You can also use this page to access my Jago Stone blogs.
Copies of 'The Road to Corbyn' can be purchased at a discount using this link: http://www.robdonovan-author.co.uk/TheRoadToCorbyn.html
I have a Residency at the Redwing Gallery in Penzance in June this year which means that I'll be present for 2 hours every Tuesday and Saturday morning for four weeks, answering questions, giving talks, doing readings, and other such literary things. I'm looking forward to the experience - and hoping I can sell more copies of 'The Road to Corbyn' and get even more people interested in 'Jago'.
I promised last month to keep the focus on Jago Stone palette-knife painting in this Newsletter and I showed the two palette-knifes that the parents of my wife, Louise, commissioned Jago to paint. They also bought two others that in the course of time have become part of our collection. First, there is this study in blue that is signed and dated, Jago Stone, 1968 and has the inscription 'Bardon'. We cannot be certain but we think that this is a reference to a Grade II listed building, a farmhouse dating back to the 16th century (now a house) that lies in the village of Williton in West Somerset on the edge of Exmoor. The village of Monksilver is close by and that is where Jago was interviewed by Kenneth Griffith, especially sent down from London for the purpose in 1969, in the village pub 'The Notley Arms' - see Chapter Nine, 'Jago on Jago' in the hopefully soon-to-be published biography. We know that Louise's parents made a journey to the west country to see Jago in his studio. They went with another couple from Gerrard's Cross who had supported Jago and arranged an exhibition for him in a gallery in Eton High Street. Jago had been given his studio space in a disused barn by the owners of the Bardon farmhouse . And Louise's parents returned with this study in blue.
Last month, I quoted from the communication I had received from the American art-collecting lawyer who had been moved to buy a Jago Stone palette-knife painting at auction by its power. Here it is again:
‘… As one retreats from the painting to a distance of, say, three metres, the way it coalesces into a readily recognisable street scene is quite remarkable, and the colours, though not typical of such a scene, are absolutely appropriate. It is difficult to imagine how the artist, who obviously had to work