Gentlemen from all over London, united under one insignia - White’s Club. And to think that England’s oldest club, founded in 1693 by an Italian, the Veronese Francesco Bianco - anglicised as Francis White - was once merely an Emporium specialising in hot chocolate. It was called White's Chocolate House and it was located at number 4 Chesterfield Street. However, in the XVIII Century it was transformed into an exclusive club, becoming a gambling house frequented by the so-called “White players”, then becoming, over time, well-known for its exclusive nature. In 1778, it moved to number 37 on St James's Street, where it remains today. Built out of Portland stone with a slate roof, the five-story building has a Victorian-Era Palladian facade, embellished with French motifs. At the end of the ‘70s, the outside was painted blue with white trim. In 1981, Prince Charles - one of today’s most illustrious members - celebrated his bachelor party there before his marriage to Lady Diana, while Prince William became a member shortly after his birth. Today, it is considered by many as the most exclusive club in London, with members such as Charles, the Prince of Wales and Prince William, the Duke of Cambridge. Besides White’s, London has several other Gentlemen’s clubs, such as the exclusive Annabel's, the Groucho and the Arts Club.
The Royal Academy presents the most extensive UK retrospective of Rose Wylie, showcasing her free and unmistakable approach to painting. Iconic works and new pieces trace a career that gained late recognition but now stands at the forefront. A renewed reading of her visual energy, shaped by memory, pop culture and a deliberate spontaneity.
Marie Antoinette: The Queen of Style Who Never Goes Out of Fashion
Featuring more than 250 works, from personal jewels and court dress to creations by Dior, Chanel and Vivienne Westwood, the show traces Marie Antoinette’s lasting impact on fashion, the decorative arts and visual culture.
Triple Trouble at Newport Street Gallery stages a collision between Shepard Fairey, Damien Hirst and Invader. The exhibition treats collaboration as a field of friction, exposing tensions and sharp contrasts between three visual languages that do not seek harmony but a direct, uncompromising encounter.
The Courtauld Gallery in London reveals an unexpected side of Barbara Hepworth: the sculptor who painted emptiness. Hepworth in Colour intertwines form and pigment in a vivid story where colour does not decorate but breathes within the material.
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