As a child and later as a teen, Penelope (Penny) Schmidt rode the school bus each day from her home in Elsah to school in St. Louis. She passed through Alton taking little notice of the river town she now calls home. Her airy loft, filled with paintings, sculptures and photos follows her journey from Elsah, to New York City, then back to the Midwest, to Alton.
After graduating from Principia College, where her father, James Schmidt, headed the art department, she moved to New York to work in an art gallery. Later, she would open her own gallery, Schmidt Bingham, on 57th Street. “I am a great art appreciator,” she says. “I loved dancing with my mother and taking art classes from my father, but I was not a natural at either. I also loved art history, so I became an art dealer.”
A framed photograph of a very young Penny surrounded by paintings indicates she got her start quite young. “That’s me on the left, my father standing next to me, and my tiny little brother is behind a painting. It was one of my first gallery experiences. I think we were at a show of student work,” she says.
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“I came back to the Midwest to visit my father after Sept. 11. Deciding to move here was not something I had planned. In fact, it was the last thing on earth I’d ever imagined,” she says. “I came back with a very different perspective having lived in Greenwich Village where I loved the historic architecture and appreciated all water views. I became enchanted with this river town.”
She began looking for a home. Although she appreciated the historic houses in Alton, she didn’t need a four-bedroom home and she didn’t have a car to garage. The industrial area in downtown Alton was what appealed to her. “The idea of living downtown wasn’t popular then. The Marina District was home to the railroad, a big flour mill and lots of bars, not condos and apartments,” she says.
When she learned the historic Lime Building, built in 1912, was going to be available for sale by closed bids, she decided to put in a bid. “I wanted to have these wonderful water views, unobstructed, and everyone tried to talk me out of it,” she says.

A well-loved antique carpet, a gift from her New York business partner, was originally in their New York gallery. It now anchors the living room seating area. The Jacobean chairs came from her stepmother’s home, as did the marquetry cabinet. The cherry wood sewing table in between the chairs is by a contemporary woodworker.
“I had this idea that I’d like to live in the building. Of course, at 36,000 square feet it was too big for me, so I knew a mixed-use plan would be the way to go. I think that was what sold the city. That, and the watercolor painting my father did of the building, which I presented with my bid,” she says.
She finished the building redevelopment in two years, selling all 10 residential lofts prior to completion.
“We had a basic palette of hardwood floors, granite countertops, stainless steel kitchens, fireplaces, high ceilings and exposed brick. Every loft has wonderful 8-foot knotty alder wood doors. The buyers got to select the finishes in each unit.”
For her own space, she chose light finishes for her floors. Exposed brick walls, steel and wood beams all speak to the building’s past. She commissioned sculptor Carroll Todd, one of the artists in her New York Gallery, to create signature pieces for the space. The first, a sculptural stainless-steel hood for her kitchen evokes both the river and smoke in its shape and movement. He also designed the fireplace surround and sculpted handles in the shape of an “S” for the 8-foot doors that close off the bedroom.
The unusual frosted windows came about when her father’s friend, David Rowland, visited. They had both attended Cranbrook, the iconic art school in Michigan. “You might recognize his name for his design of the midcentury 40 in 4 chair, named because you can stack 40 chairs 4 feet high. He said, ‘Penny, you’ve got to do frosted because these windows look out on a brick wall.’ He was right. They’re huge, triple layer windows with the inside glass sandblasted. It’s wonderful because when light comes in the early morning it hits the brick and casts a rose-colored glow inside.”
Schmidt’s innate design skill shows in the juxtapositions of periods and styles of furniture and in the areas she creates for conversation and for contemplation. The placement of the art, the rhythm of how it moves through the space and fills the rooms without feeling crowded reflects her gallery background.
Her move to downtown Alton has been a good one for Schmidt for her lifestyle, her work and her future.
“I never thought I’d want to work at home but because of these high ceilings, big windows, and great views it feels very spacious, not claustrophobic at all. I get to walk everywhere. I didn’t even have a car until I moved here. I love being able to walk to shops, to restaurants, to the library, to the arts center, and to Riverfront Park. Yes, it’s great,” she says.

Penny Schmidt sits with her rescue dog, Norman, at her condo in the Marina Riverfront District of downtown Alton. Photo by Zachary Clingenpeel
Occupation • Independent art consultant
Family • Schmidt has two brothers, Rob and Ben Schmidt and shares her home with her rescue dog.
Penny Schmidt’s Alton loft
At Home with Penny Schmidt

Custom pulls by artist Carroll Todd form a stylized S to grace the tall doors original to the building. He also sculpted the fireplace mantle, the kitchen range hood, and a bronze footstool Schmidt had in her home in New York. It now holds a juvenile whooping crane artist-made doll.
At Home with Penny Schmidt

Schmidt’s pairing of a primitive driftwood sea creature sculpture sits beneath a polished painting of stones and grass by her father. The painting was inspired by the family’s lake cabin in Michigan. The primitive sculpture is by an artist who took a near fatal fall into the water. He painted the colorful painted clothespins on the creature in his physical therapy during a long recovery.
At Home with Penny Schmidt

In the kichen, a decorative stovetop hood serves as a centerpiece and can be seen from throughout the open condo. Photo by Zachary Clingenpeel
At Home with Penny Schmidt

A welcome mat referencing the Beatles song ‘Penny Lane’ welcomes visitors into Penny Schmidt’s condo. Photo by Zachary Clingenpeel.
At Home with Penny Schmidt

Penny Schmidt replaced windows on her east wall with frosted glass to diffuse light from the brick wall on the other side into her space. Photo by Zachary Clingenpeel
At Home with Penny Schmidt

Hallways lead from the condo’s main room to the bathroom and bedroom. Photo by Zachary Clingenpeel.
At Home with Penny Schmidt

A painting made by Penny Schmidt’s father of her brother is one of the first of many paintings that can be seen in the space. Photo by Zachary Clingenpeel
At Home with Penny Schmidt

The exterior of the historical Mississippi Lime Building that Schmidt developed into Mississippi Landing, a complex of 10 luxury lofts with retail and office space on the ground level.
At Home with Penny Schmidt

Penny Schmidt has placed plants and furniture on her balcony, which overlooks the Mississippi River. Photo by Zachary Clingenpeel.
At Home with Penny Schmidt

Schmidt blends well-loved antiques and art from different periods with grace. A marble topped antique marquetry table holds a midcentury modern Danish blown-glass bowl on the left and a contemporary floral, stone and glass sculpture on the right. Above the table, a Morris Graves drawing from the 1950s “Bird Yelling at Mole” in black and white is juxtaposed with a painting of trees by Alan Bray. Family photos in oval frames of her parents’ wedding and of Schmidt as a baby with her mother add a personal touch, as does the large abstract painting to the right by her father.
At Home with Penny Schmidt

Penny Schmidt’s rescue dog, Norman, sits on one of the multiple dog beds laid throughout the space for him. Photo by Zachary Clingenpeel.
At Home with Penny Schmidt

Schmidt commissioned sculptor Carroll Todd, one of the artists she represented at her gallery in New York, to create the stainless steel hood in her kitchen. The design represents the flow of the river and smoke. The painting above the cabinets by her father was done while he was a student at Cranbrooke in the 1970s.
At Home with Penny Schmidt

Schmidt enjoys the view of the river and the busy landscape of railroad and industry.
At Home with Penny Schmidt

A trio of ceramic vases made by Schmidt’s father when he was a student at Cranbrook sit atop a primitive furniture cabinet. Temple Arc, a sculpture made of charred wood by local artist Thomas Sleet, sits above. “My brothers and I played with these three pieces as children,” Schmidt says. “As a result, one of them has been repaired.”
At Home with Penny Schmidt

A well-loved antique carpet, a gift from her New York business partner, was originally in their New York gallery. It now anchors the living room seating area. The Jacobean chairs came from her stepmother’s home, as did the marquetry cabinet. The cherry wood sewing table in between the chairs is by a contemporary woodworker.
At Home with Penny Schmidt

Penny Schmidt sits with her rescue dog, Norman, at her condo in the Marina Riverfront District of downtown Alton. Photo by Zachary Clingenpeel