A recent investigation by Radio-Canada, which involved examining a civil lawsuit, suggests that certain members of Norval Morrisseau’s family and the individual representing the late Indigenous artist’s estate may have been involved in perpetuating a system that continues to damage his legacy, despite presenting themselves as victims of forgers and art dealers for years.
Ritchie Sinclair, a former apprentice of Morrisseau, expressed relief upon learning about a legal action filed by a Calgary art gallery against Norval Morrisseau Estate Ltd. The lawsuit targets Morrisseau’s children — Victoria, Peter, Eugene, and Lisa, along with their deceased siblings, Christian, David, and Michael. The claim alleges that the adult children supported and promoted the authenticity of numerous fraudulent works for financial gain, thereby hindering efforts to expose and prevent the fraud.
Sinclair highlighted the significance of the lawsuit, noting that it was the first time the Morrisseau children had been named in such legal action. Despite the allegations, Norval Morrisseau Estate Ltd. has vehemently denied all claims, emphasizing that they are yet to be proven in court.
Morrisseau, a prolific artist from Ojibway Bingwi Neyaashi Anishinaabek First Nation in northwestern Ontario, passed away in 2007 at the age of 75. His extensive body of work, lacking proper documentation, has been a prime target for forgeries. He actively fought against the proliferation of counterfeit works during his lifetime, even sending cease and desist letters to galleries selling fake paintings.
The investigation further revealed that multiple individuals, including art dealer James White, have been implicated in producing and distributing counterfeit Morrisseau paintings. White, who pleaded guilty to charges related to forging documents and trafficking property obtained through crime, played a significant role in the circulation of fake artworks attributed to Morrisseau.
Authorities also uncovered White’s involvement in selling prints of forgeries he acquired, complete with certificates of authenticity bearing the seal of the Morrisseau Family Foundation. The foundation, established by Morrisseau’s children after his passing, aimed to safeguard his artistic legacy but has been entangled in controversies surrounding counterfeit artworks.
In a comprehensive police operation named Project Totton, several individuals, including White, were arrested and charged in connection with Morrisseau forgery networks. Despite the legal actions taken, the Morrisseau children were not charged during the investigation, with the police considering them as being taken advantage of rather than being directly involved in the fraud.
While law enforcement authorities have downplayed the Morrisseau children’s role in the forgeries, experts like Jonathan Sommer, specializing in art fraud, have highlighted potential connections between the children and individuals charged with fraud. The intricate web of relationships and transactions surrounding Morrisseau’s legacy continues to raise questions about authenticity and accountability within the art world.