1 – Otavnik v Vadas & Morrisseau

The Conspiracy Theorists Lose Court Case Round #1 – Otavnik v Vadas & Morrisseau

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Joe Otavnik, a Great Canadian Cultural Hero, who was the very first one to fight back against the Conspiracy Theorists, by daring to tackle the two at the top. No man in Canadian history had ever dared to challenge an artist to come to court, call me a liar, and prove to the judge that the painting I say you painted, is a fake. Norval ran – most say he was carried – the the Exit. Joe had the Conspiracy Theorists on the run, and reaching for their wallets, just to shut him up…

In 2007 the first Morrisseau-related legal suit came about when a collector and art dealer, Joe Otavnik, took Principal Conspiracy Theorists, Norval Morrisseau, and his longtime companion and business manager Gabor Vadas, to court, demanding they show up in front of a judge and either “put up or shut up” about a number of his paintings which they called forgeries.

Heffel (Vancouver, BC) had, at the last minute, delisted several of his paintings from a fine art auction, after it received a threatening letter from Vadas that also included Morrisseau’s signature, calling them forgeries.

It is important to remember that Canada’s fine art auctioneers sell thousands of paintings, every year, from many hundreds of different artists. They are merely mass commodity salesmen, exactly like any other mass marketers – Walmart, Best Buy, IKEA – and are involved in, and getting their profits, by moving masses of material at auctions – thousands of paintings by hundreds of artists every year.

Fine art auctioneers don’t care about, or have loyalty, to an individual sale; they have not – cannot, by definition of what they do, selling thousands of paintings annually, created by literally hundreds of artists – have specific knowledge on the painting characteristics of any single artist specific enough to tell if a painting is authentic or fake.

Guess which ones she can get the "provenance" for? Not a single one at this Joyner Fine Art Auction in Toronto. And there are hundreds more in the next several rooms, she can't get if for either...

Guess which ones she can get the paper trail “provenance” back to the artist, for? Well the answer, from every single Canadian fine art gallery or auction, like this one, at Joyner Fine Art Auctions in Toronto is… Not a single solitary one. And there are hundreds more in the next several rooms, she can’t get if for either…

(Note: And that is also why Provenance is totally impossible to get for 99.94% of the paintings you buy in any fine art auction or art gallery. Which is completely immaterial anyway, because, even if the auction had the knowledge, they all have a cast-in-stone policy to never, ever, divulge even the name of the consignor who brought the painting in to sell.

So there is no way you will ever learn from him/her/them what they know about the history of the painting. Whether it’s real or fake?; whether it’s a son ripping off his invalid mom in the nursing home, and taking his share of the estate before the sibblings catch on?; whether it’s a crooked employee at a regional museum fencing off a stored painting from the basement? The list is endless. You have to learn that YOU must practice “due diligence” to inform yourself what you’re buying. You wont’ learn anything useful from anyone else. And certainly not from “motivated sellers,” who have to move way too damn much product to be able to familiarize themselves with any of it in detail.)

Not a single one comes with "provenance" so don't ask. The auction will not tell you. And guess who buys these - 95% are art gallery owners. Now what are they going to do about the lack of provenance on each and every painting...?

Not a single one comes with “provenance” so don’t ask. You can be sure of one thing: the “chain of title” is a totally false standard to apply in the art world. Not one of the paintings here has it, nor any of the others in the other rooms. Even if one did have it – a preposterous notion –  all the auctions have a policy not  to tell you, to protect the consignor’s identity. And guess who buys these – 95% are art gallery owners. Now what are they going to do about the lack of provenance on each and every painting…?

Which is exactly why the Mafia uses fine art auctions to launder money and why a lot of stolen European or American art shows up there as well. Auction policy of total secrecy makes them untraceable. Everyone is guaranteed total confidentiality. It keeps customers coming back… all kinds of customers…

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.

A Bad Call – David Heffel sells thousands of paintings every year. He can’t possibly be expected to know which are real and which are fakes, so at those ultra-rare times when someone complains, he just  removes them from his listings. As it turns out, several Morrisseau paintings he removed in haste, at the behest of a Conspiracy Theorist, without practicing “due diligence,” were forensically proven, with DNA certainty, to be genuine works by Norval Morrisseau. And that he had made several gross mistakes in authentication. Mass marketeers should develop the expertise, courage, and learn to take a stand on principle, backed up by science, like longtime fine art collectors Michael Moniz, and Joe Otavnik, to avoid damaging Canada’s art heritage, from unproven and arbitrary defamations, as it passes through their auctions,.

Which all means that you as the buyer will learn absolutely nothing reliable from anyone involved in selling a painting to you, if you are foolish enough to stick your neck out and ask, “Aaah… what can you tell me about the provenance of that painting?” More on the implications of all that, to come.)

Hell, provenance of a painting is not important to them; the sale of one painting is immaterial, inconsequential to their bottom line. “Harry, move those two hundred paintings on the trolley to the other storage locker. We need the space to make room for the 75 Bateman prints someone just brought in.”

Which is why the Heffel art experts folded like a cheap suit, when they got the threatening letter from Vadas and Morrisseau. The Heffel “art experts” hadn’t a clue about whether lots # 027, # 030, # 032, # 033, # 035, and # 036, out of the thousands they were selling in 2006, were fake or authentic.

The letter that started it all... "Norval Morrisseau... here." REALLY? Many observers say "Norval had left the building" years before, and is why Gabe refused to bring him in front of a judge... only a few months before he died...

The letter that started it all… “Norval Morrisseau… here.” REALLY? Many observers say “Norval had left the building” years before, and is why Gabe refused to bring him in front of a judge… only a few months before he died…

So rather than make a stand on either principle or knowledge, they just unceremoniously cut and run.

Not Joe Otavnik, one of many passionate, knowledgeable, and principled collectors of Morrisseau works of art.

In a cheeky – and a daring – move he said to Vadas – Norval as usual wasn’t talking to anyone – “OK, you guys say the painting is a fake. Give me a signed Affidavit of Forgery, signed by Norval, that the paintings I consigned to Heffel are fakes…”

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This was Norval, eight years before Joe Otavnik demanded he come before a judge and explain to him why Joe’s paintings were fake as he had written Heffels.

Vadas and Morrisseau recoiled, and utterly refused to do so. You know, go before a notary to answer questions like “Are you Norval Morrisseau? Are you of sound mind and body? Do you recognize these attached paintings as fakes? Do you recognize yourself, when you look in the mirror? Kindly sign here.”

In fact many, who know the file well, say that Norval at this time was so physically incapacitated and mentally debilitated, that he couldn’t communicate anything to anyone – and that includes a notary and a judge – or have a clue about the contents of anything that was put in front of him to sign. Or, they say pointedly, have a clue of what was in the “cease and desist” letter Gabe Vadas sent to Heffel in the first place…

In fact many, who knew Norval, say that by 2006 – and for years before – he had no clue about what was really going on and was being totally manipulated by others.

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 called it “elder abuse,” the wringer that the Conspiracy Theorists were putting Norval through. Few disagreed…

In court testimony, in 2012, art retailer Joe McLeod, after over 50 years involvement with Morrisseau paintings, and who has kept contact with the family since 1960, called the manipulation of Morrisseau in his last years by his business managers, a clear case of elder abuse, which countless others, close to the situation, had been saying for years.

(The accusations of elder abuse would be resurrected during the Hatfield v Child case.)

Furthermore, no one could recall Norval ever denouncing forgeries of any kind; not writing it; not saying it on audio tape; or not doing so on video tape.

Norval, is the call, became Conspiracy Theorist Proxy #1, of a growing list of them that the Conspiracy Theorists actually manipulated to speak for them. They chose to use naïve spokesmen and women “puppets” to work through and get them to publicize their claim about forgers and forgeries via the media and the courts.

Norval was always given as the justification for the claim of the existence of forgeries and forgers. Donald Robinson always justified every claim he made by saying “Norval says” which was his way of saying, “so it has to be true.” As well, of course, as his way of evading and excusing personal responsibility.

And journalists, a chronically lazy and uncritical bunch, especially when celebrities, or Yorkville gallery owners are involved, or when someone else is eager to do their thinking for them, repeated the hokum dutifully and without question, and then quickly moved on to reach a deadline with another article on another topic.

Norval would be the “excuse” for the accusations of forgeries; he would, of course, also be the fall guy in the end, when the whole fragile house of cards came tumbling down. You know, “Norval made us do it; there’s his signature.” Nice…!

Still in one of the most courageous – and frankly scary – acts in Canadian cultural history, Joe Otavnik did something no one else had ever done – had ever dared – to do before: he challenged the creator, Norval Morrisseau, of an original work of art, to come to court and tell a judge – show a judge – his proof of why a painting he said wasn’t his – indeed was a forgery – just as he had supposedly claimed to Heffel, and to the public.

Otavnik offered Norval a venue so he could use this God-sent opportunity to defend his painting heritage, stomp out a diabolical forgery for good, expose Joe Otavnik as a creep, a fraud artist, as he and Vadas were intimating to the public, and prove why Otavnik should be sent to jail for a long stretch for selling forgeries.

And then to finish everything off, burn the damn paintings… in public…

Hey, he might even turn out to be one of the forgers the Conspiracy Theorists claimed were all over the place, making thousands of forgeries. Who could tell what a little water-boarding on Otavnik might produce about exposing, for the police, the entire network of fakes, frauds, and forgeries that the Conspiracy Theorists claimed were out there?

Which was, of course, exactly what the Conspiracy Theorists had been trying, in every way possible, to convince the public was the case.

Now they had their chance at last, to nail Otavnik’s hide to the wall.

And he gave them the hammer and the nails to do the job…

And all they needed was a single painting. They had six forgeries to pick from – or so they told the Heffel boys – as well as a perpetrator, Joe Otavnik, whom they had caught red-handed, with those six compromising “fakes.”

Hell, it was all so easy. Now all they needed was Norval to come to court and say his piece.

Knowing he had bitten off more than anyone else had ever dared to chew – in Canadian art history – Otavnik looked around for help.

He went to an independent forensic scientist to rule on the authenticity of a painting the artist and his white business manager told the Heffel boys was a fake. And which they had then quickly and unceremoniously consigned to their “Great Canadian Trash” bin.

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Brian Lindblom, one of Canada’s top forensic scientists and handwriting analysis experts, was the first to bring scientific method to analyze the signature DNA on the back of Morrisseau paintings that several wild Conspiracy Theorists were loudly claiming in the media, every chance they got, was all just forged. Canadians started to ask, why would they possibly say that, and keep on saying it, even as Brian continued to add more evaluations on other paintings, uncovering even more damning proof that they were just wrong, damningly wrong, again, and again…

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In a stunning finding, Brian Lindblom could only evaluate one of the signatures; the other was too faded. But the damning conclusion he reached on that, sent both the artist and his handler, running for the exits. They couldn’t possibly face down a judge with one of Canada’s top handwriting analysts against them. So cut and run. And what will become of the two paintings? Burned at the stake as forgeries? Not on your life. They will be sold as genuine Morrisseaus somewhere in Germany or Japan for $35,000 US each… But then that’s only my opinion.

On Mar, 13. 2008, one of Canada’s top forensic document examiners and handwriting analysis experts, Brian Lindblom, found that the painting “Spirits 2b,” which had been publicly defamed by the Conspiracy Theorists, Gabor Vadas, and Norval Morrisseau, and dumped by the Heffel boys, as a forgery, in fact, had been signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

So, it was Apple’s Steve Jobs, all over again. Jobs had been visceral and viral, in denying paternity to a child he had conceived out of wedlock. Then the proof, with DNA certainty of 94.41% arrived and he folded like a cheap suit. But not before screaming and holding out “that DNA wasn’t 100%.”

Jobs even fought scientists at first, in spite of the fact he very well knew, or ought to have known, that DNA is never 100%, and that, hell, it was his kid all along. After a two year holding action, Jobs finally “‘fessed up” and even named the Lisa computer after the kid he had wanted nothing to do with, until DNA certainty made it impossible to carry on with the fiction he had ferociously promoted for so long.

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.

Gabor Vadas, who had been Norval’s companion since they met and lived on the streets of Vancouver, is widely regarded as the “Puppet Master” 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.

Like Lance… like…

Now also faced with DNA certainty, Vadas (and Morrisseau) backed off, big time, and blatantly refused to go before a judge.

They begged Otavnik to settle out of court. They paid him off with $11,000 to acquire two paintings they had claimed before – to the Heffel boys – were diabolical, worthless fakes. Of the kind which Donald Robinson swore in front of a judge were not worth a cent. Nothing… zip… nada…

In another surreal move, Vadas now even demanded Otavnik sign over the copyright to the paintings. Yep, that’s right; on paintings he called forgeries…

It gets worse.

He even made Otavnik sign a clause that promised that he would not sue again, if in future, heh, heh… the paintings turned out to be, ahem, authentic…

Foiled by Forensics Part 1

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Note: They are not paying for defamation, etc. It clearly says they are paying the $11,000 as “Purchase Funds” for an item – Freudian slips aplenty – which they damn well know is genuine and worth every penny and then some. Hence their demand for copyright clearance and protection from future lawsuits.

This was the first stunning rebuff in a lawsuit case, as to the reliability of the Conspiracy Theorists, as credible authenticators of what are authentic Morrisseaus and which are forgeries, if any?

What does all this prove, about the trustworthiness on any level, of Gabor Vadas, and that “Dumb Indian,” Morrisseau, who never seems to say anything at all himself, but is endlessly quoted and sourced in astonishing detail by his white business managers…?

I am not aware that Gabor Vadas ever apologized to Joe Otavnik for the damage he did to him and his business.

I am not aware that Heffel Auctions ever issued an apology for peremptorily dumping his genuine Morrisseaus from their auction listings and so tarnishing his paintings as “dumped as forgeries by Heffel.”

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Posted in Canadian Cultural Heroes, Court Cases

2 – Moniz v CTVglobemedia

 The Conspiracy Theorists Lose Court Case Round #2 – Moniz v CTVglobemedia

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Alone, and when no one else dared, this man of principle, stood against the Conspiracy Theorists, and their calumnists in the media, to win a stunning landmark victory against the claim that there were Morrisseau forgeries, that he had them, and that he was part of the scam involved in selling them.

In 2007 the second Morrisseau related law suit came about when the Conspiracy Theorists decided to become a party to convincing a naïve journalist, Val Ross of the Toronto Globe, into speaking for them.  

On Jan 1, 2007, a woman came up to Michael Moniz, who had just become the winning bidder on a Morrisseau painting, “Father and Son 1977,” at a Randy Potter auction, in Port Hope, Ontario, and sneered at him.

“Huh! So you think you bought a real Morrisseau, do you?” 

Michael was completely taken aback, and speechless. He didn’t even know who she was.

Years later, after coming across her photo, he immediately recognized her as Val Ross, the Toronto Globe and Mail’s elite Arts reporter.

I realized recently, from photos I had taken, that I, too, had been in the auction hall on the very same day, and anonymously rubbed elbows with them both, though I did not know either of them, or that we would all meet again, years later, in the cyberspace of this investigative article.

father_son1977_potterswThis event was to precipitate the second Morrisseau-related court case.

Gabor Vadas who had lost total credibility in a dishonest attack on Joseph Otavnik, and Aaron Milrad, Norval’s lawyer, now picked another target, convincing Val Ross – let’s call her CT Proxy #2 of the Globe to publish their “expert opinion” that the painting “Father & Son 1977,” owned by collector and retailer, Michael Moniz, was a fake, and that he was part of a scam operation selling fake Morrisseaus on ebay.

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I have not the slightest doubt, that Val’s death, only months after Moniz launched his court case, was hastened by the fact she realized she had been duped into publishing the most erroneous and damning article she had ever written in her entire life. She was on heavy anti-depressant medication at the time. She did not live to see the man she defamed, vindicated by the courts. One of many victims of the Conspiracy Theorists.

They were cited as her authorities, in a story she wrote, which became the worst journalistic faux pas in Canadian art history.

Michael Moniz, showing enormous courage, and firm in his resolve to take an ethical stand against creeps, no matter how prominent, who defamed him and his painting, launched a lawsuit against the biggest media conglomerate in Canada, CTVglobemedia.

And then he went to an independent forensic scientist to rule on the authenticity of his painting.

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Brian Lindblom, one of Canada’s top forensic scientists and handwriting analysis experts, was the first to bring scientific method to analyze the signature DNA on the back of Morrisseau paintings that several wild Conspiracy Theorists were loudly claiming in the media, every chance they got, was all just forged. Canadians started to ask, why would they possibly say that, and keep on saying it, even as Brian continued to add more evaluations on other paintings, uncovering even more damning proof that they were just wrong, damningly wrong, again, and again…

 On Nov 5, 2008, one of Canada’s top forensic document examiners and handwriting analysis experts, Brian Lindblom, found that the painting “Father & Son 1977,” which had been publicly defamed by the Conspiracy Theorists, and by Val Ross, and the Globe, as a forgery, in fact, had been signed with DNA certainty, by Norval Morrisseau, and that no one else could have.

The Globe backed off big time – with Vadas and Milrad heading for the hills – all obviously scared shitless from their inability to produce independently verifiable proof to back up their claims in front of a judge.

morrisseau_fatherandson190faThey all clearly feared the wrath of an independent judge, and the damning penalty he would have imposed on them, for defaming Moniz and his painting with their obviously fraudulent claims.

The Globe lawyers begged Moniz to settle out of court, paying him off with an estimated $25,000 in compensation for libeling him and defaming his painting “Father & Son 1977.”

 They were so utterly ashamed of what they had done, that the Globe forced a “Gag Order” on Moniz.

(The defamed painting had a rough market value of $25,000 so I believe that would have been the core amount of any settlement, especially if Moniz demanded court costs as well, which would certainly have been granted by a judge, since that is the top award available in Small Claims Court where Moniz filed his lawsuit.)

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Aaron Milrad has repeatedly sought out the media spotlight, to make himself the centre of a public debate, by deliberately stoking the fires of controversy with his wild Conspiracy Theory of thousands of forgeries by a syndicate of diabolical forgers. This was one of his bravura performances.

If Globe executives were decent, principled, or ethical, they should have, under the circumstances, done a correction story as big as the malicious and defamatory original, which was circulating in cyberspace as true, for years afterward, long after they had furtively expunged it from their Internet archives.

I am not aware that Aaron Milrad, a lawyer, or Gabor Vadas ever issued Michael Moniz an apology for the awful personal stress they caused him to suffer, and for damage to his private life which can never be recovered.

I am not aware if Aaron Milrad, a lawyer, or Gabor Vadas, ever issued a public apology or a retraction for their part in a wrong-headed witch hunt which contributed to sending Val to an early grave.

  • Foiled by Forensics Part 2 This was the second stunning rebuff in a court case, as to the reliability of the Conspiracy Theorists, as credible authenticators of what are authentic Morrisseaus and forgeries.

What do two huge “court case losses” in a row, prove about the credibility of Gabe Vadas, Aaron Milrad, and the dying Morrisseau himself, whom they always quoted, as trustworthy authenticators of his art?

 

Posted in Court Cases

Great Canadian Cultural Heritage Hero #1

moniz190Michael Moniz

He Humbled a Canadian Media Giant…

Exposed a Top Arts Journalist’s Professional Disgrace…

And saved a fine Morrisseau BDP from the trash heap of history.

Alone against the “Establishment”  this Canadian Morrisseau collector took on the biggest media giant in Canada (CTV Globemedia) and won a stunning moral, legal, and cultural victory, on Mar 10, 2009, on behalf of Canada, and all Canadians, and the artistic heritage of Norval Morrisseau.

fatherandsonThe lonely battle he fought, at great personal expense, and distress, over two years, served to expose for all Canadians, how – from the very beginning – serial journalistic incompetence continues to be the main tool harnessed by those who attack the painting legacy of Norval Morrisseau, and in the process – together – grievously undermine and devalue the legitimate Aboriginal cultural heritage of Canada.

The full story is coming, of why – if Canada was a fair country – he is a far more deserving recipient of the Order of Canada, than the perennial super-rich Establishment favourites, like the ex-convicts and criminals Conrad Black, and Garth Drabinsky, who even get to keep theirs in spite of their immoral and illegal corporate depredations.

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

The Great Canadian Hoax…

morrisseau_nsmile190Why is this man smiling…?

Coming this year…

EXPOSED… the Greatest Hoax in Canadian History…

A Wonderful Painting… with writing to die for, on the back…

 A truly fabulous and typical 1970s style, Norval Morrisseau painting, signed, titled, and dated on the back in black paint with his customary 1970s “drybrush” technique. Wolf Morrisseau, his younger brother, advised Norval to do this – sometime in the early 1970s – as often as possible, to make his work more appealing to international collectors and buyers who were unfamiliar with Norval’s name in syllabics.

morrisseau_fish_authSo, in spite of what you hear from a couple of self-promoting publicists, count yourself extremely lucky, if your Morrisseau has black drybrush writing like this on the back.
Three different, top Canadian independent forensic document examiners and handwriting experts have used this writing to verify that some 90 paintings they were asked to examine – all of which had been called fakes or forgeries by some downtown Toronto hustlers – were, contrary to what they claimed, all genuine paintings by Norval Morrisseau – without a single dissenting finding.

That’s a truly stupendous batting record for authenticity, of 100%, proving conclusively that Norval – and no one else – signed, titled, and dated them, in black drybrush technique, in the 1970s.

And that, previously, was the professional finding of Donald Robinson himself, who, after examining both paintings featured here, personally, front and back, on Jan. 26, 2000 declared to me, “Oh, they’re real alright. Trust me. I’m the guy who wrote the book on Morrisseau.”

dict_hoaxThese unanimous findings, by three different, and  completely independent forensic experts, of course, totally destroys, absolutely, the credibility of anyone who claims Norval Morrisseau never ever signed, titled, or dated the backs of any paintings in black drybrush paint.

This, due to some unexplained and colossal professional misstep, has to include Donald Robinson of the Kinsman Robinson Galleries in Toronto, and a business associate of his, who both adamantly claimed that this was the case, in court appearances in 2011.

Anyone can be wrong once, of course. But you can’t be wrong 90 times and counting, as increasing numbers of independent forensic reports are being published, all supporting each other with the same scientific conclusions, clearly making the claims of Donald Robinson and his business associate, beyond preposterous.

And raises the serious question that obviously follows: why would anyone, possibly say that Norval never ever did that, and insist on holding to a totally discredited minority opinion, when, in the face of a mountain of scientific data, claiming so cannot be viewed as anything but fraudulent…?

Thank God for BDPs… like this one… 

BDP is short for Norval’s “black drybrush paintings,” which is short for “1970s style paintings, black drybrush signed, titled, and dated on the back.”

morrisseau_soma190faHis “signing” style on the back,  as shown on “Medicine Being from Sacred Fish Stomch 1976,” and “Shaman Envelopes Soma 1976,” hardly varied over the years. Norval did thousands of these in the 1970s, which most experts consider his “high period.”

So, if you bought a Morrisseau painting in the 1990s which does not have Norval’s usual, post 1970, writing on the back – that is, it is not a BDP – you are straight out of luck.

You have absolutely no way for any independent forensics expert to prove for you – or your insurance adjuster – that what you have is actually a genuine Morrisseau painting, instead of just a fake “Morrisseau,” painted by someone else.

Donald Robinson, one of Norval Morrisseau’s many dealers, himself has claimed that thousands of forgeries were produced in the 1990s. His warning should urge you to look at the back of your Morrisseau for signatures and writing as we show here, so you can take it to a forensics expert.

And weep if you find none… if your canvas is, unhappily, blank on the back…

morrisseau_soma_sig_faThe BDP writing on the back of any Morrisseau, in spite of what you hear from one or two naysayers, who have only diabolical mischief in mind, is worth its weight in gold… Over 90 independent forensic authentications have proven, without a single exception, that all paintings some insisted on calling forgeries, were, in fact, absolutely genuine Morrisseaus.

This is, of course, fantastic news for the hundreds of Morrisseau collectors around the world who own the thousands of BDPs, signed, titled and dated, on the back by Norval in black drybrush paint.

Thank God for Wolf Morrisseau’s business savvy, back in the early 1970s.

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Absolutely unique in Canadian history, one of only two paintings, that have ever been Holy Trinity Authenticated as genuine works by Norval Morrisseau: by Donald Robinson, who claims to be the Principal Morrisseau Dealer, in 2000; by Norval Morrisseau, the artist himself, who never listed either of them on any Affidavit of Forgery, even though they had been prominently published on the internet for seven years, seen by him and his business managers, during a period they sent cease and desist orders on hundreds of paintings they called forgeries, to collectors across Canada; and by Kenneth J Davies, one of Canada’s top forensic document examiners and handwriting experts. In the interests of full and fair disclosure, we must state that Donald Robinson now claims, and has strongly testified in court, on several occasions, that ALL such paintings are forgeries, despite forensic findings by three of Canada’s top professional forensic document examiners and handwriting experts, who have UNANIMOUSLY CONTRADICTED HIM, IN EVERY SINGLE CASE, and found, in OVER 70 INDEPENDENT PROFESSIONAL EXAMINATIONS, of paintings he claimed were forgeries, that they were in fact, genuine works by Norval Morrisseau, with DNA certainty, and without a single dissenting finding, were signed by Norval, and found further, that they could not have been signed by anyone else.

The Voice from the Grave – Wolf’s advice, that Norval clearly took, when he signed thousands of his paintings on the back, with black drybrush paint, has saved the investment value in the paintings of hundreds of loyal, longtime Morrisseau collectors.

As well as preserve, and safeguard, Norval’s painting heritage as expressed in many hundreds of genuine paintings that Norval painted during his “high period” of the 1970s, when he was most healthy, physically and mentally, produced the most paintings, had the most shows, had his best and most lavish book produced, was awarded an Honourary Doctorate, as well as the Order of Canada.

And “his voice from the grave,” which has now been scientifically resurrected, and authenticated, also serves to totally and absolutely discredit those who seek to destroy his painting heritage for their own ends – since he is no longer here to defend himself.

Norval’s own handwriting, on the back of his own paintings, is the last word on authenticity. These BDPs – and nothing else – are the “Documents of Record,” on what is authentic and what is not, in the art of Norval Morrisseau.

And, seriously, reach for a hanky – we don’t recommend suicide as an option – if your supposed Morrisseau, which you paid $40,000 to $50,000 for, is blank on the back…

Leaving you only with hearsay evidence of authenticity…

And you know what that is worth in court… or anywhere else…

hatfield_wheel

TO BURN OR NOT TO BURN… A question of saving them and other BDPs from being defaced by paint, as one cartel member did in a media stunt, or burned as trash, because, in Donald Robinson’s testimony to Judge Paul Martial, they are worth “zero” and “not a cent,” after he had been asked the value of a similar painting, “Wheel of Life” above, for which a retired teacher, Margaret Hatfield, had paid some $10,000. That painting too, had been forensically authenticated by one of Canada’s top handwriting experts, who came to court to testify that it was signed by Norval Morrisseau with DNA certainty, and by no one else. In Another Surreal Event in Canadian Fine Art, in effect her opponent’s scientific expert in court, assured Ms. Hatfield that, luckily for her, her own expert witness, Donald Robinson, was wrong, and she had not lost $10,000 of her retirement savings down the drain, but was the proud owner of a genuine, valuable Morrisseau, and that despite what Robinson claimed, her investment was safe. How happy was she under the circumstances?

 

 

 

 

 

 

 

 

 

Posted in BDPs - Black Drybrush Signed Painting, Forensic Expert Findings