Statutory Declaration by Mr. Robert Scott

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~ Witnessing Norval Morrisseau signing the paintings with a dry brush (DB) technique ~


/Click on image to Enter the Gallery/




 



>>> The following is Mr. Robert Scott's Statutory Declaration in the Matter of the genuine Norval Morrisseau paintings being signed with a dry brush (DB) technique:

TO WIT:

I, Robert Scott, Owner/Operator of Eagle Spirit Gallery [1] of 1803 Maritime Mews, Vancouver, BC, hereby make oath and swear as follows:

1. I knew Norval Morrisseau from 1990 until 1998. During that time Norval Morrisseau painted in my gallery on at least six occasions.

2. I personally observed Norval Momsseau sign his name in English on the back of canvas paintings at least six times, using black acrylic paint.

3. I attach as Schedule "A" a copy of the front and back of a cheque I used to purchase one painting from Norval Morrisseau.

4. I have sold and seen many other Norval Momsseau paintings, both from Norval Morrisseau directly, and from others.

5. Most canvas paintings had Norval Morrisseau's signature in English on the back in black acrylic paint.

AND I make this solemn declaration conscientiously believing it to be true and knowing that it is of the same force and effect as if made under oath.

DECLARED BEFORE ME in the City of Vancouver, this 16th day of December, 2011:

Signed   /ACommissioner/   Signed  /Robert Scott/

[1] - From public museums to private collectors, the Eagle Spirit Gallery has clients across the globe. Eagle Spirit Gallery and the artists it represents have provided artwork for various shows and exhibitions including the Museum of Arts and Design New York, the Smithsonian Museums in New York and Washington D.C., Fortnum and Mason in London, England, the American Museum of Natural History in New York, the Museum of Civilization in Ontario, the Heard Museum in Arizona and many more locations.


>>> To download a signed Statutory Declaration together with a bank cheques payable to and endorsed by Norval Morrisseau click on image below:

IMPORTANT NOTE: Bank account number have been blacked out for PRIVACY PROTECTION.


>>> Reference posts:
- The Art of Norval Morrisseau in Commercial Art Galleries Around the World (Part XLI) / Eagle Spirit Gallery, Vancouver, BC CANADA/,

- Statutory Declaration by Mr. Deiter John Voss, /' Witnessing Norval Morrisseau signing the paintings with a dry brush (DB) technique'/
- Forensic Document Examination (Part I),
- Downloadable Norval Morrisseau Forensic Reports (Part I),

- Downloadable Norval Morrisseau Forensic Reports (Part II),
- Downloadable Norval Morrisseau Forensic Reports (Part III),
- "Morrisseau Signature Identification Article 101" (Part I) &
- Norval Morrisseau Certificates of Authenticity.
 /Signed by the artist on April 11, 2002 in Thunder Bay, Ontario/
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Norval Morrisseau Certificates of Authenticity

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>>> The following are six (6) out of 14 Certificates of Authenticity (COAs) that Norval Morrisseau signed in Thunder Bay, Ontario on April 11th, 2002.

These paintings, together with COAs, were analyzed and referenced in their research studies by two independent Forensic Document Examiners from Calgary, Alberta and Toronto, Ontario:

1.

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"Thunderbird and Evil Serpent", 30"x23", © 1976 Norval Morrisseau /Click on image to enlage for detailed examination/


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"Thunderbird and Evil Serpent", © 1976 Norval Morrisseau
/Click on image to enlage for detailed examination of reverse side/
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COA for "Thunderbird and Evil Serpent", © 1976 Norval Morrisseau
/Click on image to enlage for detailed examination/-


2.

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"Inorganic Being with Shamans", 32"x26", © 1976 Norval Morrisseau/Click on image to enlage for detailed examination/




























"Inorganic Being with Shamans", © 1976 Norval Morrisseau
/Click on image to enlage for detailed examination of reverse side/




























COA for "Inorganic Being with Shamans", © 1976 Norval Morrisseau
/Click on image to enlage for detailed examination/
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"Great Journey", 26"x32", © 1978 Norval Morrisseau
/Click on image to enlage for detailed examination/


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"Great Journey", © 1978 Norval Morrisseau
/Click on image to enlage for detailed examination of reverse side/


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COA for "Great Journey", © 1978 Norval Morrisseau
/Click on image to enlage for detailed examination/


4.

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"Thunderbird", 1 of 2, 30"x22", © 1977 Norval Morrisseau
/Click on image to enlage for detailed examination/




























"Thunderbird", 1 of 2, © 1977 Norval Morrisseau
/Click on image to enlage for detailed examination of reverse side/


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COA for "Thunderbird", 1 of 2, © 1977 Norval Morrisseau
/Click on image to enlage for detailed examination/--


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"Thunderbird", 2 of 2, 30"x28", © 1977 Norval Morrisseau
/Click on image to enlage for detailed examination/


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"Thunderbird", 2 of 2, © 1977 Norval Morrisseau
/Click on image to enlage for detailed examination of reverse side/


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COA for "Thunderbird", 1 of 2, © 1977 Norval Morrisseau
/Click on image to enlage for detailed examination/-


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"Untitled", 30"x28", © 1980 Norval Morrisseau
/Click on image to enlage for detailed examination/


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"Untitled", © 1980 Norval Morrisseau
/Click on image to enlage for detailed examination of reverse side/


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COA for "Untitled", © 1980 Norval Morrisseau
/Click on image to enlage for detailed examination/


>>> BLOG MASTER'S COMMENTS: These legally binding 'Certificates of Authenticity' were signed and thumbprinted by Norval Morrisseau as he personally handled and inspected the 'front and reverse' of these canvases for his identifying marks. Signing of the certificates were eyewitnessed during their presentation to Norval Morrisseau by Mr. William (Bill) Wallace of Thunder bay, Ontario and his sons Christian and Eugene Morrisseau, also from Thunder Bay, Ontario.

Also, I quote a closing statement by lawyer Richard H.Baker (dated 01/09/2008 Re: Moniz v. CTV Globemedia Publishing Inc.) in his letter from the Norval Morrisseau Heritage Society /NMHS/ (see Exhibit No. 25): "The Society has no reason to believe that Mr. Morrisseau was at any time incompetent".

As per Endnote No. 1 of one of the KRG posts (click HERE) it states that: "During this trip to Thunder Bay in 2002, Norval Morrisseau was not under the care of, nor was he advised by, KRG and Don Robinson or Gabe Vadas. Rather, he was acting of his own accord under the care of his relatives."

"If Norval Morrisseau was not at any time incompetent as per the above statement from the NMHS it is clear that the 'Cerificates of Authenticity' signed and thumbprinted by Norval Morrisseau are admissable in a Court of Law as valid proof of authenticity and provenance...

NOTES: These Certificates of Authemticity (COAs) are from Ugo Matulić a.k.a. Spirit Walker's Private Collection (Calgary, Alberta) and were acquired from Mr. Rolf Schneiders' Private Collection (Thunder Bay, Ontario). Also, most of the paintings presented in Exhibit No. 3 were acquired directly from Mr. Rolf Schneiders' Private Collection as well as the paintings currently exhibited on Mr. Gary Lamont's website at www.woodlandartgallery.ca.

Mr. Schneiders' collection was one of the major sources of Norval Morrisseau's paintings that were supplied to different galleries all across Canada by Mr. Anthony Martinenko, an art dealer from Winnipeg, Manitoba who supplied paintings even to Coghlan Art Studio & Gallery, Aldergrove, BC for many years (click HERE, HERE & HERE). Among other galleries Mr. Anthony Martinenko was supplying Norval Morrisseau's paintings to Mr. Joseph McLeod of Maslak McCleod Gallery, Toronto, Ontario; Bearclaw Gallery, Edmonton, Alberta and Northern Art Impressions Gallery, Lake Louise, Alberta; to name but a few. 

Also, my first Norval Morrisseau painting was purchased on January 23rd, 2000 from Mr. Anthony Martinenko who acquired it as well from Mr. Rolf Schneiders' collection (click HERE)!




>>> Reference posts:

- Statutory Declaration by Mr. Deiter John Voss,
  /Ref: ' Witnessing Norval Morrisseau signing the paintings with a dry brush (DB) technique'/ - Forensic Document Examination (Part I),
- Downloadable Norval Morrisseau Forensic Reports (Part I),

- Downloadable Norval Morrisseau Forensic Reports (Part II),
- Downloadable Norval Morrisseau Forensic Reports (Part III) &
- "Morrisseau Signature Identification Article 101" (Part I).
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Statutory Declaration by Mr. Deiter John Voss

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~ Witnessing Norval Morrisseau signing the paintings with a dry brush (DB) technique ~

/Click on image to Enlarge/





From left to right: "Soaring Thunderbird", 30"x26" & "Sacred Medicine Bear Changes", 29"x36"; both © 1979 Norval Morrisseau; Click HERE to view reverse sides of canvases signed and inscribed by the artist


>>> The following is Mr. Deiter John Voss' Statutory Declaration in the Matter of the above presented Norval Morrisseau paintings:

TO WIT:

I, DEITER JOHN VOSS, of the City of Thunder Bay, in the District of Thunder Bay and Province of Ontario, MAKE OATH AND SAY as follows:

1. I personally knew Norvai Morrisseau and as such have knowledge of the matters hereinafter deposed to.

2. I personally witnessed Norval Morrisseau signing paintings known as "Soaring Thunder Bird 1979" measuring 26" x 30" and "Sacred Medicine Bear Changes 1979" measuring 36" x 29".

3. The above-noted paintings were signed at Wintering Camp 60 km north of Ignace, Ontario, Canada and were purchased by me from Norval Morrisseau.

4. At the time the said paintings were signed by Norval Morrisseau John Monar was also present and saw the paintings signed.

This solemn declaration is made conscientiously believing it to be true and knowing that it is of the same force and effect as if made under oath.

Sworn before me at the City of Thunder Bay,
in the district of Thunder bay and Province of Ontario,
this 29th dayof March, 2011.

Signed   /ACommissioner/   Signed  /Deiter John Voss/

>>> To download Commissioner's invoice, signed Statutory Declaration together with paintings images click on image below:

IMPORTANT NOTE: These signatures are considered as KNOWN SIGNATURES OF NORVAL MORRISSEAU by Forensic Science.

>>> Reference posts:
- Forensic Document Examination (Part I),
- Downloadable Norval Morrisseau Forensic Reports (Part I),

- Downloadable Norval Morrisseau Forensic Reports (Part II),
- Downloadable Norval Morrisseau Forensic Reports (Part III),
- "Morrisseau Signature Identification Article 101" (Part I) &
- Norval Morrisseau Certificates of Authenticity (COAs).
 /Signed by the artist on April 11, 2002 in Thunder Bay, Ontario/
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Framing a Morrisseau (Part I)

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~ As published on the Green Cottage Gallery's Blog

   /Shakespeare, Ontario CANADA/

Genuine Norval Morrisseau painting on canvas
/Click on image to Enlarge/ 

As a framer, I usually do my design work on the spot. It is a collaborative effort between myself and the client as we figure out how best to reconcile their wants and needs to the requirements of the piece and still make a finished whole that is greater than the sum of its parts. I really do enjoy that process of realizing, through discussion with the customer, what will work for them and still fit within their budget, style or space restrictions. It’s like a really good session of brainstorming, ideas get volleyed back and forth and are refined down to a final design. Fun though that process can be, it can also be very freeing to work entirely on my own.

We have collected a severely esoteric assortment of art, over the years and I’ve been working on getting many of them framed and ready to go into the gallery. One of the ones that I’ve been thinking for some time about how best to show it off is this oil by the great Canadian artist, Norval Morrisseau. (the photo is of the unstretched canvas) I very much wanted to create a frame that would both respect the importance of the piece and acknowledge its vibrancy and strength but not restrict its decor options.

Starting finish of inner frame
/Click on image to Enlage/

The first part of framing the oil was to stretch it. Morrisseau had clearly painted it while it was on a stretcher and then taken if off. (probably to make it easier to store) The image goes right to the edges and there was very little salvage on the sides. I made a new stretcher for the piece and actually made it slightly larger than the one it would have been mounted on while being painted. The reason for that is almost all frames have have a lip or rabbet that holds the glass/mat/art/backing sandwich in place or, in this case, the stretched piece. It also covers between 1/8 and ¼ of an inch in from the sides. By making the stretcher larger (even though it make the stretching a bit more difficult) I was able to make sure that more of the actual painting is shown.

As for the actual frame, I wasn’t able to find a single molding that I thought really showed it off to it’s best advantage. There is a roughness to it, as well as the vibrant colours that had to be considered. In the end, I decided to create my own molding by combining, or stacking, three different ones. The innermost frame was also one that needed a change to it’s finish. I wanted an accent along the inner edge, and the surface texture of this molding was perfect, if not the colour. It was also exactly the width I wanted. (a little under an inch) I cut and joined it and then refinished it with a semi-matte black to create the perfect inner liner!

There is a long tradition of using fabric wrapped liners to give paintings on canvas and board the same visual room around them that a mat provides.

Morrisseau painting in triple stacked frame
/Click on image to Enlage/

While I agree that the look can often work, I’ve never been fond of them. The big problem I have is that the fabric will (note I said “will” not “can” because, unless it is fully in-closed dirt will happen!) get dirty as time goes by. Some are more resistant than others and choosing the right colour can also help, but I prefer to avoid the whole issue, if I can. The way I did it on this piece was to use a wood molding in the same position that a liner would sit. The molding has an almost barn-wash finish that is a slightly darker grey than the grey of the painting and has a small, informal silver accent on the inside edge. The shape is smooth and slopes down in the standard liner style.

Morrisseau frame, close-up of molding
/Click on image to Enlage/

The outer frame is actually made from 100 year old reclaimed wood, complete with variations and wood-worm holes! The colour is a dark, slightly yellowish green that also ties directly to one of the greens in the artwork. It has a beeswax finish that is presently somewhat polished. All of the moldings used to create this unique frame have simple lines and somewhat rustic finishes that tie back to painting so they compliment it but are not too formal. It is a substantial frame, that properly showcases this vibrancy of the work, but isn’t fussy and, I feel, that the textures and visibly aged wood acknowledge the spirits of nature and history, from which Norval Morrisseau drew his inspiration.





Source: Green Cottage Gallery's Blog, Shakespeare, Ontario
              /Used with permission/

* The acrylic painting on canvas in this post: © c. 1970's Norval Morrisseau /Private Collection/

'TransMigration' Travels to an Inner Place of Invention

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FLECK DANCE THEATRE
207 Queens Quay West, Toronto, Ontario
/May 10th – 13th, 2012/

"TransMigration", © 2012 Kaha:wi Dance Theatre
/Click on image to Enlarge/

~ Kaha:wi Dance Theatre presents the World Premiere of TransMigration, a co-production with Planet IndigenUS, Harbourfront Centre, inspired by the paintings and life of iconic Ojibwe shaman-artist Norval Morrisseau, known as the “Picasso of the North”. Evoking Morrisseau’s visual language throughout, TransMigration melds traditional and contemporary dance, design and music, weaving a narrative that lives between reality and dreamscapes. ~

>>>>>>>

"I go to the inner places. I go to the source. I even dare to say, I go to the house of invention where all the inventors of mankind have been.”  Norval Morrisseau


With the TransMigration world premiere around the corner, Kaha:wi Dance Theatre is in the midst of an exciting new creation. Not only is TransMigration a major new production, it heralds the first Kaha:wi Dance Theatre Toronto premiere since 2007.

“I’m thrilled to premiere TransMigration at Harbourfront Centre’s Fleck Dance Theatre and have the chance to connect with our Toronto audience,” states Artistic Director Santee Smith. “Toronto is our home and I’m very happy to be able to debut the work here before it reaches out to the world.”

Over the past few months, the creative focus for TransMigration has been on developing the musical score. Santee is very excited to be working with world-renowned musical supervisor Stevie Salas, at the Jukasa Studio on Six Nations along with Rob Lamothe. Click here to read up on these two music industry movers and shakers.

“It’s very creative mixing the future with the ancient,” says Stevie Salas, about working on the music behind TransMigration. “And that’s my thing.”

Stevie brings his heart and infectious energy to every single collaboration.

“I have been waiting for the chance to work with Santee for a while now,” he says. “She is a global Native and I like that because I know how hard it is out there. TransMigration is not just a great Native production that pushes the envelope, it is a world-class production and those of us who know Santee expect nothing less.”

The TransMigration score features many innovative indigenous musicians such as Tanya Tagaq, Vince Fontaine of Eagle and Hawk, Black Bear Singers and Cris Derksen among others. All amazingly talented artists making names for themselves in Canada and internationally.

As well as being a top-notch guitar player, Stevie Salas has experience scoring music.

“I have scored a few films preferring to work on indie films where I am allowed more freedom to be creative,” he says. “I have worked on some massive films with one being Bill And Ted’s Excellent Adventure, one of the most iconic music comedy films of all time. I not only did the guitar/band score, I also appeared in the films famous end scene as the hands of George Carlin in the big solo. Lately I have been working with several Seinfeld writers on their TV and movie projects including Live Free Or Die and I wrote and produced the intro song for Georgina Lightning’s Native film Older Than America.”

Now a permanent presence at Jukasa, Stevie says “the owner of Jukasa Studio, Kenny Hill built this three million dollar facility on the Six Nations Reservation to give Native people the chance to work in the same kind of studios that the biggest artist in the world use giving small budget productions a chance to compete sonically on the world’s stage.”

Being supported by Jukasa Studios is an incredible gift to Kaha:wi Dance Theatre. Music is such a huge part of Santee Smith’s vision for the company, as music moves her.

Kaha:wi Dance Theatre will be working at Jukasa Studios on completion of TransMigration score and on the up-coming Susuriwka – Willow Bridge production. In March 2012, Musical Director/Composer OKI will be traveling to Six Nations from Asahikawa, Japan to collaborate with Santee Smith and Six Nations musicians. Susuriwka – Willow Bridge will have its North American premiere at Planet IndigenUs in August 2012.

Source: www.kahawidance.org


TransMigration runs through May 10-13, 2012 as a part of NextSteps.

** As seen in Planet IndigenUs Newsletter **

For Ticket tickets & information click HERE.

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National Aboriginal Achievement Award Recipients for 2012 (Part I)

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Media & Communications

Richard Wagamese

National Aboriginal Awards celebrate homegrown achievement

~ Gala event to honour five British Columbians

by Kim Pemberton; published 02/17/2012

Richard Wagamese has experienced practically every element that makes up the story of many first nations people: cultural displacement, foster care, homelessness, residential school abuse, incarceration and alcoholism.

But the 56-year-old overcame all of those struggles and went on to become an award-winning author, journalist and motivational speaker. His story will soon include receiving a National Aboriginal Achievement Award.

The gala on Feb. 24 at the Queen Elizabeth Theatre will see 15 NAAA’s handed out — with five to go to British Columbians.

Kamloops-based Wagamese said he’s honoured to receive the award but what matters more to him is the message it sends to aboriginal youth.

“Naturally, I’m proud to have worked my way through all of [those past struggles] but what it means to First Nations youth is what I’m most excited about. For youth to have the opportunity to see people like myself and hear their stories. I’ve had to battle to find success and peace and pride in my identity. But the teaching is if they dream big and freely, there’s all kinds of opportunities in this country,” he said.

Wagamese will be awarded for his achievements in media and communications. He has worked as a newspaper reporter, columnist, radio producer, broadcaster, documentary producer and is the author of One Native Life, which the Globe and Mail listed as one of its best 100 books of the year in 2008. He was also the first aboriginal Canadian to win a National Newspaper Award for his work as a columnist.





Source: Vancouver Sun


Note: Richard Wagamese has worked as a columnist, reporter and features writer for newspapers across Canada and has published a number of poetry books and novels as well as a memoir.

In 1991, he became the first Native Canadian to win a National Newspaper Award for column writing for a piece that appeared in the Calgary Herald.


Reference links:
- Richard Wagamese's Website @ www.richardwagamese.com,
- Richard Wagamese - Ojibway Author /Facebook/,
- National Aboriginal Awards celebrate homegrown achievement /Vancouver Sun/,
- Richard Wagamese, Keeper’n Me /The Manitoba Historical Society/,
- Indian Horse, by Richard Wagamese /The Globe and Mail/ ,
- Q and A: Richard Wagamese on being homeless /FFWD/.


Reference posts:
- One Native Life,
- Indians and the just society,
- Richard Wagamese about Norval Morrisseau &
- National Aboriginal Achievement Awards /Ref: Norval Morrisseau/. 
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~ 19th Annual National Aboriginal Achievement Awards ~

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/Click on image to Enter/

TONIGHT, hockey legend Theoren Fleury and British Columbia’s own Carmen Moore are hosting the 19th Annual National Aboriginal Achievement Awards in Vancouver.

Recognizing the remarkable accomplishments of 15 First Nation, Inuit and Métis people, the recipients were celebrated in the House of Commons. The Awards Gala is taking place at the Queen Elizabeth Theatre. The event will later be broadcasted on APTN and Global.

Co-hosts Fleury and Moore will guide viewers through a magical evening of performance, celebration and incredible journeys.

“We are thrilled such a diverse group of talented performers will take part in this inspiring event,” said Roberta Jamieson, President and CEO, National Aboriginal Achievement Foundation and Executive Producer, National Aboriginal Achievement Awards. “They are role models to the thousands of youth who will be watching the Awards live in the theatre, and later on television.”

Rock icon and Mohawk from Six Nations of the Grand River, Robbie Robertson will make a special presentation at the upcoming awards.

Internationally acclaimed Métis singer, songwriter and pianist, Chantal Kreviazuk will enchant viewers with one of her soulful ballades.

Following his performance at the 2010 Vancouver Olympics Closing Ceremony, award-winning singer Derek Miller is back in Vancouver to perform a track from his latest album, Derek Miller with Double Trouble.

Kicking off the Awards is a classical piece mixed with Indigenous and western influences composed and conducted by Dustin Peters. Baritone Carey Newman and mezzo-soprano Marion Newman will be singing the opening number, with dancers Jera Wolfe and Sarain Fox interpreting the piece.

2011 National Aboriginal Achievement Awards co-host and Gemini Award winner, Evan Adams makes a special appearance in his hometown of Vancouver.

Closing the show is an inspiring number with powerful Indigenous women, including Andrea Menard, Fara Palmer, Inez, Jani Lauzon, Leela Gilday, Rita Coolidge, Sandy Scofield and rising talent, 10 year old Noelle Maracle.


The following are the National Aboriginal Achievement Award Recipients for 2012:

Adam Beach - Arts

Victor S. Buffalo - Business & Commerce

Dave Courchene - Culture, Heritage & Spirituality

Leona Makokis - Education

Richard Stewart Hardy - Environment & Natural Resources

Dr. Janet Smylie - Health

Violet Ford - Law & Justice

Senator Gerry St. Germain - Lifetime

Richard Wagamese - Media & Communications

The Honourable Leona Aglukkaq - Politics

Grand Chief Edward John - Politics

Minnie Grey - Public Service

Richard Peter - Sports

Earl Cook - Youth

Candace Sutherland - Youth


Source: NATIONAL ABORIGINAL ACHIEVEMENT FOUNDATION


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Medicine Wheels of Norval Morrisseau (Part IV)

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"Wheel of Life" , 35"x35", © 1979 Norval Morrisseau
~ Click HERE to view the inscription on the reverse side of canvas

>>> The Royal Alberta Museum (2005) hold that the term "medicine wheel" was first applied to the Big Horn medicine wheel in Wyoming, the most southern archeological wheel still extant. The term "medicine" was not applied because of any healing that was associated with the medicine wheel, but denotes that the sacred site and rock formations were of central importance and attributed with religious, hallowed, and spiritual significance. The revisionist and culturally congruent English nomenclature "sacred hoop".

A 2007 Indian Country Today article on Indigenous American hoop dancing defines the hoop this way:

The hoop is symbolic of "the never-ending cycle of life." It has no beginning and no end. Tribal healers and holy men have regarded the hoop as sacred and have always used it in their ceremonies. Its significance enhanced the embodiment of healing ceremonies.

Source: WIKIPEDIA


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>>> Reference posts:
- Medicine Wheels of Norval Morrisseau (Part I),
- Medicine Wheels of Norval Morrisseau (Part II),
- Medicine Wheels of Norval Morrisseau (Part III),
- Sacred Medicine Wheel /Forensic Report/,
- Norval Morrisseau 'eBay' Report 1.1,
- "Norval Morrisseau: The Development of the Woodland School of Art", 2002 (Part I) & - "Norval Morrisseau: The Development of the Woodland School of Art", 2002 (Part II).

* The authentic acrylic painting on canvas in this post: "Wheel of Life", 35"x35", © 1979 Norval Morrisseau; /CURRENT OWNERSHIP: Private Collection of  Ms. Maggie Hatfield/