SAM MALOOF
(1916-2009)
Samuel Solomon Maloof was born, raised, lived, and died within a narrow radius of Southern California’s Inland Empire, but his influence extended across the country and beyond. He epitomized the concept of a studio craftsman, living a complete artistic lifestyle. He created beauty, he surrounded himself with beauty, and he inspired beauty in others. Yet, he was humble, seeing himself nothing more than a mere “woodworker.”
He began his career out of necessity, creating furniture from discarded plywood with borrowed tools. Word of mouth brought clients and publication of his work in Better Homes and Gardens magazine, two years later (1949). He quit his job as a graphic artist to become a full-time furnituremaker, never imagining that one day his work would be owned be presidents and shown in museums nationwide. Though, success was slow; it is said that he never made a profit for 20 years.
From the beginning, his pieces were minimal, with clean lines and soft sculpted edges. Influenced by Scandinavian Modern, his style, along with Art Espenet Carpenter and others, became popularized as California Round-Over. His works were pleasing to the eye, sensual to the touch, and always utilitarian. “No matter how beautiful a chair, if it is not comfortable, it is not a good chair.” Though styles changed over Sam’s 60 years as a maker, his designs stood the test of time, becoming more popular and more valuable.
Best know for his signature rocker, Sam had no favorite pieces. “Whatever I’m working on, I get excited. It does not matter whether I have done the same piece many times. I still can’t wait to get out to the shop in the morning. My favorite piece is the piece that I am working on.”
In 1952, he and his wife Alfreda scrap together everything that they could to buy an idyllic acre of Orange, Lemon, and Eucalyptus trees, with “a little dingbat of a house.” This became his home, workshop, and spiritual center for five decades, adding on—room by room—as need and finances would allow. Over four decades, the original 3-room house grew into a labyrinth U-shaped complex of 22 rooms, reflecting the organic craftsmanship of his furniture with Redwood-lined walls and Eucalyptus trunks for posts and beams. The details included hand carved wooden latches and hinges on the doors, oversized joinery on the door and window frames, and colorful leaded glass. And then, there was the laminated spiral staircase.
Of course, the home was furnished with a variety of Sam’s furnishings, a living retrospective of his career. In addition, there was an extensive collection of arts and crafts, including Southwest pottery, baskets, and weavings as well as contemporary work in all media. The home, listed on National Register of Historic Places, was moved in 2003, to make way for the 210 Freeway, and is open to the public as a museum.
However, Sam’s true beauty was Alfreda, “his heart and soul.” It was love at first sight, marriage a month after their first date, and a partnership lasting for 50 years. “If it hadn’t been for her love for me and for what I do, this wouldn’t have happened,”
Sam’s work and techniques published in books, videos, and magazines, as well as lectures across the country, spurred new generations of makers. He served as a role model, counseling those contemplating woodworking as a living, and inspired hobbyists everywhere to take a saw to wood. A visitor at his door, even unannounced (including a U.S. President), was always welcomed, shown the shop, and given time to converse, as if an old friend.
His honors were numerous, from induction in the first class of American Craft Council Fellows to a recipient of the John D. and Catherine T. MacArthur Foundation Fellowship, usually reserved for scientists, scholars, and authors.
Looking back, Sam said: “If it weren’t fun, I wouldn’t do it. I don’t think very many people get to live and work their whole lives on their own grounds. I’ve never had to go to work for someone. I don’t think I could do it. The smell of wood in my shop is more pleasing than a desk in an office.”
Sam’s legacy will endure as his wife Beverly and the Maloof Foundation for Arts and Crafts will continue to maintain the Maloof Historic Residence and Garden for public visitation and programs. In addition, Sam’s three assistance—Larry White, Mike Johnson, and David Wade—will continue to operate the furniture business, crafting Maloof-designed furnishings.
For information on tours of the Maloof Historic Residence, visit the web site: www.malooffoundation.org.
Ron Goldman
Woodworker West
