Suzanne Lovell - Artistic Interiors: Designing with Fine Art Collections

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Table of Contents

Guide

ARTISTIC INTERIORS

ARTISTIC INTERIORS

SUZANNE LOVELL

WRITTEN WITH MARC KRISTAL

Designing with Fine Art Collections

DEDICATION

With humble gratitude, I dedicate this book to the team of

amazing professionals with whom I have the honor of working.

I am indebted to them for their contributions, which have

created the multitude of successes you will see on the

pages of this book. Each photo that follows is a testament to

their innovative brilliance and their diligence. Their dedication

and professional rigor inspire me every day.

And to my generous clients, who trust and believe in the

dreams we inspire.

And perhaps most importantly, to my mother and father,

and the generations before, for their rich heritage of intellectual

pursuit and the love of collection.

A pewter repouss vessel sits atop a Korean butterfly chest in the entry

of my late client and friend Bruce Abrams, who inspired my businessnot

only with this residence, but with his belief in my talent.

CONTENTS

INTRODUCTION

SUZANNE LOVELL

f you were to ask most people what, exactly, an interior designer

does, they would probably say something about the decoration of homes. Thats not entirely

inaccurate. But after twenty-five years of practice, my firm has developed a signature working

method that is more broadly multidisciplinaryone based on decades of immersion in the

study of architecture, the decorative arts, and, not least, art historyand is aimed at

producing fully integrated couture environments that, above all else, express the special

personalities of the individuals for whom we work.

Our interiors derive from three elements. Each serves as a stage for what comes next. Having

begun my professional life as an architect at the corporate modernist firm Skidmore, Owings &

Merrill, I understand that whats most important in home design is to first create a clear,

authoritative architectural foundationone that, through its consistent language of material,

detail, and color, conjures a legible environment that can be quickly, reassuringly understood. On

top of this aesthetic legibility, we construct a timeless and elegant interior design scheme in which

every space is meant to be used, and there is no moment in which one cant sit down and feel

comfortably held. Finally, these interiors serve as the frame for the third and most important

component of all: the fine art and collections. By capturing the spirit of the residents, these make

a house into a true and genuine home. Indeed, after architecture, our interior design process is

about selecting furnishings and textiles, and creating a platform for a fine art message: facilitating

where the art will be placed, the ways it will be seen as one travels through each space, and how

we will honor both the artists who give the home its special character and the individuals for

whom we are designing.

INTRODUCTION

I

In this Chicago residence, a 1999 collage by Robert Kelly

is held in balance above a c. 1810 Empire writing commode from

Vienna. Accessories lend elegance and scale to the vignette.

SUZANNE LOVELL

ARTISTIC INTERIORS

As a firm that practices residential interior design, I believe its our professional responsibility

to support our clients individual expression. Ultimately, each house we create, from its architectural

detailing and use of materials through its interior design and embrace of fine art, must work

harmoniously to exhibit the passions of the people living within its walls.

The best example I can give of this harmony/love of art collection is my own residence, which

is filled with objects and pictures cherished for their history, beauty, and the life experiences

associated with them. There are, you might say, three strands in my collectors braid. The first

derives from members of my family, who on both sides took American history very seriously. My

mothers great-uncle put together such an exceptional cache of objects from the Boston &

Sandwich Glass Company that it became the foundation of the Sandwich Glass Museum in

Massachusetts. His work inspired me to create my own selection of pressed-glass cup plates, a mix

of contemporary reissues and precious Boston & Sandwich originals. The second strand is

international: My paternal uncle and his fabulous British wifeI adored herspent years in

Indonesia, acquiring magnificent Asian furniture pieces and objects, many of which Ive inherited.

My own love of travel has added to this collectiontreasured vessels, textiles, and craft works

from Egypt, China, Africa, and Vietnam. The third strand comes from my deep and wide-ranging

interest in modern and contemporary fine art. I have aquired artworks by Vik Muniz, Robert

Polidori, Kiki Smith, Greg Stone, and Nicolas Carone, and objects by Kate Malone, Ruth Duckworth,

Paul Chaleff, Ani Kasten, Rupert Spira, and many, many others.

W

e spent a great deal of time developing the furniture plan for my

house. This planning stage is typical of my firms deliberative

process. Once the architectural framework was in place, I decided

where to locate all the paintings, objects, and antiques, and

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