When Henry Gordon Selfridge built his huge department store in the West End, shopping for Londoners would never be the same. The first to understand that shopping could be a fun, seductive and multi-sensorial experience, the U.S.-born businessman was a true pioneer. The majestic Edwardian building on Oxford perfectly reflected the personality of its founder, whose only modest aspect was his height. When television was yet to exist and cinema was in its infancy, Selfridge entertained his clients better than an expo, almost like a ballroom, with a particular eye towards women. His stores, it was often said, were the “third tourist attraction of the capital” after Westminster Abbey and the Tower of London. The attention given to the window displays, “the bargain corner” and the habit of placing perfumes and cosmetics just within the entrance are just a few of the innovations credited to him. The secret was to offer a dream to every customer and, above all, never stop. In 1938, for instance, elevators were installed on Oxford Street that, in themselves only, warranted a visit to the store - the clients could shuttle up and down to various departments in bronze and cast iron boxes designed by the famed Edgar William Brandt. Today, it is possible to admire these at the Museum of London, with decorations inspired by the signs of the Zodiac, as well as exotic Japanese-inspired Swans.
An exhibition celebrates Edwin Austin Abbey, a 19th-century American artist, showcasing his study for the monumental work The Hours created for the Pennsylvania State Capitol.
Anselm Kiefer presents new paintings at White Cube Mason’s Yard exploring the relationship between history, memory and materiality. The exhibition investigates Van Gogh’s influence on his practice and frames a dialogue between myth and matter.
A carefully selected group of works on paper tells the story of three centuries of British art: from 18th-century portraits to post-war Neo-Romantic visions, the collection donated by Nina Drucker explores a variety of techniques and styles.
At the Courtauld Gallery, Abstract Erotic reunites Bourgeois, Hesse, and Adams for the first time since 1966. Their sculptures evoke the body and desire through organic and industrial materials. A reflection on femininity, matter, and eroticism in abstract art.