For artist Jeremy Houghton, work really begins once a painting is finished. That’s when Jeremy Houghton, fine artist, becomes Jeremy Houghton, businessman.
“An artist has to be able to sell his paintings to sustain his craft,” he says. “There are many fantastic craftsmen out there, but their art fails to reach an audience. If you don’t have exhibitions and you don’t make sales you can’t do any painting. When the paintings are done, you’ve got to get them out of the studio, onto gallery walls, and get people to buy them.
“I am an artist but I also embrace the need to market and sell my work. Getting directly involved is instrumental. I wear two different hats and I enjoy both aspects of the job.”
Houghton works with a number of galleries and agents which, he says, helps keep his finger on the pulse. “Every painting is unique and has its own story. Clients expect to see you and enjoy hearing that story from you personally.”
From an early age Houghton knew he had a talent for painting, but he also recognised that he had a flair for business. “At school teachers praised my painting and encouraged me. But when it was time to prepare for life beyond school they said ‘well, art is not going to get you anywhere.” Houghton got a law degree at Exeter and did some work experience as a stepping stone to a career as a barrister. “But it just wasn’t me,” he says.
Instead, Houghton found himself heading for South Africa, where he taught art at the International School of Cape Town. He was invited by the late David Rattray, an expert on the 1879 Zulu War. Inspired by Rattray’s stories, Houghton turned his hand to depicting the battles between the Zulu Kingdom and the British Empire. Although Houghton laments not having done more painting in Cape Town (“I was too knackered after school,” he says) these first military paintings became the building blocks of a career as an artist with a strong military context.
“When I hit 30 in 2005 I decided to come back home and make a go of it. I’ve always loved the army, the pageantry and the ceremony, so I stuck with the military theme. I knew that if I did military paintings, working with regiments, there
would be an audience. People are very loyal to their regiments.”
Houghton’s first big London show was called All the Queen’s Horses, featuring the cavalry regiments. It was a success and gave him the confidence to believe that
he could forge a career as an artist. The exhibition introduced him to the Honourable Corps of Gentlemen at Arms, retired officers who provide a bodyguard to The Queen at ceremonial occasions. Houghton was asked to shadow them for one year as they celebrated their 500th anniversary. His became a household name in royal circles and residencies at Highgrove (close to his home in the Cotswolds) and Windsor followed. At Windsor he drank a glass of sherry with the Queen and was able to observe her as she went about her daily life in her own home.
He also has been at the London Olympics and Goodwood, and documented Sir Ben Ainslie’s attempt to win the America’s Cup. As resident artist for the Wimbledon tennis championships “I get to sit anywhere I want during the two weeks,” he says. Six of his paintings are on display at the All England Club. In addition, Houghton
held an exhibition for the benefit of the Wimbledon charitable foundation as
it celebrated its 150th ann iversary. Working with charities is an integral part of Houghton’s approach, a way of giving something back while bringing his work to a new audience, and to potential clients.
“I have been incredibly lucky,” he says. Yet as with anybody who has enjoyed success, it is clear that it is not down to luck but incredibly hard work combined with genuine talent. In Houghton’s case it is a talent both for art and for business.
