Artists

HARBOR PILINGS AND ACTIVE SKY

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9″ x 12″ oil on primed paper $1500

Linda Fantuzzo spent her childhood in Endicott, NY, where she created images from an early age. In 1968 she went to Philadelphia to study at The Pennsylvania Academy of Fine Arts and graduated in 1973. She then moved to Charleston, SC, and continues to work full time in her studio near the harbor. The quality of light and the beauty of the architecture first attracted Linda to the region, where she continues to enjoy its vital arts community.

Linda worked non-objectively in various media for over ten years and then chose to return to painting representationally. She has been represented by galleries in the Charleston area since the 1970s, and has enjoyed five solo museum exhibitions in SC and GA. Linda is active in the arts community, having served on panels for the SC State Arts Commission Acquisitions Committee, the Halsey Institute of Contemporary Art, Redux, and the Trident Region Arts & Culture Plan. She has served as a juror for several public galleries and was the project director for “Larger Than Life: A Second Story Show”, sponsored by the Charleston Office of Cultural Affairs during the Piccolo Spoleto Festival.

Linda’s paintings are represented in the collections of the Greenville County Museum of Art, Greenville, SC; Gibbes Museum of Art, Charleston, SC; South Carolina State Arts Commission Collection, Columbia,SC; The Burroughs-Chapin Museum, Myrtle Beach, SC; the River Course and Cassique Clubs of Kiawah, SC; the Doonbeg Club of County Clare, Ireland; several other public collections; and numerous private collections throughout the country.

PAUSE

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14″ x 12″ framed 9″ x 8″ unframed fabric, thread, pins, plastic, paint $1600

Linda Schmidt
Linda Kamille Schmidt creates colorful geometric textile collages from transparent and opaque fabrics that are sewn together, layered, and attached to boards with pins or hung in panels from a suspended structure. Her work celebrates fabric items used publicly such as banners for parades and fairs, as well as items that are used privately like household objects and clothing-things that are so common they are often overlooked. She is interested in the way fabrics are woven, and in how they wear, fray, tear and change over time. Schmidt spends a lot of time experimenting with color. As transparent fabrics are stacked and space is created between the layers, the colors develop depth and can become very rich in a way that is only experienced in person. Beginning without a predetermined plan, Schmidt allows the materials to determine her decisions. Stitches are often removed and/or redone leaving holes. Edges become part of the story as they are serged, pinked, folded under or left unfinished. Parts that have been mended remain visible as a record of the process.

Kansas born Linda Schmidt moved to Brooklyn, New York in 1989 after completing her MA in drawing and MFA in painting at the University of Iowa. In addition to Peter Anthony Fine Art, she is represented by Garvey|Simon in New York City. Solo and Group shows have included Garvey|Simon, AIR Gallery (New York, NY), Art in Embassies (Kohor, Republic of Palau), Art Mora (Ridgefield Park, NJ; Seoul, South Korea; New York, NY), ArtPort Kingston (Kingston, NY), Carroll and Sons Gallery (Boston, MA), Chazou Gallery (British Columbia), Cheryl Hazen Gallery (New York, NY), Clemente Soto Velez Cultural Center (New York, NY), Curious Matter (Jersey City, NJ), DeDee Shattuck Gallery (Westport, MA), Denise Bibro Fine Art (New York, NY), Ely Center of Contemporary Art (New Haven, CT), Flinn Gallery (Greenwich, CT), Main Window Dumbo (Brooklyn, NY), Port Washington Public Library (Port Washington, NY), Praxis Gallery (New York, NY), Readywipe Gallery (Holyoke, MA), The Red Barn Studio Museum (Lindsborg, KS), Richard James Savile Row Windows (New York, NY), Ridderhof Martin Gallery at the University of Mary Washington (Fredericksburg, VA), Robert W. Regier Art Gallery at Bethel College (N. Newton, KS), Saunders’s Farm (Garrison, NY), State of the Arts Gallery (Hong Kong), The Techne (Oceanside, CA), Tilly Foster Farm Museum (Brewster, NY), Upstate Art Weekend with the Color Wheels Artist Collective (Callisto Farm in High Falls, NY, and other locations), Warm Springs Gallery (Warm Springs, VA), and
other venues. Her work is included in collections around the world.

INVENTION

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26″ x 24″ framed 22″ x 20″ fabric, thread, pins, plastic, paint $3500

Linda Schmidt
Linda Kamille Schmidt creates colorful geometric textile collages from transparent and opaque fabrics that are sewn together, layered, and attached to boards with pins or hung in panels from a suspended structure. Her work celebrates fabric items used publicly such as banners for parades and fairs, as well as items that are used privately like household objects and clothing-things that are so common they are often overlooked. She is interested in the way fabrics are woven, and in how they wear, fray, tear and change over time. Schmidt spends a lot of time experimenting with color. As transparent fabrics are stacked and space is created between the layers, the colors develop depth and can become very rich in a way that is only experienced in person. Beginning without a predetermined plan, Schmidt allows the materials to determine her decisions. Stitches are often removed and/or redone leaving holes. Edges become part of the story as they are serged, pinked, folded under or left unfinished. Parts that have been mended remain visible as a record of the process.

Kansas born Linda Schmidt moved to Brooklyn, New York in 1989 after completing her MA in drawing and MFA in painting at the University of Iowa. In addition to Peter Anthony Fine Art, she is represented by Garvey|Simon in New York City. Solo and Group shows have included Garvey|Simon, AIR Gallery (New York, NY), Art in Embassies (Kohor, Republic of Palau), Art Mora (Ridgefield Park, NJ; Seoul, South Korea; New York, NY), ArtPort Kingston (Kingston, NY), Carroll and Sons Gallery (Boston, MA), Chazou Gallery (British Columbia), Cheryl Hazen Gallery (New York, NY), Clemente Soto Velez Cultural Center (New York, NY), Curious Matter (Jersey City, NJ), DeDee Shattuck Gallery (Westport, MA), Denise Bibro Fine Art (New York, NY), Ely Center of Contemporary Art (New Haven, CT), Flinn Gallery (Greenwich, CT), Main Window Dumbo (Brooklyn, NY), Port Washington Public Library (Port Washington, NY), Praxis Gallery (New York, NY), Readywipe Gallery (Holyoke, MA), The Red Barn Studio Museum (Lindsborg, KS), Richard James Savile Row Windows (New York, NY), Ridderhof Martin Gallery at the University of Mary Washington (Fredericksburg, VA), Robert W. Regier Art Gallery at Bethel College (N. Newton, KS), Saunders’s Farm (Garrison, NY), State of the Arts Gallery (Hong Kong), The Techne (Oceanside, CA), Tilly Foster Farm Museum (Brewster, NY), Upstate Art Weekend with the Color Wheels Artist Collective (Callisto Farm in High Falls, NY, and other locations), Warm Springs Gallery (Warm Springs, VA), and
other venues. Her work is included in collections around the world.

CAST

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26″ x 24″ framed 22″ x 20″ unframed fabric, thread, pins, plastic, paint $3500

Linda Schmidt
Linda Kamille Schmidt creates colorful geometric textile collages from transparent and opaque fabrics that are sewn together, layered, and attached to boards with pins or hung in panels from a suspended structure. Her work celebrates fabric items used publicly such as banners for parades and fairs, as well as items that are used privately like household objects and clothing-things that are so common they are often overlooked. She is interested in the way fabrics are woven, and in how they wear, fray, tear and change over time. Schmidt spends a lot of time experimenting with color. As transparent fabrics are stacked and space is created between the layers, the colors develop depth and can become very rich in a way that is only experienced in person. Beginning without a predetermined plan, Schmidt allows the materials to determine her decisions. Stitches are often removed and/or redone leaving holes. Edges become part of the story as they are serged, pinked, folded under or left unfinished. Parts that have been mended remain visible as a record of the process.

Kansas born Linda Schmidt moved to Brooklyn, New York in 1989 after completing her MA in drawing and MFA in painting at the University of Iowa. In addition to Peter Anthony Fine Art, she is represented by Garvey|Simon in New York City. Solo and Group shows have included Garvey|Simon, AIR Gallery (New York, NY), Art in Embassies (Kohor, Republic of Palau), Art Mora (Ridgefield Park, NJ; Seoul, South Korea; New York, NY), ArtPort Kingston (Kingston, NY), Carroll and Sons Gallery (Boston, MA), Chazou Gallery (British Columbia), Cheryl Hazen Gallery (New York, NY), Clemente Soto Velez Cultural Center (New York, NY), Curious Matter (Jersey City, NJ), DeDee Shattuck Gallery (Westport, MA), Denise Bibro Fine Art (New York, NY), Ely Center of Contemporary Art (New Haven, CT), Flinn Gallery (Greenwich, CT), Main Window Dumbo (Brooklyn, NY), Port Washington Public Library (Port Washington, NY), Praxis Gallery (New York, NY), Readywipe Gallery (Holyoke, MA), The Red Barn Studio Museum (Lindsborg, KS), Richard James Savile Row Windows (New York, NY), Ridderhof Martin Gallery at the University of Mary Washington (Fredericksburg, VA), Robert W. Regier Art Gallery at Bethel College (N. Newton, KS), Saunders’s Farm (Garrison, NY), State of the Arts Gallery (Hong Kong), The Techne (Oceanside, CA), Tilly Foster Farm Museum (Brewster, NY), Upstate Art Weekend with the Color Wheels Artist Collective (Callisto Farm in High Falls, NY, and other locations), Warm Springs Gallery (Warm Springs, VA), and
other venues. Her work is included in collections around the world.

DRAPE

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26″ x 24″ framed 22″ x 20″ unframed fabric, thread, pins, plastic $3500

Linda Schmidt
Linda Kamille Schmidt creates colorful geometric textile collages from transparent and opaque fabrics that are sewn together, layered, and attached to boards with pins or hung in panels from a suspended structure. Her work celebrates fabric items used publicly such as banners for parades and fairs, as well as items that are used privately like household objects and clothing-things that are so common they are often overlooked. She is interested in the way fabrics are woven, and in how they wear, fray, tear and change over time. Schmidt spends a lot of time experimenting with color. As transparent fabrics are stacked and space is created between the layers, the colors develop depth and can become very rich in a way that is only experienced in person. Beginning without a predetermined plan, Schmidt allows the materials to determine her decisions. Stitches are often removed and/or redone leaving holes. Edges become part of the story as they are serged, pinked, folded under or left unfinished. Parts that have been mended remain visible as a record of the process.

Kansas born Linda Schmidt moved to Brooklyn, New York in 1989 after completing her MA in drawing and MFA in painting at the University of Iowa. In addition to Peter Anthony Fine Art, she is represented by Garvey|Simon in New York City. Solo and Group shows have included Garvey|Simon, AIR Gallery (New York, NY), Art in Embassies (Kohor, Republic of Palau), Art Mora (Ridgefield Park, NJ; Seoul, South Korea; New York, NY), ArtPort Kingston (Kingston, NY), Carroll and Sons Gallery (Boston, MA), Chazou Gallery (British Columbia), Cheryl Hazen Gallery (New York, NY), Clemente Soto Velez Cultural Center (New York, NY), Curious Matter (Jersey City, NJ), DeDee Shattuck Gallery (Westport, MA), Denise Bibro Fine Art (New York, NY), Ely Center of Contemporary Art (New Haven, CT), Flinn Gallery (Greenwich, CT), Main Window Dumbo (Brooklyn, NY), Port Washington Public Library (Port Washington, NY), Praxis Gallery (New York, NY), Readywipe Gallery (Holyoke, MA), The Red Barn Studio Museum (Lindsborg, KS), Richard James Savile Row Windows (New York, NY), Ridderhof Martin Gallery at the University of Mary Washington (Fredericksburg, VA), Robert W. Regier Art Gallery at Bethel College (N. Newton, KS), Saunders’s Farm (Garrison, NY), State of the Arts Gallery (Hong Kong), The Techne (Oceanside, CA), Tilly Foster Farm Museum (Brewster, NY), Upstate Art Weekend with the Color Wheels Artist Collective (Callisto Farm in High Falls, NY, and other locations), Warm Springs Gallery (Warm Springs, VA), and
other venues. Her work is included in collections around the world.

PURPLE SHADOWS

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20″ x 26″ acrylic on paper date unknown $5000

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.

RURAL BREEZE

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11.5″ x 16.5″ acrylic on paper date unknown $3000

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.

PURPLE RIVER BANK

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26″ x 20″ acrylic on paper unsigned $5000

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.