Gilles Gorriti was a distinctive voice in modern painting, emerging from a rich artistic heritage. The son of the celebrated painter Paul Aïzpiri, Gilles developed an early connection to the arts and, at just seventeen, held his first solo exhibition at Galerie Morval, marking the beginning of his presence in the art world. He later joined the esteemed Salon d’Automne, thus becoming part of what many consider to be the last generation of the modernist School of Paris.

This exhibition features Gorriti’s still lifes and interior scenes in counterpoint to his luminous landscapes and city scenes. The former reveal an intimate and contemplative dimension of his work, while the latter allowed Gorriti to expand his horizons and play with color and light as signifiers of space and atmosphere. In Gorriti’s interiors, floral arrangements, Japanese fans, and studio compositions are rendered with luminous color, balancing a quiet exploratory process with a raw and powerful finish. These works showcase Gorriti’s ability to transform everyday subjects into meditations, as Gorriti regarded each element as a single painting to be fitted with the other “paintings” in pursuit of the overall balance and beauty of the composition. These works of art are thus an invitation to delve into a deeper view that transcends the subject. Upon spending time with one of these paintings, one inevitably realizes that, to Gorriti, representing the world around him was merely an excuse; these are invitations to join him and revel in the endless poetry of abstraction.

In contrast, his views of Paris, New York, and Venice depict animated boulevards, café terraces, and atmospheric corners from of each city. In these brilliant paintings, Gorriti captured the memory, the thought, of a place with all its rhythm, whether it be a quiet and contemplative view of Venice or a bustling and vibrant street scene in New York. Gorriti gifts the viewer a powerful duality: on one hand, the experience of the place itself; on the other, an aesthetic creation that sings its beauty in a never-ending melody of color.

We invite you to visit Findlay Galleries in Palm Beach to experience our collection of works by Gorriti, the quintessential modernist, now on view.

Contact your gallery to enquire about a work of art, for more information on the exhibition, or to schedule an appointment.

Contact your gallery to enquire about a work of art, for more information on the exhibition, or to schedule an appointment.

Findlay Galleries is pleased to present a solo exhibition of new paintings by Amy Magee (b. 1997), a British artist whose work brings together intuition, landscape, and art-historical memory. Drawing inspiration from the landscapes and artistic heritage of the South of France, Magee reinterprets classical principles of composition and light through the language of contemporary abstraction, creating a dialogue between place, tradition, and expression.

After relocating from an urban environment to the luminous stillness of Provence, Magee’s palette and sensibility shifted markedly. Engaging with the European tradition of trompe l’œil, she reimagines the language of landscape—gesture, pigment, and perspective—through sweeping contrasts and spatial rhythms. Her process begins with brief encounters with classical paintings, later reconstructed through intuition, resulting in compositions where passages of detail dissolve into raw, tactile paint. Petal-like forms, atmospheric veils, and gestural flourishes drift across imagined terrains, creating works that function as visual memories—fleeting experiences slowed into paint.

Magee holds a BSc in Psychology from the University of Exeter and completed a residency at the New York School of Visual Arts; her work has been exhibited in London, New York, and Florence and is held in private collections worldwide.

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Belynda Henry

Findlay Galleries is pleased to present Living Palette, a major exhibition of new paintings by the distinguished Australian artist Belynda Henry. This presentation marks her most extensive showing in the United States to date and her fourth solo exhibition with the gallery, following acclaimed presentations in Palm Beach and New York.

Widely recognized as one of Australia’s leading contemporary landscape painters and a multiple finalist for both the Wynne and Archibald Prizes, Henry brings to her art a refined synthesis of observation and emotion. Living and working in a lush valley north of Sydney, she draws continual inspiration from the natural world—the subtle shifts of light, the rhythms of the seasons, and the quiet resonance of the landscape.

Henry employs a distinctive technique that combines oil and wax, built up in multiple layers to create surfaces of remarkable depth and tactility. The result is a body of work with an unmistakably earthy presence. Her palette of soft pastels, enlivened by luminous bursts of color, conveys both serenity and vitality. Through her loose, layered application, Henry achieves a graceful interplay between abstraction and landscape, evoking movement, distance, and the passage of time.

In Living Palette, Henry deepens her exploration of the dialogue between abstraction and the natural world. Her process begins outdoors, through plein-air observation, and evolves in the studio, where memory, emotion, and intuition re-imagine what she has seen. The result is an expressive language of color and form that transcends depiction, transforming direct experience into atmosphere.

Each painting embodies Henry’s sense of happiness and wonder—qualities that are felt rather than declared. The vitality within her work emerges organically from her engagement with nature and from her belief that painting is a living conversation between artist, subject, and viewer.

To live with these paintings is to share in that vitality. Their presence fills a space with quiet energy, inviting reflection and renewal. Joy and beauty here are not static ideals, but ever-shifting forces—alive in color, texture, and the spirit that shaped them.

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Jean-Pierre Cassigneul

Timeless Elegance

Jean-Pierre Cassigneul (b. 1935, Paris) stands as one of the most distinctive voices in post-war French painting, celebrated for his poetic depictions of women, gardens, and domestic interiors. Known for a refined chromatic sensibility and an unmistakable lyrical restraint, Cassigneul’s canvases evoke a world of quiet introspection, intimacy, and cultivated elegance. His favored subjects—often women in wide-brimmed hats, seated in reflective interiors or bathed in dappled sunlight—occupy a realm suspended between modernity and nostalgia.

Cassigneul held his first solo exhibition at seventeen and pursued formal studies at the Académie Charpentier and the École des Beaux-Arts under Jean Souverbie, later apprenticing in the studio of Roger Chapelain-Midy. In 1959, he was appointed to the Salon d’Automne, marking his early recognition among France’s post-war artistic circles. His affinities with Bonnard, Vuillard, and the expressive vibrancy of Kees van Dongen informed a visual language defined by luminous palettes, bold contours, and a distinctive graphic clarity that often recalls the aesthetics of woodblock printing and Nabis-era colorism.

Cassigneul’s career developed in close dialogue with international audiences. He first exhibited with Wally Findlay in 1968, inaugurating a transatlantic relationship that helped introduce his work to American collectors throughout the 1970s and 1980s. Over subsequent decades, he exhibited widely across Europe, the United States, and Japan, where his work continues to enjoy exceptional popularity. His paintings are held in notable private and public collections, including the Musée d’Art Moderne de Paris and the Izu Lake Ippeki Museum, Japan.

Timeless Elegance, presented by Findlay Galleries, marks Cassigneul’s first solo exhibition in the United States in 40 years. The works featured in the exhibition attest to the maturity of his late style, in which luminous harmonies of color and expressive linearity coalesce into compositions of emotional clarity and understated restraint. These recent paintings reaffirm Cassigneul’s longstanding pursuit of capturing fleeting instants—moments, in his own words, “of reflection and silence”—and preserving them through a timeless visual language.

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Ronnie Landfield (b. 1947, Bronx, New York) has sustained a distinguished career in American abstraction for more than six decades, emerging as a pivotal figure in the development of postwar painting. Beginning his professional practice at the age of eighteen, Landfield initially explored Minimalist and Hard-Edge approaches before, by the late 1960s, assuming a pioneering role within the Lyrical Abstraction and Color Field movements. His early work was included in seminal exhibitions that helped define these tendencies, situating him among a generation of artists who reintroduced emotion, gesture, and chromatic intensity into abstract painting.

Landfield’s work synthesizes intuitive gesture with a rigorous understanding of color, scale, and structure. Expansive fields of radiant pigment are often organized through bands, veils, and atmospheric transitions, producing abstract landscapes that balance chance and control. While rooted in the physical act of painting, his compositions evoke the vastness of the natural world and the perceptual experience of space, light, and horizon, engaging viewers on both a sensory and contemplative level.

Over the course of his career, Landfield has presented more than 80 solo exhibitions and participated in over 200 group exhibitions throughout the United States and internationally, including landmark presentations at the Whitney Museum of American Art. His paintings are held in major public collections such as The Metropolitan Museum of Art, The Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago. These institutional holdings affirm Landfield’s enduring significance and his continued influence on the evolution of contemporary abstraction.

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Findlay Galleries is delighted to present Henri Maïk and Le Cirque, an exhibition celebrating the luminous naïf universe of Henri Maïk, accompanied by a curated selection of circus-themed works by Georges Rouault, Jean Dufy, Gen Paul, and Camille Bombois that resonate with his boundless imagination.

At the heart of the exhibition are Maïk’s radiant dreamscapes—lush forests, exotic birds, fantastical creatures, and vibrant flora, all brought to life with his signature clarity, color, and poetic charm. Among these captivating compositions are whimsical visions in which Santa Claus soars above tigers and children or journeys across Maïk’s imagined landscapes aboard a train—moments that exemplify his extraordinary ability to transform fantasy into harmonious, immersive worlds. Each painting invites the viewer into a universe where innocence, joy, and wonder coexist with serene sophistication.

The supporting circus works provide a dynamic counterpoint, capturing the spectacle, rhythm, and theatricality of performance. Together, they enrich the exhibition’s meditation on imagination, delight, and the enduring power of art to transport us beyond the everyday.

We invite you to step into this enchanting exhibition at Findlay Galleries—where magic lingers, mystery unfolds, and the whimsical universe of Henri Maïk comes vividly to life.

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Nicola Simbari’s paintings are celebrations of light, color, and the exuberant rhythms of Mediterranean life. La Dolce Vita gathers a selection of his most luminous canvases — seaside promenades, café scenes, sun-drenched terraces and quick, vivacious figure studies — all painted with the bravura of his signature palette-knife technique. The works on view transform quotidian moments into theatrical tableaux: sun, shadow, and architecture become chromatic instruments that sing together.

Born in Calabria in 1927 and trained at the Accademia di Belle Arti in Rome, Simbari brought a hybrid sensibility to his art: an architect’s respect for structure combined with an impressionist’s devotion to sensation. Over the course of his career, he moved fluidly between approaches — from geometric constructions to near-abstract color fields — yet always returned to figurative subjects and Mediterranean motifs. His training and background shaped the compositional rigor beneath the flamboyant surfaces: blocks of color often read as both built form and atmospheric light.

Simbari’s palette-knife handling is central to the works in this exhibition. Thick, slashed strokes create planes of impasto that catch and reflect light, giving each painting an architecture of color. This technique enables Simbari to achieve both immediacy and monumentality: a casual gesture becomes a defining ridge, and a fleeting glance is captured in an enduring arc of paint. The result is imagery that reads at once as memory and performance — as if each canvas were a brightly notated entry in a visual diary.

La Dolce Vita frames Simbari as a chronicler of pleasure without sentimentality. The artist’s figures rarely stare out at us; they inhabit the picture with the private assurance of a life lived fully in daylight. Boats, terraces, and flowering hedges recur as props in scenes of ease and sociability, while color provides the emotional commentary. Where a photograph would fix a single instant, Simbari’s brush (and knife) accumulates experience: the eye reads multiple temporalities at once — the present shimmer, the echo of past and the promise of more to come.

Findlay Galleries has championed Simbari’s work, which has been widely exhibited in the United States and Europe for many years; this presentation continues that tradition, drawing together paintings that illustrate his formal versatility and his enduring passion for Mediterranean subject matter. Whether rendered as a small, jewel-like panel or as a sweeping canvas, each painting in La Dolce Vita invites the viewer into a world where color is both language and landscape.

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Findlay Galleries is delighted to present Significant Colour, Ptolemy Mann’s fourth solo exhibition with the gallery and her second in New York. This exhibition introduces a striking new body of work that unites three interrelated approaches: hand-dyed and woven works, paintings on canvas, and Mann’s innovative “Thread Paintings,” in which weaving and painting merge into a single, radiant surface.

Across this new series, Mann continues her long-standing exploration of the boundaries between textile and fine art. Her expansive canvases glow with atmospheric gestures and luminous color fields that evoke abstracted landscapes, while her woven works distill color into refined, minimal compositions. The “Thread Paintings” bring these languages together—painted veils hover above woven grounds, creating layered dialogues between structure and surface, gesture and precision, spontaneity and control.

Ann Coxon Essay

“Ptolemy Mann’s woven artworks have long been concerned as much with the histories and possibilities of painting as those of hand-loom weaving. For inspiration, she looks to the works of Mark Rothko, Joan Mitchell and Helen Frankenthaler more than those of Anni Albers or Sheila Hicks. But what does it mean for an artist to paint onto a weaving; to apply a brushstroke to her own hand-woven, stretched and framed cloth; to layer a split-second, vibrant gestural mark over a painstakingly dyed and woven coloured ground? Mann’s recent work poses precisely this question. To feel our way towards an answer and to fully appreciate the boldness and significance of this move, we need to begin to unravel the long, complex and mostly unequal relationship between painting and weaving.

Most recently Mann has created a new series of Thread Paintings in which free, gestural strokes of colour are painted onto her tightly woven panels. Given the time and labour needed to create her hand-woven surfaces, this is a courageous step. Breaking the ‘rules’ of both weaving and painting, Mann’s brushstrokes are loaded with paint and with meaning. They could be seen as a violent obliteration of the woven surface, yet the paint adds more colour, sitting in juxtaposition and harmony with the woven ground, sometimes soaking and bleeding into the fibres, sometimes appearing to float on top. Dyed colour and applied colour sit together, complicating the distinction between structure and surface, the woven and the painted, the thread and the trace. In Mann’s work, the thread becomes the trace and the trace becomes the thread. Woven threads suggest painted marks and painted marks bleed into woven threads in a fluid, fugitive process. In other words, painting and weaving become indistinct in effect, if not in process. Ptolemy Mann is a weaver who paints with thread and an artist who paints on thread. She is both a weaver and a painter creating works in which the categories of painting and weaving become unstable, running into each other. In this way, her work introduces equality to the centuries-long relationship between painting and weaving.” 

– Ann Coxon
(Curator, Formerly of Tate Modern, UK)
From her Essay for the monograph ‘THREAD PAINTING’

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Few artists achieve during their lifetime the international acclaim accorded to André Hambourg. His works, represented in more than fifty museums worldwide, embody the highest traditions of French painting. Throughout his distinguished career, exhibitions in Paris, Honfleur, Brussels, London, and the United States affirmed his stature as one of the most celebrated painters of his generation.

Born in Paris in 1909, Hambourg studied at the École Nationale Supérieure des Beaux-Arts, where his precocious talent quickly drew recognition. Modigliani and Soutine’s dealer introduced him to Henri Bénézit, who presented Hambourg’s first important one-man show in Paris in 1928; he was only nineteen years old at the time. Encouraged by Derain, Friesz, and Kisling, Hambourg became deeply connected to the vibrant Parisian art world, developing a visual language rooted in the harmony of color, light, and movement.

Although his early travels to North Africa awakened his fascination with luminosity, it was in France that Hambourg truly defined his artistic voice. Along the beaches of Normandy, the harbors of Honfleur, and the ports of Deauville, he found endless inspiration in the rhythm of tides, the silhouettes of vessels and sailboats, and the poetry of the open sea. His marine compositions—alive with movement and atmosphere—capture the delicate balance between the natural elements and the human spirit. Equally, his depictions of horses, whether galloping across sunlit sands or poised in pastoral calm, reveal his instinctive understanding of grace and vitality.

Hambourg’s adventurous career as a war correspondent and military painter for the French Army and Navy further shaped his vision of motion and strength. His service during the Second World War earned him not only the Croix de Guerre but also the distinctions of Laureate of the Salon de la Marine, Honorary Painter of the Army, and Official Painter of the Marine Ministry. These honors reflected both his artistic mastery and his enduring commitment to the life and landscape of France.

Findlay Galleries is proud to present this distinguished body of work, celebrating André Hambourg’s radiant legacy as one of France’s great modern masters. As the exclusive representative of Hambourg for decades, Findlay Galleries has been instrumental in preserving and advancing his vision, bringing the brilliance of his light to collectors around the world.

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