affirmed that the painting “Cycle of Salmon 1974” which had been publicly defamed by the Conspiracy Theorists as a fake on an Affidavit of Forgery signed by Norval Morrisseau, in fact, had been authentically signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

morrisseau_potter#2-signed-1978Scientific Forensic Authentication for Randy Potter – In December 2012, one of Canada’s top forensic document examiners and handwriting analysis experts, Kenneth J Davies, affirmed that the painting “Signed #2 1978” which had been publicly defamed by the Conspiracy Theorists as a fake on an Affidavit of Forgery signed by Norval Morrisseau, in fact, had been authentically signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

Probably the most damning scientific evaluation came back from 14 signatures on 7 paintings, seven on the front in pencil, and seven in black paint on the back, which belonged to a longtime friend and business associate of Norval’s, Gary Lamont.

morrisseau_lamont1_1970_350These seven paintings were listed among 48 alleged forgeries on Lamont’s Affidavit of Forgery. It was dated Nov. 30, 2004, but never, ever – you won’t believe this – served on Lamont. Even when there was ample opportunity, during the numerous visits he made to visit his old friend Norval in Nanaimo after that date. Probably Norval put his foot down when his white advisors pushed him; Norval refused to attack an old friend, even for business reasons.

The year after Norval died, Lamont was astonished to learn of the existence of the Affidavit, which someone had sent anonymously to Dr. Jonathan Browne. He told someone else who passed the information on to an incredulous Gary Lamont.

Not just one, but seven paintings from the Lamont Affidavit of Forgery were sent to a forensic scientist for evaluation.

morrisseau_lamont1_1970_350baScientific Forensic Authentication for Gary Lamont – On July 29, 2011, one of Canada’s top forensic document examiners and handwriting analysis experts, Kenneth J Davies, found that the 7 paintings on paper, each featuring double signatures, in pencil on the front, and black paint on the back, which had been publicly defamed by the Conspiracy Theorists as fakes, on an Affidavit of Forgery signed by Norval Morrisseau, in fact, had been authentically signed with DNA certainty, by Norval Morrisseau, and that no one else could have made any of these 14 signatures.

This is a truly astonishing forensic document. One authenticated signature has sent men to the gallows…

Each one, of 14, could have been declared a forgery. None were…

14 individual calls, resulted in each and every one being declared an authentic signature…

It’s more damning proof than that. The black paint signatures on the back have been cross referenced with other black paint signatures which Norval made on the back of his 1970s BDPs.

And, they’re a match…

Regardless of Donald Robinson’s wild ravings… “Forgeries, forgeries… all damn forgeries, I say.”

Stunningly, every random sample from an affidavit, analyzed by a forensic expert, came back as authentic, proving that these art retailers were not crooks, or cheats, or knowingly selling fakes, as the Conspiracy Theorists trumpeted to the media while wildly waving their Morrisseau – remember him; he’s CT (Conspiracy Theorist) Proxy #1 – signed Affidavits of Forgery.

If random chosen samples came back as authentic – all of them with an accuracy of 100% – how many of the other paintings on the Affidavits, from which they were selected, are also authentic…? When every single one that was picked, turned out to be so…

The targets of all the Affidavits say that’s easy – and the science is on their side – all of them are authentic…

fake_smallIt is nothing, if not a devastating indictment, of how allegedly sworn Canadian court documents and affidavits can be fraudulently manipulated. Was Norval capable of doing that in 2003?

More than any other Canadian forensic scientist, Kenneth J Davies, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and sent to him for evaluation, has come back as signed by Morrisseau himself, with DNA certainty. Without a single negative finding, though he has passed on a few, but only because the signature was to faded or indistinct for him - the consummate scientist - to hassard a guess, you know like the Conspiracy Theorists are famous for doing...

More than any other Canadian forensic scientist, Kenneth J Davies, of Calgary, AB, has the Conspiracy Theorists on the run. Every BDP they have denounced as a forgery, and was sent to him for evaluation, has come back as having been signed, with DNA certainty, by Morrisseau himself. Without a single negative finding, though he has passed on a few, but only because the signature was too faded or indistinct for him – the consummate scientist – to hazard a guess, you know like the Conspiracy Theorists are famous for doing…

Evaluating forensic samples from each one of those Affidavits, the scientists proved, with DNA certainty, that no fewer than 16 painting and 23 signatures which the Conspiracy Theorists had defamed as forgeries, were authentic. And not a single one came back with a negative finding of any kind. That’s an authentication certainty of 100%,

One mistaken signature, by itself, would have been a catastrophe. Think of a person who has paid $25,000 to $50,000 for a single forgery because of a single faked signature…

When eight affidavits contain 16 individual absolutely false calls on paintings, and 23 individual absolutely false calls on signatures, it is obviously beyond catastrophic, what is going on behind the scenes here, among the Conspiracy Theorists…

Though there are literally scores of OTHER documentary proofs that further, totally undermine any possible credibility remaining in any of the Morrisseau Affidavits of Forgery, the Forensic findings, alone and above all, show how utterly unbelievable and unreliable are even the supposedly foolproof legal documents allegedly sworn before a Commissioner of Oaths

(Remember, no one ever received an original Affidavit of Forgery from Norval Morrisseau; only Gabe Vadas has ever seen the originals, and knows what they look like.)

Contrary to, and in violation of every courtroom protocol, neither the court nor the served people. ever got original Affidavits; they all just got lousy, low resolution photocopies.

The notary who signed the Affidavits said he saw Norval signing but had no recollection of the nature or number of attachments involved.

A forensic expert who saw the Affidavit copies – remember no one has ever seen an original – said it looked like a “cut and paste” assembly to him, suggesting the originals showed clear signs of tampering or manipulation.

Norval signed something. What exactly he signed is unknown – probably was also to him – because there is no way to ascertain what was added later to the files.

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

Out of It – A still from the most important video tape ever shot of Norval during the last ten years of his life, by Ryan Leblanc in Thunder Bay in April 2002. It is the only video document that has not been tampered with, but shows an uncut run of tape which clearly established that at this time Norval was “disengaged” from what went on around him, and that when people pushed pens into his hand and propped documents up in front of him, he would, without examining them, or showing the least interest, sign away however many times he was asked to repeat the ritual. Leblanc has done a great service to Canadians by giving us an unadulterated look – the only one we have – at the level of Morrisseau’s mental and physical capacity, a full year before the Affidavits of Forgery started to appear, bearing his name…

It is impossible to verify whether Norval had any idea of what he was asked to sign. A startling insight into his total lack of mental involvement in signing anything is preserved in the Ryan Leblanc video from early 2002, a full year before Norval was asked to sign Affidavits of Forgery, and three years before he signed his last…

The videos show the tragic decline in the mental and physical abilities of a human being who was once a creative genius. Now a life of overindulgent self-abuse has reduced him to a barely function shell of who he once was.

He is not engaged anymore. He will sign literally anything when someone shoves a pencil in his hand and props up a document in front of him.

In fact Ritchie Sinclair has published the Affidavits of Forgery pretending what he put up are these supposed “original documents.” In fact they are not; he has hugely tampered with them in Photoshop making scores of pictorial falsifications and completely altering the documents from what were originally sent out to the Defendants.

To a historian, his supposed postings are totally invalid. They are actually fraudulent as historical documents.

But they do prove one thing in spades: that falsifying documents seems to be a consuming passion with Conspiracy Theorists purely to help tart up a case they can’t support without doing that.

The documents may have been signed by Norval, but in examining, and cross-referencing the content, between affidavits, and gallery catalogues they refer to, it becomes crystal clear, that they are nothing, if not utterly fraudulent as believable historic documents.

Jack was a rogue, like Norval. The photographic record makes clear that he had a specially warm and intimate relationship with the artist that no one else would come close to having ever again.

Jack Pollock was a rogue, like Norval. The photographic record alone, makes clear that he had a specially warm and intimate relationship with the artist that no other dealer would come close to ever having again.

Jack Pollock, the first and most successful Morrisseau dealer, who died years ago, and had seen it all, would have said, yep, that’s “what the art world is like: scheming, manipulative, and, quite often, downright fraudulent.”

(From Dear M – Pollock’s personal memoir of life in the Canadian art business)

Jack is the guy who wrote, back in 1962, when he offered Norval a legal document to show good faith, Norval slapped it away with utter contempt saying, “White man’s paper no fucking good.”

Hmmmh… maybe Norval had something there… And late in life, observing the scene around him, saw no reason to change his opionion.

Even one mistake, in authentication, exposed by a forensic scientist, is considered damning beyond belief. Especially, when you are facing having it tested before an independent judge in a Canadian court.

Remember, Vadas and Morrisseau settled for $11,000 with Otavnik after seeing only one (1) forensic report that overturned an allegation of forgery; CTVglobemedia settled for, at least, $25,000 with Moniz (my estimate with court costs included) after seeing only one (1) forensic report overturn a charge of forgery.

When different forensic scientists have turned up so many individual false authentications, from a very small sample group, and certify that, far from being diabolical forgeries – as the sworn signatures by the artist makes them out to be – that they are real, with DNA certainty… to accept the Affidavits as anything more than vile fish wrap, is preposterous beyond belief.

Principal Morrisseau Dealer aka Principal Conspiracy Theorist Donald Robinson. No one in Canadian art history has ever before, so aggressively sought out the media spotlight for himself, by setting out to deliberately place himself, and his Conspiracy Theory about supposed Morrisseau forgeries, at the centre of a public discussion from one end of the country to the other. One can only wonder, why a person would support a Conspiracy Theory that is universally discredited by the scientific community, and put at obvious risk his entire credibility as a Morrisseau authenticator of any level.

Principal Morrisseau Dealer aka Principal Conspiracy Theorist Donald Robinson. No one in Canadian art history has ever before, so aggressively sought out the media spotlight for himself, by setting out to deliberately place himself, and his Conspiracy Theory about supposed Morrisseau forgeries, at the centre of a public discussion from one end of the country to the other. One can only wonder, why a person would support a Conspiracy Theory that is universally discredited by the scientific community, and put at obvious risk his entire credibility as a Morrisseau authenticator of any level.

There is clearly something else going on, behind the scenes…

fake_smallAs a historian, I believe the Morrisseau Affidavits of Forgery, issued between 2003-2005, bearing Norval Morrisseau’s signature, are the most utterly fraudulent, and most compromised, documents I have ever encountered in 46 years as a professional historian.

Foiled by Forensics Part 3 – This was the third damning interim rebuff in a legal proceeding, as to the reliability of the Conspiracy Theorists, as credible evaluators of what are authentic Morrisseaus and forgeries. 12 separate forensic reports by three of Canada’s top handwriting analysis experts say the Affidavits of Forgery, even if signed by Morrisseau, make many clearly fraudulent claims about numerous genuine Morrisseau paintings.

And these are only selected samples from the Affidavits.

Note: This lawsuit is still not completed. Most of the dealers pulled out because they were too busy trying to run their businesses to continue the endless dance through the courts. One person has kept the suit alive and is continuing to pursue it against Ritchie Sinclair.

Posted in Art Cartel, BDPs - Black Drybrush Signed Painting, Court Cases