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| Staff Writer |
‘Artists and aesthetes may debate whether morning or afternoon light casts a more pleasing shadow, but they are likely to agree it is the marriage of light with mood that creates moments of Grace. Grace delights, transfixes, and seduces. Grace is the dream that buffers us from the bustle and busyness of the external world.’ Cheryl Sadowski.
In the heart of London's Belgravia, nestled on Motcomb Street, stands a beacon of equestrian & sporting art - the Osborne Studio Gallery (OSG). For the past 38 years, under the dedicated stewardship of Geoffrey Hughes, this gallery has been more than just a space for displaying art; it has been a sanctuary where the grace and beauty of the equine world are celebrated daily. Hughes, the gallery's director, has made it his life's work to capture and showcase the ineffable quality of grace in every painting that adorns the gallery's walls.
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Geoffrey Hughes' love affair with the world of horses began long before he ventured into the art world. As a seven-year-old boy, he found himself captivated by the majestic creatures that galloped across racecourses and graced hunting fields. This early fascination laid the foundation for what would become a lifelong commitment to preserving and promoting equestrian art.
"I have been interested in racing and horses since I was young, about 7," Hughes recalls. "I go racing as often as I can. It's a passion that has shaped my life and career."
In 1986, a serendipitous meeting with the renowned British sculptor James Osborne set Hughes on the path to establishing the Osborne Studio Gallery. Osborne, already well-established in his field, offered Hughes his gallery space in London's Covent Garden, with the condition that Hughes would promote Osborne exclusively as a sculptor. This arrangement marked the beginning of a close collaboration that would shape the gallery's early years.
The gallery's name pays homage to James Osborne, whose influence extended far beyond lending his name to the establishment. Hughes remembers, "I first met James in 1986. At that time, he was already a well-established sculptor specialising in horses. He offered me his gallery in London's Covent Garden as long as I promoted him alone as a sculptor."
Together, Hughes and Osborne embarked on ambitious projects that would start to cement the gallery's reputation in the world of equestrian art. One of their most notable collaborations was the creation of "The Boy on The Magic Rocking Horse," a sculpture that was dramatically helicoptered into Kensington Gardens, capturing the public's imagination.
Perhaps their crowning achievement was the Eclipse sculpture, a magnificent representation of the famous stallion that now stands proudly at Newmarket Racecourse. This project, sponsored by the American philanthropist and art collector Paul Mellon, exemplified the gallery's commitment to creating enduring works of equestrian art.
Tragically, James Osborne's untimely death in 1992 left a void. However, the foundation he had helped build with Hughes proved strong enough to weather this loss, and the gallery continued to thrive under Hughes' leadership.
From its inception, the Osborne Studio Gallery has adhered to a clear and unwavering philosophy: to showcase the work of the finest artists in the world of racing, equestrian, and sporting art. This commitment to quality has been the driving force behind the gallery's success and longevity.
Hughes reflects on this ethos, "We have had the same philosophy since I set the gallery up in 1986. To show the work of the best artists that we possibly could in the world of racing, equestrian and sporting art."
This dedication to excellence has not only attracted renowned artists but has also cultivated a loyal following among collectors and enthusiasts.
The journey of maintaining a gallery for nearly four decades has not been without its challenges.
"I think the biggest challenge has been keeping the OSG going as an on the street gallery for 38 years without ever having closed for a day, working albeit from different locations!" Hughes exclaims. "I cannot quite believe this, but we have succeeded in doing this."
In the early days, the gallery seized opportunities to expand its reach beyond its physical walls. Art fairs and external venues played a crucial role in this expansion. Hughes recalls, "In our early days, I think the art fairs and outside venues such as Glorious Goodwood, where we had a stand for 24 years, were significant opportunities. Additionally, we showed in many equestrian venues throughout the world."
However, as the gallery's reputation solidified, Hughes made the strategic decision to concentrate the OSG's energy on showcasing and promoting sporting art from its prime location in Belgravia. "We now tend to concentrate all our energy on showing and promoting our sporting art from our gallery in Belgravia, which we are delighted to say is a prime location and I think much loved by our friends and collectors".
One of the key aspects of Hughes' role as director is the careful curation of artists and works displayed in the gallery. When selecting new equestrian artists for exhibition, Hughes emphasises the importance of individuality and uniqueness in style.
"The absolute key as far as criteria are concerned in selecting new artists is that they must have an identifiable style and be immediately recognisable," Hughes explains. "They will then most likely stand the test of time. They also have to be talented of course."
He adds, "We value artists with an individual and unique style. I do think there is a cohesiveness amongst our artists, which is often commented on by the collectors and enthusiasts of the Osborne Studio Gallery."
This selective approach has resulted in a cohesive collection that resonates with the gallery's audience. Collectors and enthusiasts often comment on the harmonious nature of the works displayed, a testament to Hughes' curatorial eye.
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Hughes' long-standing fascination with the racing world has positioned the Osborne Studio Gallery uniquely at the intersection of art and horse racing. This connection has been strengthened over the years through various initiatives and relationships.
"I have long been fascinated by the racing world, long before I started the gallery," Hughes shares. "I am lucky enough to have known many in the racing world.’’
One of the most significant figures in this bridge between art and racing was Sir Peter O'Sullevan, the legendary racing commentator known as the 'Voice of Racing.' O'Sullevan became not only a close friend to Hughes but also the Chairman of the Osborne Studio Gallery upon his retirement in 1997, a position he held until his death in 2015.
Hughes reminisces, "We had the extreme good fortune in having Sir Peter O'Sullevan, the legendary racing commentator, as our chairman from the time of his retirement in 1997 until his death in 2016 - he also became a good friend."
This relationship brought invaluable insights and connections from the racing world into the gallery's sphere.
The Osborne Studio Gallery's involvement in the racing community extends beyond art exhibitions. Under Hughes' direction, the gallery has hosted numerous events in aid of equine and racing charities. Hughes himself serves as a trustee of the Peter O'Sullevan Charitable Trust, continuing the legacy of his friend and mentor.
"We have hosted numerous events in the gallery over the years in aid of equine and racing charities," Hughes notes proudly.
These charitable initiatives not only support important causes within the racing world but also strengthen the gallery's ties to the community it serves. The gallery holds a major racing exhibition each year, opening on the eve of Royal Ascot, which has become a beloved tradition, bringing together art enthusiasts and racing aficionados in a celebration of equestrian culture.
For Geoffrey Hughes, the promotion of racing and equestrian art is more than a business; it's a mission to preserve a vital part of cultural heritage. "I honestly believe that sporting art is part of our cultural heritage that must be preserved and I hope developed," Hughes states emphatically. This belief drives the gallery's continued focus on equestrian themes, even as the art world evolves around it.
The gallery's role in this preservation takes many forms. While it deals in earlier sporting art, the OSG has always concentrated on promoting the work of living artists.
This balance between honouring tradition and fostering contemporary talent ensures the genre remains vibrant and relevant.
"We keep a close eye on new and emerging talent, and as we are well known as promoters and dealers in this field, we tend to get approached by many artists who are climbing the ladder," Hughes shares. "I have to say it's one of the most satisfying aspects of this business, but we do have to be selective."
While the Osborne Studio Gallery remains committed to its core focus on equestrian art, Hughes recognises the need to adapt to changing times. The gallery has embraced new communication platforms and techniques, including social media, to reach broader audiences and attract new generations of art lovers to the world of equestrian art.
When asked about strategies to attract new audiences, Hughes responds, "The obvious answer to this is to make the best of new communication platforms and techniques; of course this includes social media, which I am glad to say we are quite effective at."
However, Geoffrey is careful not to let fleeting trends dictate the gallery's direction. "We try not to be fashion-conscious," he explains. "I go on the premise that good art is like good literature and good music, their popularity might come and go, but the quality of the work will stand the test of time."
This balanced approach allows the OSG to maintain its identity while remaining relevant in the contemporary art scene. The gallery continues to showcase works that blend traditional themes with modern artistic sensibilities, appealing to both long-time collectors and new enthusiasts from all around the world.
As Geoffrey Hughes looks to the future of the Osborne Studio Gallery, his vision remains rooted in the principles that have guided the gallery for nearly four decades. "I consider myself ridiculously lucky to have started the OSG in 1986 and continued to run it for the last 38 years," he reflects. "I hope we will continue to work with the best painters and sculptors into the future."
This commitment to excellence and the enduring appeal of equestrian art gives Hughes confidence in the gallery's continued success. By maintaining strong relationships with established artists while also nurturing new talent, the OSG is well-positioned to remain at the forefront of equestrian and sporting art for years to come.
The gallery's influence extends beyond its walls, with temporary exhibits at iconic locations within the racing industry. Hughes proudly notes, "We often produce temporary exhibits at multiple iconic locations within the sport such as The Royal Ascot Racing Club at Ascot, the Fitzdares box at Windsor Racecourse, and Tattersalls and Oaksey House in Lambourn, home of the Injured Jockeys Fund.
Just as art feeds the soul, passion does, too. And it is Hughes’ passion that has ensured the gallery has stayed open every day for the past thirty-eight years. During that time, he has served as a steward of grace, curating a space where the beauty of horses and the skill of artists converge to create moments of transcendence.
The Osborne Studio Gallery stands not just as a commercial space, but as a cultural institution, preserving and promoting a vital aspect of our shared heritage.
As the gallery moves forward, it carries with it the legacy of James Osborne, the wisdom of Sir Peter O'Sullevan, and the passion of Geoffrey Hughes. In each carefully selected painting and sculpture, visitors to the OSG can find that elusive quality of grace – a moment of beauty and tranquillity in our busy world, forever captured in the timeless art of the horse.