It was the kind of call every honourable gallery owner dreads.
In the early 2000s, Bill Mayberry, president of Mayberry Fine Art, had just placed a newspaper ad promoting a painting by renowned Ojibwe artist Norval Morrisseau, considered the grandfather of the Woodland school of art. He was looking forward to calls from prospective buyers. Instead he got a warning that has stuck with him for two decades.
The caller was Ritchie Sinclair, a former student of Mr. Morrisseau’s.
“Ritchie told me the painting I was selling was a fake,” Mr. Mayberry recalls. “I immediately gave it back to the consignor.”
For three decades, the market for Woodland art – characterized by vibrant colours and dark outlines – has been suppressed by rumours of extensive forgeries. Gallery owners say that Woodland artists earning $5,000 a painting could make 10 times that in a clean market. Now, with police dismantling three Morriseau fraud rings in what investigators are calling the biggest case of art fraud in the country’s history, there’s hope that a measure of prosperity will return to one of the three main schools of Indigenous art.
Last Friday, Thunder Bay Police and Ontario Provincial Police announced they had arrested eight people on 40 counts including forgery, fraud and participating in a criminal organization. They said up to 6,000 fake Morrisseau pieces have swamped the market since the mid-1990s, with a value of up to $100-million.
The announcement came as a relief to Mr. Mayberry, Mr. Sinclair and a handful of academics, artists and collectors who have risked personal harassment and legal liability to identify suspected fakes over the years.
When Mr. Mayberry realized the extent of the forgeries diluting the market, he analyzed every Morrisseau he’d sold and determined three were likely forgeries. He called each buyer and bought back the paintings at a cost of around $20,000.
He eventually developed a keen eye for suspicious Morrisseaus. But with the whiff of scandal hanging over Woodland work, prices hit a ceiling.
Mr. Morrisseau died in 2007. The reality of the situation hit him hard toward the end of his life, when he was suffering from Parkinson’s disease. “When the fakes started appearing, pieces were going for 10 cents on the dollar,” said Cory Dingle, who represents the Morrisseau estate. “He needed extra money for his health, for a wheelchair, and all of a sudden we can’t make a dollar. It was extremely detrimental for Norval to watch something he’d built up for 50 years collapse before his eyes.”
The average price for a Morrisseau is about $15,000, Mr. Mayberry said, with rare sales reaching as high as $300,000. Other Woodland masters such as Goyce Kakegamic, Roy Thomas and Carl Ray fetch around $5,000.
By comparison, Mr. Mayberry said that prices for work by contemporary Quebec artist Jean-Paul Riopelle range between $100,000 and $4-million.
“The only way to release the market is to separate the fakes from the real things,” Mr. Sinclair said. “As Morrisseau goes, so goes all those who spawn from him.”
It is easier said than done. Mr. Morrisseau tried to do that work himself during his final years, identifying 175 imitations held by six galleries in Ontario and Alberta. Police say the alleged frauds continued to grow.
Others have taken up the battle in spite of legal and professional pressure. In about 2008, Mr. Sinclair established a website displaying upward of 1,000 Morrisseau pieces he identified as forgeries. Since then he’s faced extensive litigation from collectors and gallery owners whose inventory he placed under suspicion. One gallery owner, Joe McLeod,even had Mr. Sinclair arrested for harassment; Mr. Sinclair said he spent 24 hours in jail. The charge was dismissed more than a year later when Mr. McLeod failed to attend trial and the Crown declined to call any evidence.
“That’s the worst thing that happened to me, but the list goes on for a mile,” Mr. Sinclair said.
Gallery owners and the Morrisseau estate have been hesitant to authenticate the artist’sworks because of the looming threat of litigation, should someone’s prized piece be appraised as a forgery.
Some, however, formed the Norval Morrisseau Heritage Society to catalogue works that could be reliably traced to the late master. And several are now working on the Morrisseau Project, aimed at creating a database and comprehensive book of verified work produced between 1955 and 1985.
For up-and-coming Woodland artists, the notoriety is a cultural and financial affront. Woodland style is deeply rooted in Anishinaabe cultural items, such as birchbark scrolls. Artistic disrespect is cultural disrespect.
“It’s so hurtful to see this,” said Autumn Smith, 25, who started creating Woodland paintings under the name Mishiikenh Kwe in 2016 and now earns up to $10,000 for a piece. “I’m thinking of moving away from the style entirely.”
Ms. Smith, who resides on Magnetawan First Nation in Ontario, has one piece of advice for prospective Woodland buyers. “I’ve been telling people worried about fakes that they should be buying from living Indigenous artists,” she said.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.