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MAN IN CANOE, MARSH WITH SAILBOATS

September 20, 2025 by Kaitlin Bellune

6″ x 7.5″ watercolor on paper $600

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Manning Williams (1939–2012)

Manning Williams’s paintings are rooted in the history, traditions, and terrain of the South Carolina Lowcountry. A Charleston native and lifelong resident, he received his B.S. from the College of Charleston before pursuing graduate work at the Pennsylvania Academy of Fine Arts. After studying at the Academy, he returned to his hometown of Charleston. His highly personal approach to realist painting emphasized storytelling and was fueled by an interest in portraying subjects found on the periphery of the city and along the barrier islands. Williams embraced the common, the everyday, and the factual rather than picturesque beauty.

Western subjects also commanded Williams’s attention, and during the later years of his career, his concern with narrative was expressed in a more abstract style. Later in his career, Williams stated: “I consider myself a narrative painter. Yet times have changed the way we see the world. TV, movies, and the Internet pour out information faster than we could have imagined only a few years back. My work today is about finding a new way to narrate our times.”

Manning Williams’s work has been exhibited nationally and internationally, with solo shows in Charleston, New Orleans, Washington, at the University of Pennsylvania Museum of Archaeology and Art, and the Greenville Museum of Art. Group shows featuring his work included the “Second Story Show” at Piccolo Spoleto in 2002, “100 Years/100 Artists, Views From the 20th Century” at the South Carolina State Museum in 1999–2000, and “Old South, New South” at Winthrop College in 1995. In 2004, Williams and Linda Fantuzzo had a duo show at the Gibbes Museum of Art. In 2008, Williams had a solo show at the Florence Museum. Museum retrospectives were held in 2021 at the Gibbes Museum of Art and the Morris Museum.

Williams was named a 1991 Fellow by the South Carolina Arts Commission in recognition of his contributions to the visual arts in the state. His most well-known commissions were displayed at the Charleston Airport, East Cooper Hospital, and the Gaillard Auditorium. His work is included in public and corporate collections, among them the South Carolina Arts Commission, R.J. Reynolds Corporation, Citizens and Southern National Bank, Post & Courier Publishing Company, Kiawah Resort Association, Greenville County Museum, South Carolina State Museum, the Gibbes Museum of Art, and the Telfair Museum.

Filed Under: Manning Williams

MAN IN CANOE AT BURNOFF

September 20, 2025 by Kaitlin Bellune

4″ x 6″ charcoal on paper c. 1991 $500

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Manning Williams (1939–2012)

Manning Williams’s paintings are rooted in the history, traditions, and terrain of the South Carolina Lowcountry. A Charleston native and lifelong resident, he received his B.S. from the College of Charleston before pursuing graduate work at the Pennsylvania Academy of Fine Arts. After studying at the Academy, he returned to his hometown of Charleston. His highly personal approach to realist painting emphasized storytelling and was fueled by an interest in portraying subjects found on the periphery of the city and along the barrier islands. Williams embraced the common, the everyday, and the factual rather than picturesque beauty.

Western subjects also commanded Williams’s attention, and during the later years of his career, his concern with narrative was expressed in a more abstract style. Later in his career, Williams stated: “I consider myself a narrative painter. Yet times have changed the way we see the world. TV, movies, and the Internet pour out information faster than we could have imagined only a few years back. My work today is about finding a new way to narrate our times.”

Manning Williams’s work has been exhibited nationally and internationally, with solo shows in Charleston, New Orleans, Washington, at the University of Pennsylvania Museum of Archaeology and Art, and the Greenville Museum of Art. Group shows featuring his work included the “Second Story Show” at Piccolo Spoleto in 2002, “100 Years/100 Artists, Views From the 20th Century” at the South Carolina State Museum in 1999–2000, and “Old South, New South” at Winthrop College in 1995. In 2004, Williams and Linda Fantuzzo had a duo show at the Gibbes Museum of Art. In 2008, Williams had a solo show at the Florence Museum. Museum retrospectives were held in 2021 at the Gibbes Museum of Art and the Morris Museum.

Williams was named a 1991 Fellow by the South Carolina Arts Commission in recognition of his contributions to the visual arts in the state. His most well-known commissions were displayed at the Charleston Airport, East Cooper Hospital, and the Gaillard Auditorium. His work is included in public and corporate collections, among them the South Carolina Arts Commission, R.J. Reynolds Corporation, Citizens and Southern National Bank, Post & Courier Publishing Company, Kiawah Resort Association, Greenville County Museum, South Carolina State Museum, the Gibbes Museum of Art, and the Telfair Museum.

Filed Under: Manning Williams

AFTERMATH

September 20, 2025 by Kaitlin Bellune

4″ x 6″ wash on paper $500

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Manning Williams (1939–2012)

Manning Williams’s paintings are rooted in the history, traditions, and terrain of the South Carolina Lowcountry. A Charleston native and lifelong resident, he received his B.S. from the College of Charleston before pursuing graduate work at the Pennsylvania Academy of Fine Arts. After studying at the Academy, he returned to his hometown of Charleston. His highly personal approach to realist painting emphasized storytelling and was fueled by an interest in portraying subjects found on the periphery of the city and along the barrier islands. Williams embraced the common, the everyday, and the factual rather than picturesque beauty.

Western subjects also commanded Williams’s attention, and during the later years of his career, his concern with narrative was expressed in a more abstract style. Later in his career, Williams stated: “I consider myself a narrative painter. Yet times have changed the way we see the world. TV, movies, and the Internet pour out information faster than we could have imagined only a few years back. My work today is about finding a new way to narrate our times.”

Manning Williams’s work has been exhibited nationally and internationally, with solo shows in Charleston, New Orleans, Washington, at the University of Pennsylvania Museum of Archaeology and Art, and the Greenville Museum of Art. Group shows featuring his work included the “Second Story Show” at Piccolo Spoleto in 2002, “100 Years/100 Artists, Views From the 20th Century” at the South Carolina State Museum in 1999–2000, and “Old South, New South” at Winthrop College in 1995. In 2004, Williams and Linda Fantuzzo had a duo show at the Gibbes Museum of Art. In 2008, Williams had a solo show at the Florence Museum. Museum retrospectives were held in 2021 at the Gibbes Museum of Art and the Morris Museum.

Williams was named a 1991 Fellow by the South Carolina Arts Commission in recognition of his contributions to the visual arts in the state. His most well-known commissions were displayed at the Charleston Airport, East Cooper Hospital, and the Gaillard Auditorium. His work is included in public and corporate collections, among them the South Carolina Arts Commission, R.J. Reynolds Corporation, Citizens and Southern National Bank, Post & Courier Publishing Company, Kiawah Resort Association, Greenville County Museum, South Carolina State Museum, the Gibbes Museum of Art, and the Telfair Museum.

Filed Under: Manning Williams

UNFOLDED LAUNDRY

September 16, 2025 by Kaitlin Bellune

8″ H x 6.5″ W x 6.5″ H porcelain and steel $1400

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Christina Brinkman

Christina Brinkman has been an artist her entire life. She earned her degree from the Rochester Institute of Technology and pursued further studies at the University of Rochester’s Creative Workshop, among other institutions. She began her career as a painter and printmaker, specializing in etchings and mixed media prints. Widely exhibited both nationally and regionally, she has participated in numerous solo and juried group shows, earning many awards. Her work is part of public, private, corporate, and museum collections.

In 1984, she published a series of die-cut cards, which quickly gained popularity. Under the name Parrett Paper, these unique designs were sold and distributed worldwide in galleries, museums, and high-end stationery stores.

Her work has been recognized by the Museum of Modern Art, which selected two of her card designs and commissioned her to create an umbrella and a mobile. In addition to her contributions to MoMA, she has designed works in both fine and graphic arts for museums, businesses, book jackets, and institutions.

After selling her card company, she returned her focus to fine art, concentrating on porcelain ceramic sculpture and large porcelain vessels. She has worked in this medium for over 20 years, earning recognition in national exhibitions and winning multiple awards. Her ceramic pieces are part of prestigious museum collections, including the Mint Museum in Charlotte, NC, and the Memorial Art Gallery in Rochester, NY.

Brinkman writes:

I am a maker

Guided by touch,

engagement with the material.

Nature, memory and organic form

bring direction and orientation

a celebration of process and rythm.

It tries to be sympathetic with the natural world.

It is usually white,

the absence of color

the sum of all colors.

White reflects

simplicity,

purity,

nakedness,

lightness,

death,

calm

or stillness.

the simple pleasure of makiing

it is spare…

Without the distraction of color,

one considers the outline,

the interior and exterior space,

the proportions and relationships of the form.

The shadows and space around

become an integral part of the work,

the light reflecting surfaces and edges,

the energy of what is and isn’t there.

Making is connecting

the telling of slow stories.

I am never certain of its destination

but

it is often within

the boundaries of the vessel form.

Sculpture

tries to sneak in.

(and it wants to take over).

Filed Under: Christina Brinkman

IM IN HERE SOMEWHERE

September 16, 2025 by Kaitlin Bellune

6.5″ D x 6″ H porcelain $1200

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Christina Brinkman

Christina Brinkman has been an artist her entire life. She earned her degree from the Rochester Institute of Technology and pursued further studies at the University of Rochester’s Creative Workshop, among other institutions. She began her career as a painter and printmaker, specializing in etchings and mixed media prints. Widely exhibited both nationally and regionally, she has participated in numerous solo and juried group shows, earning many awards. Her work is part of public, private, corporate, and museum collections.

In 1984, she published a series of die-cut cards, which quickly gained popularity. Under the name Parrett Paper, these unique designs were sold and distributed worldwide in galleries, museums, and high-end stationery stores.

Her work has been recognized by the Museum of Modern Art, which selected two of her card designs and commissioned her to create an umbrella and a mobile. In addition to her contributions to MoMA, she has designed works in both fine and graphic arts for museums, businesses, book jackets, and institutions.

After selling her card company, she returned her focus to fine art, concentrating on porcelain ceramic sculpture and large porcelain vessels. She has worked in this medium for over 20 years, earning recognition in national exhibitions and winning multiple awards. Her ceramic pieces are part of prestigious museum collections, including the Mint Museum in Charlotte, NC, and the Memorial Art Gallery in Rochester, NY.

Brinkman writes:

I am a maker

Guided by touch,

engagement with the material.

Nature, memory and organic form

bring direction and orientation

a celebration of process and rythm.

It tries to be sympathetic with the natural world.

It is usually white,

the absence of color

the sum of all colors.

White reflects

simplicity,

purity,

nakedness,

lightness,

death,

calm

or stillness.

the simple pleasure of makiing

it is spare…

Without the distraction of color,

one considers the outline,

the interior and exterior space,

the proportions and relationships of the form.

The shadows and space around

become an integral part of the work,

the light reflecting surfaces and edges,

the energy of what is and isn’t there.

Making is connecting

the telling of slow stories.

I am never certain of its destination

but

it is often within

the boundaries of the vessel form.

Sculpture

tries to sneak in.

(and it wants to take over).

Filed Under: Christina Brinkman

VESSEL WITH HOLES

September 16, 2025 by Kaitlin Bellune

15″ D x 7.5″ H porcelain $3000

Please enable JavaScript in your browser to complete this form.
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Christina Brinkman

Christina Brinkman has been an artist her entire life. She earned her degree from the Rochester Institute of Technology and pursued further studies at the University of Rochester’s Creative Workshop, among other institutions. She began her career as a painter and printmaker, specializing in etchings and mixed media prints. Widely exhibited both nationally and regionally, she has participated in numerous solo and juried group shows, earning many awards. Her work is part of public, private, corporate, and museum collections.

In 1984, she published a series of die-cut cards, which quickly gained popularity. Under the name Parrett Paper, these unique designs were sold and distributed worldwide in galleries, museums, and high-end stationery stores.

Her work has been recognized by the Museum of Modern Art, which selected two of her card designs and commissioned her to create an umbrella and a mobile. In addition to her contributions to MoMA, she has designed works in both fine and graphic arts for museums, businesses, book jackets, and institutions.

After selling her card company, she returned her focus to fine art, concentrating on porcelain ceramic sculpture and large porcelain vessels. She has worked in this medium for over 20 years, earning recognition in national exhibitions and winning multiple awards. Her ceramic pieces are part of prestigious museum collections, including the Mint Museum in Charlotte, NC, and the Memorial Art Gallery in Rochester, NY.

Brinkman writes:

I am a maker

Guided by touch,

engagement with the material.

Nature, memory and organic form

bring direction and orientation

a celebration of process and rythm.

It tries to be sympathetic with the natural world.

It is usually white,

the absence of color

the sum of all colors.

White reflects

simplicity,

purity,

nakedness,

lightness,

death,

calm

or stillness.

the simple pleasure of makiing

it is spare…

Without the distraction of color,

one considers the outline,

the interior and exterior space,

the proportions and relationships of the form.

The shadows and space around

become an integral part of the work,

the light reflecting surfaces and edges,

the energy of what is and isn’t there.

Making is connecting

the telling of slow stories.

I am never certain of its destination

but

it is often within

the boundaries of the vessel form.

Sculpture

tries to sneak in.

(and it wants to take over).

Filed Under: Christina Brinkman, Uncategorized

GARDEN IV (Aha Shake Heartbreak)

September 10, 2025 by Kaitlin Bellune

24″ x 18″ oil monotype on paper $800

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James Durkin

James Durkin (b. 1983) is an Anglo-American painter based in Charleston, SC. Born in New Haven, Connecticut, and raised in the United Kingdom, Durkin studied Art History at the University of Nottingham before refining his skills in drawing at the Royal Drawing School in London. His artistic journey has been deeply influenced by his extensive experience in both the art market and the realm of creative expression. After more than a decade as an auctioneer at Sotheby’s in London and New York, Durkin has returned to his roots as a painter, unveiling his first significant body of work in a decade.

Before stepping into the auction house world, Durkin was an active presence in the London art scene, working alongside contemporary artists and exhibiting his work in a range of exhibitions, including the iconic Royal Academy Summer Exhibition.

Throughout his career, his paintings have drawn on his experiences with both the natural world and the contemporary art dialogue, combining influences from his travels, the landscapes of his youth, and his understanding of art history.
His recent return to painting marks a new chapter in his career, with a fresh series of abstract landscapes that reflect both his personal evolution and his deeper connection to the world around him.

These new works, characterized by bold brushstrokes, layered textures, and a nuanced palette, explore the emotional and psychological resonance of the landscape, focusing less on representational imagery and more on evoking a sense of space, time, and movement. His approach to abstraction is grounded in an intimate relationship with the environment, capturing its raw beauty while exploring the tensions between natural forms and the spaces they occupy.

This new body of work invites viewers to experience a landscape not as a fixed object, but as a dynamic and ever-shifting force, as seen through the artist’s unique lens. With a renewed sense of purpose, he embraces the challenge of creating art that resonates on a deeply emotional level, offering fresh insights into both the external world and the inner landscapes we navigate.

Filed Under: James Durkin

GARDEN III (Aha Shake Heartbreak)

September 10, 2025 by Kaitlin Bellune

24″ x 18″ oil monotype on paper $800

Please enable JavaScript in your browser to complete this form.
Loading


James Durkin

James Durkin (b. 1983) is an Anglo-American painter based in Charleston, SC. Born in New Haven, Connecticut, and raised in the United Kingdom, Durkin studied Art History at the University of Nottingham before refining his skills in drawing at the Royal Drawing School in London. His artistic journey has been deeply influenced by his extensive experience in both the art market and the realm of creative expression. After more than a decade as an auctioneer at Sotheby’s in London and New York, Durkin has returned to his roots as a painter, unveiling his first significant body of work in a decade.

Before stepping into the auction house world, Durkin was an active presence in the London art scene, working alongside contemporary artists and exhibiting his work in a range of exhibitions, including the iconic Royal Academy Summer Exhibition.

Throughout his career, his paintings have drawn on his experiences with both the natural world and the contemporary art dialogue, combining influences from his travels, the landscapes of his youth, and his understanding of art history.
His recent return to painting marks a new chapter in his career, with a fresh series of abstract landscapes that reflect both his personal evolution and his deeper connection to the world around him.

These new works, characterized by bold brushstrokes, layered textures, and a nuanced palette, explore the emotional and psychological resonance of the landscape, focusing less on representational imagery and more on evoking a sense of space, time, and movement. His approach to abstraction is grounded in an intimate relationship with the environment, capturing its raw beauty while exploring the tensions between natural forms and the spaces they occupy.

This new body of work invites viewers to experience a landscape not as a fixed object, but as a dynamic and ever-shifting force, as seen through the artist’s unique lens. With a renewed sense of purpose, he embraces the challenge of creating art that resonates on a deeply emotional level, offering fresh insights into both the external world and the inner landscapes we navigate.

Filed Under: James Durkin

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