
A Collector Who Fills His Los Angeles Home With Carefully Sourced Clutter (Published 2021)
Jonathan Pessin, a Los Angeles-based collector and dealer of objects and furniture, has meticulously curated his 1,500-square-foot Frogtown loft, transforming it into a personal sculpture garden that reflects his evolving aesthetic fixations. His collection is characterized by an obsessive search for the "best, weirdest version" of seemingly everything, leading to an interior filled with an eclectic mix of oversized items, unique art pieces, and antique finds.
Pessin's home showcases a diverse array of items, including a six-foot fiberglass Coke bottle from the 1970s or 80s, a life-size papier-mâché sculpture of Ludwig Mies van der Rohe, and a massive leather chair modeled after Joe DiMaggio's glove. The loft also features a human eye-shaped bowling ball, a papier-mâché Ticonderoga pencil lining the balcony, and oversized jeans on his bed. These pieces contribute to a maximalist aesthetic that Pessin embraces, even as he notes the growing trend of large objects in design.
His collecting journey began nearly a decade ago, fueled by the thrill of discovering unique items at flea markets like the Rose Bowl. Pessin attends these events before sunrise, flashlight in hand, to secure treasures before other collectors. This pursuit has expanded to estate sales, junk shops, art auctions, and prop houses, driven by a continuous search for acquisitions. Growing up in Brookline, Mass., Pessin developed an early appreciation for collecting, antiquing with his mother and frequently watching "The Price Is Right," which honed his haggling skills. He admits a preference for heavy, metal objects, which he associates with permanence, while expressing nervousness around glass and ceramics.
As his inventory expanded, Pessin transitioned into becoming a dealer, initially focusing on small objects and anonymous art. His home office, tucked under a staircase, displays a verdigris Jean Prouvé-esque desk and a Frank Stella-style painting. His collection also includes works reminiscent of Ruth Asawa, Piet Mondrian, Alexander Calder, and Richard Diebenkorn. Pessin's discerning eye for unique pieces caught the attention of interior designers such as Kelly Wearstler and Sally Breer, who began sourcing items from him for their projects. Breer praises Pessin's refreshing and irreverent perspective, noting his sense of humor combined with a refined appreciation for quality.
Pessin named his enterprise NFS, an acronym for "not for sale," reflecting his tendency to inquire about items other dealers were unwilling to part with. Initially selling from his loft, he has since expanded into an adjacent showroom and overflow storage space. While he sometimes feels a pang of pain when selling a prized possession, certain items, like his series of works by artist Robert Loughlin, are truly not for sale. Loughlin, known for his distinctive strong-jawed, cigarette-smoking beefcake visage and his knack for finding valuable pieces, holds a special place in Pessin's collection. Pessin admits a stronger connection to objects than to people, and despite occasionally wishing for fewer possessions, he continues to shop seven days a week, asserting that his collecting habit, in an era often obsessed with minimalism, is a personal enjoyment rather than a moral imperative.
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