Findlay Galleries

Findlay Galleries Findlay Galleries is the second oldest gallery in America. Dealing in Impressionism, Modern Art, Pos Findlay, Sr. Findlay Jr. (Wally), joined the family company.

In 1870 William Wadsworth Findlay founded his first gallery, called the City Art Rooms, in Kansas City, Missouri. In 1919, the presidency of the gallery was passed on to Findlay’s eldest son, Walstein C. was responsible for bringing European art – including 19th-century English landscapes and portraits, German genre works, and French Impressionist and Barbizon paintings – to the gallery’s collecti

on. The third generation of Findlay leadership arose when Walstein C. Under Findlay, Jr.’s leadership, the gallery – now called the Wally Findlay Galleries – became a known cultural destination in Kansas City. Wally Findlay Galleries established its second location, in Chicago, in 1931. Answering the needs of its clients, the galleries continued to expand dramatically, opening locations in Palm Beach (1961), New York City (1964), Paris and Beverly Hills (1971). Naturally, the styles of work represented by Wally Findlay Galleries throughout its history have reflected the various schools of art from each period, from Impressionism in the 1870’s, to Fauvism in the early- twentieth century, and through subsequent contemporary movements. Today, the legacy of committed fine art excellence is continued by the company’s Chairman and C.E.O., Mr. James R. Borynack, who acquired the company in late 1998. In 2016, Wally Findlay Galleries acquired David Findlay Jr Gallery, reuniting the 146-year old family art business and returning to the original name Findlay Galleries. Findlay Galleries located at:
Palm Beach:
165 Worth Avenue, Palm Beach, FL, 33480
New York:
724 Fifth Avenue, 7th & 8th Floor, New York, NY, 10019

In memory of Yayoi Kusama Over a career spanning more than seven decades, she moved from the avant-garde circles of 1950...
08/27/2026

In memory of Yayoi Kusama

Over a career spanning more than seven decades, she moved from the avant-garde circles of 1950s New York — where artists including Donald Judd, Joseph Cornell, and Eva Hesse recognized her work early on — to global recognition as one of the best-known and best-selling artists of her generation.

Kusama’s Infinity Nets paintings, polka-dot pumpkins, and mirrored Infinity Rooms have been exhibited at institutions including the Tate Modern, the Hirshhorn, and her own Yayoi Kusama Museum in Tokyo, which opened in 2017. She continued to create work into her final years.

The Quiet Expanse, still on viewWater is the leitmotif connecting the paintings from Van Dongen’s early 20th century dep...
08/21/2026

The Quiet Expanse, still on view

Water is the leitmotif connecting the paintings from Van Dongen’s early 20th century depiction of French Riviera to Sipp Green’s recent luminous interpretation of a sunset on Long Island’s East End. Water, in these paintings, is never only a subject. It is a surface for light, a passage toward distance, a stillness so complete one can almost hear it: the low hush of tide against hull, or nothing at all.

Van Dongen opens the exhibition in 1920s elegance, rendering the French Riviera in washes of blue intersected by the jaunty diagonals of the sails and masts of passing marine vessels. Mihanović slows the tempo holding harbors, boats, and shorelines in luminous, near-perfect calm. Nemethy compresses. His intimate marine paintings are jewel-like, vastness reduced to a scale that rewards close, private study, intimacy standing in for immensity. And furthest from shore, Sipp Green lets the coastline go, her blues loosening into abstraction, memory, and feeling, until landscape becomes atmosphere and atmosphere becomes almost nothing at all.

Together, these four artists, working across nearly a century, sustain a dialogue between precision and softness, intimacy and expanse, recognition and reverie. The Quiet Expanse is less an exhibition of seascapes than a meditation on painting’s capacity to hold space: to make of the horizon not a boundary, but a doorway, close enough to touch, into that quiet state of mind where land ends and something else, harder to name, begins.


Happy Birthday to Gaston Sébire!Born in Calvados and trained at the Maitrise Sainte Evode in Rouen, Sébire built his rep...
08/19/2026

Happy Birthday to Gaston Sébire!

Born in Calvados and trained at the Maitrise Sainte Evode in Rouen, Sébire built his reputation
through the 1940s, catching the eye of major Parisian galleries and winning honors including the
gold medal of the Salon des Artistes Français. In 1975 he was named official painter of the
Marine Nationale, which cemented his reputation as a master of maritime and coastal scenes —
canvases where sunlight scatters across the water in shimmering, loose strokes, sailboats drift
on a hazy horizon, and beachgoers and dogs wander the sandy paths in unposed, everyday
leisure. He also established himself as an excellent lithographer, and retrospectives of his work
followed at the Musée de la Marine in Paris and the Musée des Beaux-Arts in Rouen. Over a
six decade career, Sébire stayed devoted to landscapes, portraits, and still lifes — utterly
independent, refusing to bend to outside trends, chasing nothing but beauty, light, and color.

We invite you to come experience his work for yourself at Findlay Galleries!


08/07/2026

🎨Artist Spotlight: Belynda Henry

One of Australia’s most celebrated landscape painters, whose work has traveled from the escarpments north of Sydney into private collections across the US, Switzerland, Japan, Ireland, and beyond.

Belynda doesnt simply visit the landscapes she paints, she lives inside it. Deep within the lush valley, she experiences the land by day, then lets the work take shape by night, drawing purely on instinct, memory, and sketches. In her own words, the paintings feel like they “imagine themselves”landing somewhere between total abstraction and the natural world.

Belynda herself says:
“My work speaks to both the beauty and brutality of our landscape—a landscape I have lived in my whole life.”

For more info and details of works visit our Artsy page (link in bio)


07/28/2026

The Quiet Expanse, now on view

Four painters, working across nearly a century, share a devotion to water — not as subject, but as a way of thinking. Still harbors. Luminous skies. Miniature seas. Landscapes poised at the edge of abstraction. Together, the works trace how horizon, light, and silence expand perception rather than simply depict a place.


07/24/2026

Bits from Ronnie Landfield ASL talk!
Ronnie Landfield The Art Students League of NY

Did you know? Alexander Calder invented the mobile- kinetic sculptures made of shapes suspended inbalance, designed to m...
07/22/2026

Did you know? Alexander Calder invented the mobile- kinetic sculptures made of shapes suspended in
balance, designed to move with the air current.

His friend Marcel Duchamp coined the name “mobile” after seeing Calder’s motor-driven sculptures in his studio in the winter of 1931-32, and the term stuck.
Calder’s innovation didn’t stop at sculpture. Later in his career, he brought his bold sense of shape, color, and
movement into graphic works- bold lithographs full of his signature primary colors, curves, and playful forms.

We’re proud to have several of these pieces available at Findlay Galleries. Come see them for yourself!

Image Sources (in order): Walter Sanders/Time & Life Pictures/Getty Image [Sourced via Sotheby’s], Calder
Foundation, Findlay Galleries, Keystone/Hulton Archive/Getty Images, Findlay Galleries
mobile

“The Quiet Expanse” unites Kees van Dongen, Zvonimir Mihanović, George Nemethy, and Mary Sipp Green in a luminous explor...
07/21/2026

“The Quiet Expanse” unites Kees van Dongen, Zvonimir Mihanović, George Nemethy, and Mary Sipp Green in a luminous exploration of water, horizon, and atmosphere, from the French Riviera to hushed harbors and radiant contemporary landscapes.


07/15/2026

Findlay Galleries is pleased to present Henrik Simonsen: Recent Works, a solo exhibition of new paintings by the contemporary Danish artist. .simonsen

Simonsen’s paintings occupy a singular position within contemporary abstraction, engaging the natural world as both subject and structural framework. While rooted in botanical observation, his compositions extend beyond representation, advancing a rigorous exploration of color, light, and spatial construction. His work aligns most closely with the legacy of decorative modernism, where artists such as Bonnard and Matisse redefined the language of landscape through chromatic intensity and spatial ambiguity.

In this new body of work, layered vegetation—branches, stems, and flowering forms—emerges through veils of saturated pigment. These elements remain suspended between presence and dissolution, inhabiting a pictorial space in which depth is continuously reconfigured. Color functions with precision, both organizing the composition and dissolving its boundaries, resulting in surfaces that are at once structured and atmospheric.

Through this sustained investigation, Simonsen constructs immersive environments that reward prolonged viewing. His work stands as a compelling contribution to contemporary painting, extending a tradition in which observation is transformed into a fully realized and independent visual language.

07/10/2026

John Ferren — the painter behind “Vertigo’s” most unsettling minutes.

Before Hitchcock’s “Vertigo” (1958) became a landmark of American cinema, the sequence — Scottie’s nightmare — was designed by artist John Ferren, who also created the painting of Carlotta seen throughout the film.

Ferren was a serious figure in the New York School — an abstract expressionist whose career bridged European modernism and American postwar painting, moving in circles that included Picasso and Miró in Paris before returning to New York. By the 1950s he’d become central enough to the scene to serve as president of The Club, the group founded by de Kooning, Kline, and Reinhardt.

For “Vertigo”, that same painterly eye turned toward psychological collapse — translating Scottie’s breakdown into swirling, dissolving abstraction on screen. Fine art, hiding in plain sight, inside one of Hitchcock’s most disorienting scenes.

ClassicCinema arthistory johnferren abstractexpressionism animation dreamanimation

Address

32 East 57th Street, 2nd Floor
New York, NY
10019

Opening Hours

Monday 10am - 6pm
Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm

Telephone

+12124215390

Website

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