~ In regards to the Genuine Norval Morrisseau paintings signed by the artist with a dry brush (DB) technique, and acquired from Randy Potter Estate Auctions and Mr. Rolf Schneiders Private Collection ~
/Contains IMPORTANT NEW and previously presented material/
 - Mr. Glenn Allison's 43-year career as a visual arts professional with galleries throughout Canada began as Research Curator at the Vancouver Art Gallery, working with Doris Shadboft from 1968-1972. His experience includes management of the Bau-Xi Galleries on the west coast of Canada; Instructor of Art History for Columbia Junior College and Capilano College [now Capilano University]; instructor for the British Columbia Museums Association; instructor for the Association of Manitoba Museums; instructor for Brandon University, Manitoba; Director-Curator of the Art Gallery of Southwestern Manitoba, Brandon 1989-1999; Director Canadian Clay & Glass Gallery, Waterloo 2000-2003.
During his 5-year tenure as a curator with the Thunder Bay Art Gallery, Mr. Allison organized over 100 exhibitions, delivered many animated talks and tours, and arranged countless acquisitions for the permanent collection including a generous donation of 179 prints and drawings from the late Susan Ross.
Mr. Allison’s most important legacy was the steady increase in the number of solo exhibitions of work by regional artists presented by the Thunder Bay Art Gallery. This growth has resulted from his serious attention to the development of artists in Thunder Bay and Northwestern Ontario.
In addition, Mr. Glenn Allison organized many lively and surprising exhibitions from the permanent collection. The most memorable being the exhibition: Unreserved: An Affirmation of Contemporary Expression, comprised 125 pieces drawn from what he calls a “rich and eclectic representation” of work by Canadian Aboriginal artists in the holdings of the Thunder Bay Art Gallery.
/Mr. Allison Retired on December 31st, 2009/
>>> The following are the genuine Norval Morrisseau paintings of Mr. Joseph Otavnik's Family donation (2004) to The Thunder Bay Art Gallery which is an accredited Class "A" Institution:
1) 'Untitled' [animal spirits facing inward] (Catalogue No.: 04.7.1);
/FRONT inscribed in Cree syllabics; VERSO signed in black acrylic/
2) 'Untitled' [two shaman and animal spirits in cameo] (Catalogue No.: 04.7.2); 72 cm x 85 cm; © 1979 Norval Morrisseau
/FRONT inscribed in Cree syllabics; VERSO signed in black acrylic/ &
3) 'Lake Trout with Eggs' (Catalogue No.: 04.7.3);
114 cm x 80 cm; © 1973 Norval Morrisseau
/FRONT inscribed in Cree syllabics; VERSO signed in black acrylic/.
4) 'Untitled' [fish with minnows] Catalogue No.: 04.7.4);
/FRONT inscribed in Cree syllabics; VERSO signed in black acrylic/
>>> The below statement is from former curator of The Thunder Bay Art Gallery Mr. Glenn Alison regarding donated paintings:
6. OUTSTANDING SIGNIFICANCE AND NATIONAL IMPORTANCE / INTERET EXCEPTIONNEL ET IMPORTANCE NATIONALE
The National Gallery of Canada recently pointed to the "archetypal status" of Norval Morrisseau as it assembled a touring exhibition that views his nearly fifty years of artistic production.
Recognized as a brilliant innovator, Morrisseau inaugurated the style of painting, which has come to be called "Woodland", or "Legend" painting by transferring an idiom heretofore inherent in historical rock art and the birchbark Midewiwin scrolls and reinscribing it in western formats with a highly contemporary palette. In doing so, he founded a school of visual art, the predominant style of which persists in active, varied and vital production to this day.
Morrisseau's work insinuates the vision and position of sacred shamanic practises in Anishnaabe culture, embodying a visual lexicon of spiritual creatures that is said to be a direct inheritance from his grandfather. Characterized by pictographic x-ray depictions, the style imparts the inter-connectivity of all life forms and their shared interiority. In its simplest forms, Morrisseau's approach infers to each viewer the unfolding of an entire cosmogony fully empowered with transformational possibility and the capacity for shared indwelling.
One of the most widely collected and exhibited personalities of the entire Aboriginal Renaissance, Morrisseau continues to parallel, inspire and propel Aboriginal art in this country. As a result, his work also continues to call forth new research, increased analysis and collection.
The pieces considered here are all modest in scale, all date from the decade of the seventies, and are fully characteristic. All are original paintings. Lake Trout With Eggs from 1973 recalls the artist's early monochromatic approaches. The Untitled work from 1979 includes a shaman figure among representative fish, bear, birds and reptile. The Untitled (Animal Spirits Facing Inward) 1970 is an important distillation, pointing to chthonic origins, and the Untitled (Fish with Minnows) is thought to have been an endearing gift for a child. Together these examples expand the repertoire of material that the Thunder Bay art Gallery can offer for research on this highly important national treasure.
Glenn Allison, Curator
/The Thunder Bay Art Gallery, Thunder Bay, Ontario/
SOURCE: Page 5 of 'Exhibit #7' for a Court case: Otavnik Vs Sinclair SC 09-00082782-0000 (Formerly S8871/08; Otavnik Vs Sinclair and Kinsman Robinson Galleries)
Sharon Godwin, Director
Thunder Bay Art Gallery
Work listed above was viewed, inspected and approved by the Registrar of The Thunder Bay Art Gallery, Gail Fikis [currently working as a Personnel Administrative Assistant at departments of History & Philosophy at Lakehead University], the gallery director Sharon Godwin and the Board of Directors of the Gallery & declared authentic by the head curator Mr. Glenn Allison [retired in 2009]. It was then fully vetted and approved by the Government of Canada as per the Canadian Cultural Property Review Board.
SOURCE: 'Exhibit #7' for a Court case: Otavnik Vs Sinclair SC 09-00082782-0000 (Formerly S8871/08; Otavnik Vs Sinclair and Kinsman Robinson Galleries)
~ Click on 'Exhibit #7' to view correspondence and all necessary documentation including the inspection and approval by the Registrar of The Thunder Bay Art Gallery, Gail Fikis (see Pages 1 - 4 & 7), the gallery director Sharon Godwin (see Pages 2 & 7) and the Board of Directors of the Gallery (see Page 1) & the head curator Mr. Glenn Allison (see Pages 5 & 6). Also, to view Thunder Bay Art Gallery's application to the Government of Canada's Cultural Property Review Board (see Page 7) and see Pages 8 - 11 for images of the paintings in question.
* See Page 4 for APPLICATION FOR CERTIFICATION OF CULTURAL PROPERTY FOR INCOME TAX PURPOSES submitted to the Canadian Cultural Property Review Board by the Thunder Bay Art Gallery clearly describing donated paintings inscribed in Cree syllabics (FRONT) and signed in black acrylic (VERSO).
NOTE: The above presented genuine Norval Morrisseau paintings on canvas were acquired by Mr. Joseph Otavnik from Randy Potter Estate Auctions in Port Hope, Ontario; professionally appraised by Mr. Joseph McLeod of Maslak McLeod Gallery in Toronto, Ontario (see Page 3) and declared authentic by Mr. Glenn Allison, curator of the Thunder Bay Art Gallery (see Page 6).
This painting was executed in similar painting style as paintings donated by Mr. Joseph Otavnik's Family to the Thunder Bay Art Gallery was part of the advertising campaign for an exhibition "Copper Thunderbird - Thirty Years" - A Selection of Paintings and Drawings by Norval Morrisseau (1958) at Thunder Bay Art Gallery from June 4th - September 5th, 2010 (click HERE.)
Thunder Bay Art Gallery which holds art pieces from the Helen E. Band Collection had received in 2002 a donation of an oil painting on natural birch bark 'After Spirit of the Fourth' (Catalogue No.: 02.3.1); 24.8 cm x 26.2 cm (1958 ):
'After Spirit of the Fourth' (birch bark), 24.8 cm x 26.2 cm; © 1958 Norval Morrisseau (Thunder Bay Gallery Catalogue No.: 02.3.1)
/Click on Image to Enlage/
'After Spirit of the Fourth' (birch bark), 24.8 cm x 26.2 cm; © 1958 Norval Morrisseau; signed by the artist with a dry brush (DB) technique (Thunder Bay Gallery Catalogue No.: 02.3.1) ~ VERSO
/Click on Image to Enlage/
This painting was donated in October 2002 by William Wallace and "an associate " which came directly from Mr. Rolf Schnieders' Private Collection. Both Mr. Wallace and Mr. Schneider are from Thunder Bay, Ontario.
 - Mr. Rolf Schneiders
Jack Pollock with Norval Morrisseau inspecting painting on a birch bark. This photograph, from the early 1960s, shows the painting executed in the similar style as the painting 'After Spirit of the Fourth' which was donated to the Thunder Bay Art Gallery in October 2002.
~ Click HERE for the SIDE-BY-SIDE comparison.
SOURCE: Page 16 and Page 20 of THE ART OF NORVAL MORRISSEAU ('Jack Pollock's Book') /Lister Sinclair, Jack Pollock, and Norval Morrisseau /ISBN: 0-458-93820-3/Toronto, Ontario: Methuen, 1979./
>>> The following is an excerpt from Thunder Bay Gallery's Newsletter - Summer 2010 which among other important information about an exhibition "Copper Thunderbird - Thirty Years" - A Selection of Paintings and Drawings by Norval Morrisseau (1958 - 1988), also includes the mention of the painting on birch bark donated to the Thunder Bay Art Gallery by Mr. William Wallace:
The selection of work in this exhibition, albeit just a fraction of what the Gallery holds, allows the viewer to follow the development of Morrisseau’s personal style and to see a good range of his subject matter.
The earliest piece held by the Gallery is a small painting on birchbark from 1958 depicting a fish in an early attempt at the now familiar ‘x-ray style’ invented by Norval Morrisseau. This piece, as well as a number of acrylic paintings on kraft paper and millboard introduce viewers to the early works of Morrisseau."
Source: Thunder Bay Gallery's Newsletter - Summer 2010; Page 3
NOTE: This excerpt has been republished as a matter of significant public interest
> ALL OF THE PAINTINGS FROM COLLECTION OF MR. ROLF SCHNEIDERS WHICH WERE ANALYZED BY FORENSIC SCIENCE WERE PROVEN TO BE SIGNED BY NORVAL MORRISSEAU... INCLUDING THOSE WITH CERTIFICATES OF AUTHENTICITY SIGNED BY THE ARTIST HIMSELF (CLICK HERE.)
>>> In a recent court judgement "Hatfield vs. Artworld of Sherway" /Court File No. SC-09-087264-0000/ Judge Paul J. Martial stated the following about Mr. Joseph McLeod of Maslak McLeod Gallery:
“He demonstrated a superior depth of knowledge of Morrisseau…” (Judgment by Judge Paul J Martial: March 25th, 2013 - Page 25)
“The testimony of Mr. Joseph McLeod is indicative of his care and the detailed effort to confirm provenance, including the hiring of a forensic expert to examine the signature on the back of the painting indicate that he took his role to provide appraisals seriously. His testimony… demonstrates his depth of knowledge of the painter due to his lengthy association with the artist.” (Judgment by Judge Paul J Martial: March 25th, 2013 - Page 35)
"His (Ritchie Sinclair's) methodology in identifying forgeries is clearly inadequate and suspect since he testified that he does not even view the original paintings before condemning them as fakes." (Judgment by Judge Paul J Martial: March 25th, 2013 - Page 16)
"Mr. Robinson (of Kinsman Robinson Galleries) was qualified as an expert in the area of valuation and appraisal. His testimony however overlapped into the area of handwriting and included an analysis of syllabic and English handwriting, areas for which he was not qualified.
"He has no formal training as an expert witness in handwriting analysis and his evidence is rejected. (Judgment by Judge Paul J Martial: March 25th, 2013 - Page 37)
"Dr. Singla's forensic evidence is preferred in this regard and his finding that it is highly probable that the painting "Wheel of Life" was painted by Norval Morrisseau was supported by his detailed technical analysis of known signatures of' Norval Morrisseau. (Judgment by Judge Paul J Martial: March 25th, 2013 - Page 37)
"The Court finds that there is overwhelming evidence that Norval Morrisseau signed paintings in black brush paint.” (Judgment by Judge Paul J Martial: March 25th, 2013 - Page 34)
~ Additionally, in the appeal for this court case Madame Justice Mary Anne Sanderson ruled the following:
"Similarly, the trial Judge was entitled to reject the evidence of Sinclair and to conclude it was unsupported and unreliable. Sinclair could produce no documentary evidence to support his assertions that a well organized forgery ring painted the works auctioned by Kahn Auctions." (Ruling by Madame Justice Mary Anne Sanderson: December 17th, 2013 -  Page 3)
For the most recent court case McDERMOTT vs. MASLAK McLEOD GALLERY, all charges were dropped and case will not go for trial (click HERE).
>>> Reference posts: