Press Release
MAJOR EXHIBITION ON SAM MALOOF AND HIS CIRCLE OF ARTIST FRIENDS OPENS SEPTEMBER 24
“The House That Sam Built: Sam Maloof and Art in the Pomona Valley, 1945–1985” is a part of Pacific Standard Time: Art in L.A. 1945–1980
Press Preview: Friday, Sept. 23, 10 a.m.–noon
Updated Sept. 8, 2011
Clockwise from left: Sam Maloof, Hornback Chair with Spindles and Low Curving Arms, 1960, collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts; Karl Benjamin, Abstraction, 1955, collection of the artist, courtesy of Louis Stern Fine Arts; Ward Youry, Ceramic Group, 1950, collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts. Credit: The Huntington Library, Art Collections, and Botanical Gardens.
SAN MARINO, Calif.—The furniture of midcentury craftsman
Sam Maloof (1916–2009) and the art made by 35 members of his circle of friends will be explored in a groundbreaking exhibition this fall at The Huntington Library, Art Collections, and Botanical Gardens. Maloof’s work has been given to U.S. presidents, collected by celebrities, and admired by art connoisseurs far and wide. It also has been the subject of major exhibitions across the country, but this is the first to examine closely Maloof’s contribution to the development of art in Southern California. “
The House That Sam Built: Sam Maloof and Art in the Pomona Valley, 1945–1985” will be presented in the MaryLou and George Boone Gallery from Sept. 24, 2011, through Jan. 30, 2012.
The exhibition is part of “Pacific Standard Time: Art in L.A. 1945–1980,” an unprecedented collaboration initiated by the Getty that brings together more than 60 cultural institutions from across Southern California for six months, beginning in October 2011, to tell the story of the birth of the L.A. art scene.
With the home that Maloof and his wife Alfreda created for themselves in the mid-1950s in Alta Loma, Calif., as its central metaphor, “The House That Sam Built” and accompanying catalog of the same title will shed new light on the rich network of influences and exchanges that developed among artists and artisans living near the college town of Claremont in the Pomona Valley, a region of Los Angeles County about 30 miles from downtown Los Angeles. Covering a dynamic period in American art, the exhibition spans the development of Maloof’s work from his earliest explorations of handcrafted furniture in the 1950s to 1985, the year he received the “Genius Grant” from the John D. and Catherine T. MacArthur Foundation.
“The House That Sam Built” gathers together 116 works from private and public collections, showcasing 35 important Maloof pieces in a display integrated with 81 works by his friends and colleagues who worked in other media. Maloof’s circle included painters Karl Benjamin, Phil Dike, and Millard Sheets; sculptors Betty Davenport Ford, Albert Stewart, and John Svenson; ceramists Harrison McIntosh and Otto and Gertrud Natzler; enamelists Jean and Arthur Ames; wood turner Bob Stocksdale; and fiber artist Kay Sekimachi. The installation also will include two rare watercolors that Maloof made early in his career.
“We believe strongly in the importance of recording the history of Southern California in all its rich complexity and feel The Huntington can play a key role in documenting that history as an essential component of our nation’s story,” said Steven S. Koblik, president of The Huntington. “And we couldn’t be more proud of this project, born of rigorous new scholarship focused on an under-researched topic—an extraordinary postwar community of artists who flourished around the small college town of Claremont. This ambitious endeavor, anchored by the popularity of the legendary Sam Maloof, will undoubtedly inspire people in more ways than we can imagine.”
The scope and subject of the exhibition resonate with The Huntington’s collections and educational mission, explains Jessica Todd Smith, Virginia Steele Scott Chief Curator of American Art at The Huntington. “While we are keenly engaged in examining the history of American art in all its diversity,” she said, “we are equally committed to exploring continuous traditions that link different moments in time and lead us to a fuller understanding of the cultural history of our region and nation. Sam Maloof is part of a long line of American craftsmen who made objects by hand that are at once beautiful and useful.”
Maloof’s dedication to virtuosity in his craft and insistence on maintaining direct relationships with his clients is similar to 18th-century traditions practiced by American cabinetmakers and silversmiths and by the early 20th-century architects Charles and Henry Greene— all represented in The Huntington’s permanent collection galleries.
The exhibition is made possible by a lead grant from the Getty Foundation. Major support was also provided by the Steven B. McLeod and Kelly Sutherlin McLeod Family Foundation and the Windgate Charitable Foundation. Additional support was provided by the Ahmanson Foundation Exhibition and Education Endowment and the Elsie De Wolfe Foundation.
An Integrated Installation
Since The Huntington first opened the Virginia Steele Scott Galleries of American Art in 1984, decorative arts objects have been displayed next to paintings and sculpture in meaningful juxtapositions. Harold B. “Hal” Nelson, curator of American decorative arts at The Huntington, adhered to this integrated approach when organizing “The House That Sam Built.”
“The Maloof residence and workshop were filled with the finest examples of Sam’s own furniture and offered a warm and welcoming environment where creative colleagues met to share a meal, exchange ideas, and provide mutual support and encouragement,” he said. “Over the years, the Maloofs filled their home with artwork in all media by their friends and colleagues, reflecting their love of hand-crafted objects as well as their unique perspective on the world. The most natural way to tell the story of Sam and his contributions to the art world seemed to be through the integration of decorative arts and craft with painting and sculpture.”
As visitors enter the exhibition they will be greeted by some of the earliest furniture Maloof created—a round, plywood coffee table with walnut legs; a low, radically abstract “string” chair, and an office chair made for the prominent New York- and Pasadena-based industrial designer Henry Dreyfuss. In an effort to create the suggestion of a domestic space, these works will be shown beside a group of ceramics by Otto and Gertrud Natzler, a table lamp by William Manker, and an early geometric painting by Karl Benjamin. The painting is one of two works in the exhibition by Karl Benjamin. Also featured is #4, painted in 1968, a recent gift to The Huntington.
Across from this group, visitors can explore three vibrantly colorful watercolors—two by Maloof and one by his mentor, Millard Sheets—all produced during a trip the two friends took to Mexico in late 1947 and into early 1948.
In another section of “The House That Sam Built,” paintings by Emil Kosa, Henry Lee McFee, and Milford Zornes will be placed next to a sofa, two chairs, a coffee table, and a bench. The bench is another recent gift to The Huntington. This group, juxtaposing several beautiful objects, suggests the living room in a California home of the late 1950s.
Throughout the exhibition, visitors are encouraged to view Maloof’s work as beautifully designed sculptural forms. “The House That Sam Built” includes three examples of Maloof’s classic form, the rocking chair. Two were made for Alfreda and one, a child-sized rocker, was made for his grandson Aaron. It also features one of Maloof’s largest and most elegant forms, a free-standing cradle.
Visitors will be encouraged to think more deeply about the works on view in an educational resource room, where they can peruse letters written by Maloof’s friends and clients; get a glimpse of his daily life in photographs of his workshop, house, friends, and family; and even get a feel for the tactile quality of Maloof’s sculpted and smoothly finished work.
There also will be audio recordings available at listening stations in the educational resource room where visitors can hear members of Maloof’s circle talk about their abiding friendship with Maloof and Alfreda as well as their thoughts on what it meant to them to participate in this diverse and mutually supportive group of artists living and working in the Claremont area.
The Art, Craft, and Design Community of the Postwar Pomona Valley
Although he built his home in Alta Loma, a more rural and affordable community east of Claremont, Maloof was a central part of the lively Pomona Valley art community. In the years immediately following World War II, Claremont emerged as an influential center of artistic and cultural activity. This charming college town was home to a large community of artists, designers, and craftspeople working in a wide variety of media and styles. Among them were the painter, designer, and muralist Millard Sheets; the British-born sculptor Albert Stewart; ceramists William Manker, Harrison McIntosh, and Richard “Rick” Petterson; enamelists Arthur and Jean Ames; and the weaver Marion “Hoppy” Stewart. Solidly grounded in the traditions of their respective disciplines, these artists, many of whom were also influential educators, played an important role in advancing art and craft in California in the postwar period.
The presence in Claremont of several nationally prominent educational institutions—in particular Pomona College, Scripps College, and Claremont Graduate School (now known as the Claremont Graduate University)—furnished a rich intellectual context for this community. More practically, the Claremont colleges also provided employment for these artists. The faculty of these institutions, along with their students, many of whom stayed in the Claremont area after graduation to pursue careers in the arts, formed the foundation of a multifaceted artistic community in the Pomona Valley, one that continues to flourish today.
About Sam Maloof
Born in Chino, Calif., in 1916 to parents who had emigrated from Lebanon, Sam Maloof was self taught as a woodworker. After serving in the Army during World War II, he worked from 1946 to 1949 as a studio assistant to Millard Sheets, an iconic California scene painter and leader of the Claremont art community. Shortly after his marriage to Alfreda Ward in 1948—and after building a set of plywood furniture for his family’s own use—Maloof decided to embark on a career as a woodworker and furniture maker. He received early encouragement from some of the leading figures in contemporary design, including the New York- and Pasadena-based industrial designer Henry Dreyfuss.
In 1952, having left Sheets’ workshop, and with several important commissions under his belt, Maloof began to yearn for a larger home and workspace in a more rural setting. With Alfreda’s encouragement, he set out to find a suitable location and in 1953 purchased a piece of property in rural Alta Loma with a venerable avocado tree, a small one-bedroom cottage-type structure, and a dilapidated chicken coop. In spite of the property’s ramshackle state, the Maloofs found its serenity appealing. For the next several decades they made this parcel of land their home, raising their two children, advancing a career, assembling a collection, and finding constant inspiration and solace in the beauty of their surroundings.
In 1994, after years of battling the California Department of Transportation (Caltrans) over the planned extension of the Foothill (210) Freeway and the impending threat to his home and property, Maloof negotiated a settlement under which Caltrans agreed to relocate his home and compound to another site. The original Maloof house now sits on a nearby property that includes gardens and a functioning workshop and is maintained by the Sam and Alfreda Maloof Foundation for Arts and Crafts.
After Alfreda’s death in 1998, Maloof married Beverly Wingate, a longtime admirer of his work. Maloof died in 2009, having become a nationally recognized leader of the American studio furniture movement, which favored the aesthetics of the handmade over mass-production.
Exhibition Catalog
The Huntington Library, Art Collections, and Botanical Gardens has published a companion book to the exhibition,
The House That Sam Built: Sam Maloof and Art in the Pomona Valley, 1945–1985. The 192-page, fully illustrated catalog chronicles the development of Maloof’s work from his earliest explorations of handcrafted furniture to 1985, exploring his achievement over those decades in a series of interrelated contexts, from his relationship to the Claremont-based art community to his leadership of the national craft movement.
The House That Sam Built is edited by Harold B. “Hal” Nelson, curator of American decorative arts at The Huntington, and features contributions by Jeremy Adamson, curator of the 2001 Smithsonian retrospective on Maloof; and scholars Jason T. Busch, Jonathan L. Fairbanks, and Tia Vasiliou; as well as an interview with fiber artist Kay Sekimachi. Hardcover ($39.95) and softcover editions ($29.95) are available at The Huntington’s Bookstore & More (
bookstore@huntington.org or 626-405-2142) and from booksellers nationwide.
The House That Sam Built is published with the assistance of the Getty Foundation.
Related Events
Lectures and ToursCurator Tour: The House that Sam BuiltOct. 22 (Saturday) 9:30-10:30 a.m.Join curator Harold B. “Hal” Nelson for a private tour of the exhibition. Gain insights into the creative process of Sam Maloof. Members: $15. Non-Members: $20. Registration: 626-405-2128.
Art Lecture Series: The House That Sam BuiltNov. 3, 10, and 17 (Thursdays) 10:30-noonJoin Harold B. “Hal” Nelson, curator of American decorative arts, for a three-part talk and tour of the exhibition. In the first talk in the series, Nelson will discuss Sam Maloof’s handcrafted furniture within the context of painting, sculpture, ceramics, enamels, wood, and fiber by his friends and colleagues in the Pomona Valley. In the second, which will focus on the development of Maloof’s work between 1950 and 1985, Nelson will be joined by Jeremy Adamson, author of the 2001 monograph The Furniture of Sam Maloof and contributor to the catalog for The House That Sam Built, for an in-depth exploration of Maloof’s work. In the final talk, Nelson will focus on ceramics in the Pomona Valley with a particular emphasis on the work Sam and Alfreda Maloof collected by their friends and colleagues. Each talk will be followed by a brief tour of ”The House That Sam Built.” Members: $55. Non-Members:$ 65. Registration: 626-405-2128.
“The Arts of Daily Living”: Showcasing an Alternative Modernism at the Los Angeles County Fair, 1954Nov. 9 (Wednesday), 6:30 p.m.
In the Fine Arts Building of the 1954 Los Angeles County Fair, director of exhibitions Millard Sheets collaborated closely with the staff of House Beautiful magazine to produce an extraordinary installation of 22 architect-designed model rooms for which numerous Pomona Valley artists and craftsmen like Sam Maloof created specific works. These “realistic depictions of idealistic living”— viewed by almost one million visitors—promoted the magazine’s crusading vision of a more “livable,” American-style modern home, one in direct opposition to the avant-garde Case Study House Program supported by Arts & Architecture Magazine. The richly decorated rooms also demonstrated Sheets’ philosophy that the goal of living creatively required the full integration of art with daily life. In this lecture, Jeremy Adamson, curator of the 2001 Smithsonian retrospective on Maloof, will discuss the landmark “The Arts of Daily Living” exhibition as well as Sheets’ follow-up show in 1955, “The Arts in Western Living,” in the social, political and cultural contexts of its time. Free. No reservations required. Friend’s Hall
WorkshopsChildren’s Workshop: Painting in the Garden Sept. 17 and/or 24 (Saturdays) 9:30 a.m.–noonLet your imagination and the landscape of the gardens be your inspiration as you dabble in the art of plein air (outdoor) painting, inspired by works in “The House That Sam Built,” with artist Marion Eisenmann. Sign up for a single class as an introduction or take both classes to learn even more. Ages 7–12. Fee includes one accompanying adult. Members: $25 for one class / $45 for both. Non-Members: $30 / $55. Registration: 626-405-2128.
Teen Workshop: Plein Air Painting Oct. 1 (Saturday) 9:30 a.m.–12:30 p.m.High school students can tap into their creative side in a new plein air painting class led by artist Marion Eisenmann. Like the Southern California artists who have captured the region’s distinctive landscape in their art—examples of which can be seen in “The House That Sam Built”—students will use the gardens as inspiration for their own artistic masterpieces. Ages 14–17. (Parents may tour the gardens while the workshop is in session.) Members: $30. Non-Members: $35. Registration: 626-405-2128.
Children’s Workshop: Weaving Plants into Art Oct. 22 (Saturday) 10 a.m.–12:30 p.m.Turn plants into art by weaving flowers and natural fibers into original designs inspired by the gardens. Led by artist Melissa Manfull, the class will include a tour of “The House That Sam Built,” which highlights several examples of fiber arts. Ages 7–12. Fee includes one accompanying adult. Members: $25. Non-Members: $30. Registration: 626-405-2128.
The Sam and Alfreda Maloof Foundation for Arts and Crafts“In Words and Wood: Sam Maloof, Bob Stocksdale & Ed Moulthrop”Oct. 1, 2011 – Jan. 28, 2012Drawn from the collections of the Sam and Alfreda Maloof Foundation for Arts and Crafts, this exhibition was inspired by Jason T. Busch’s research for “The House That Sam Built” catalog and documents the rich friendship shared by three seminal figures of the woodworking renaissance of the 20th century: Sam Maloof, Bob Stockdale, and Ed Moulthrop. While Maloof earned an international reputation for his studio furniture, Stocksdale and Moulthrop focused their talents on woodturning. More than 30 bowls and other exemplary works by Ed Moulthrop and Bob Stocksdale, along with recently discovered correspondence and related documents, are on exhibit as a part of the Maloof historic residence tour. Visit www.malooffoundation.org for more information and tour reservations.
Pacific Standard Time Pasadena WeekendJan. 21 and 22, 2012In an unprecedented collaboration, five local cultural intuitions present a weekend-long celebration of Pacific Standard Time: Art in LA 1945–1980, the Getty’s initiative highlighting the post–World War II L.A. art scene. The Armory Center for the Arts, The Huntington, Norton Simon Museum, Pacific Asia Museum, and the Pasadena Museum of California Art are offering performances, exhibitions, tours, and admission specials that encourage visitors to see all the varied explorations into this remarkable period of Southern California’s cultural history. More information is available at
pacificstandardtime.org.
Artists Represented in the Exhibition
CeramicsLaura Andreson (1902–1999)
Rupert Deese (1924–2010)
Betty Davenport Ford (Born 1924)
Martha Longenecker (Born 1920)
William Manker (1902–1997)
Harrison McIntosh (Born 1914)
Otto (1908–2007) and Gertrud (1908–1971) Natzler
Richard Petterson (1911–1996)
Paul Soldner (1921–2011)
Ward Youry (1916–1994)
EnamelsArthur (1906 –1975) and Jean Ames (1903–1986)
Jackson (1910–1992) and Ellamarie (1913–1976) Woolley
FiberKay Sekimachi (Born 1926)
Marion Stewart (1904–2004)
FurnitureSam Maloof (1916–2009)
Painters/WatercoloristsKarl Benjamin (Born 1925)
Paul Darrow (Born 1921)
Phil Dike (1906–1990)
Robert Frame (1924–1999)
Sue Hertel (1930–1993)
James Hueter (Born 1925)
Emil Kosa (1903–1967)
Roger Kuntz (1926–1975)
Sam Maloof (1916–2009)
Doug McClellan (Born 1921)
Henry Lee McFee (1886–1953)
Millard Sheets (1907–1989)
James Strombotne (Born 1934)
Robert Wood (1926–1999)
Milford Zornes (1908–2008)
SculptureAldo Casanova (Born 1929)
Albert Stewart (1900–1965)
John Svenson (Born 1923)
WoodBob Stocksdale (1913–2003)
The exhibition is made possible by a lead grant from the Getty Foundation. Major support was also provided by the Steven B. McLeod and Kelly Sutherlin McLeod Family Foundation and the Windgate Charitable Foundation. Additional support was provided by the Ahmanson Foundation Exhibition and Education Endowment and the Elsie De Wolfe Foundation.
CONTACTS: Thea M. Page, 626-405-2260, tpage@huntington.org
Lisa Blackburn, 626-405-2140, lblackburn@huntington.org
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[EDITOR’S NOTE: High-resolution digital image available on request for publicity use.]
About The HuntingtonThe Huntington Library, Art Collections, and Botanical Gardens is a collections-based research and educational institution serving scholars and the general public. More information about The Huntington can be found online at
huntington.org.
Visitor informationThe Huntington is located at 1151 Oxford Rd., San Marino, Calif., 12 miles from downtown Los Angeles. It is open to the public Monday, Wednesday, Thursday, and Friday from noon to 4:30 p.m.; and Saturday, Sunday, and Monday holidays from 10:30 a.m. to 4:30 p.m. Summer hours (Memorial Day through Labor Day) are 10:30 a.m. to 4:30 p.m. Closed Tuesdays and major holidays. Admission on weekdays: $15 adults, $12 seniors (65+), $10 students (ages 12–18 or with full-time student I.D.), $6 youth (ages 5–11), free for children under 5. Group rate $11 per person for groups of 15 or more. Members are admitted free. Admission on weekends and Monday holidays: $20 adults, $15 seniors, $10 students, $6 youth, free for children under 5. Group rate $14 per person for groups of 15 or more. Members are admitted free. Admission is free to all visitors on the first Thursday of each month with advance tickets. Information: 626-405-2100 or www.huntington.org.
About Pacific Standard Time: Art in L.A. 1945–1980Pacific Standard Time is a collaboration of more than 60 cultural institutions across Southern California, coming together for six months, beginning in October 2011, to tell the story of the birth of the L.A. art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post–World War II years through the tumultuous period of the 1960s and ’70s, Pacific Standard Time encompasses developments from L.A. Pop to post-minimalism; from modernist architecture and design to multimedia installations; from the films of the African American L.A. Rebellion to the feminist activities of the Woman’s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering work of artists’ collectives.
Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater Los Angeles to San Diego and Santa Barbara to Palm Springs.
Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.
About the Sam and Alfreda Maloof Foundation for Arts and CraftsLocated in Alta Loma, Calif., the Sam and Alfreda Maloof Foundation for Arts and Crafts aims to perpetuate excellence in craftsmanship, encourage artists, and make available to the public the treasure house the Maloofs lovingly created. More information can be found at
malooffoundation.org.
Press Images
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String Chair
Sam Maloof (1916 – 2009)
Occasional “String” Chair, 1950
Walnut, maple, and cord
29 ½ x 24 x 33 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Cork-topped Desk
Sam Maloof (1916 – 2009)
Cork-topped Desk (1953) and Chair (1952)
Maple, walnut, and cork
Desk: 28 ¾ x 54 ½ x 23 in.; chair: 29 ¼ x 21 x 19 7/8 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Low Back Counter Stool
Sam Maloof (1916 – 2009)
Low-back Bar or Counter Stool, Calif. 1955
Walnut and leather
30 x 22 ¼ x 19 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Upholstered Occasional Chair
Sam Maloof (1916 – 2009)
Upholstered, Double-, Flared-back Occasional Chair with Sculptured Arms, 1958
Walnut and wool
39 ½ x 27 ¼ x 27 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Hornback Chair
Sam Maloof (1916 – 2009)
Hornback Chair with Spindles and Low Curving Arms, Calif. 1960
Walnut and leather
37 ½ x 21 ½ x 23 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens |
| Music Stand and Chair
Sam Maloof (1916 – 2009)
Double Music Stand (1969) and Chair (1972)
Brazilian Rosewood
Stand: 44 ½ x 51 x 30 ½ in.; chair: 29 x 24 x 18 ¾ in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Desk Hutch
Sam Maloof (1916 – 2009)
Desk Hutch, Calif. 1970
Walnut
71 5/8 x 43 7/8 x 21 ¾ in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Desk Hutch detail
Sam Maloof (1916 – 2009)
Desk Hutch, Calif. 1970 (detail)
Walnut
71 5/8 x 43 7/8 x 21 ¾ in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Rocking Chair
Sam Maloof (1916 – 2009)
Rocking Chair for Alfreda, 1982
Walnut with inlay
45 ¾ x 27 x 46 ½ in.
Collection of Slimen Maloof, Mentone, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Fiddle-back Chair
Sam Maloof (1916 – 2009)
Chair, 1984
Fiddle-back Maple and ebony
46 ½ x 25 ½ x 23 ¾ in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Cradle
Sam Maloof (1916 – 2009)
Free-standing Cradle, 1992 (form introduced in 1975)
Walnut
51 ¾ x 46 ½ x 32 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Ford Ferrets
Betty Davenport Ford (Born 1924)
Ferrets, 1952
Stoneware
12 ½ x 10 x 7
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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McIntosh Gourd Vase
Harrison McIntosh (Born 1914)
Tan Gourd Vase, Calif. 1952
Stoneware
9 ½ x 4 ¼ x 4 ¼ in.
Collection of Catherine McIntosh, Claremont, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Soldner Footed Vessel
Paul Soldner (1921 – 2011)
Footed Vessel, Calif. 1970
Stoneware
23 x 16 x 16 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Youry Ceramic Group
Ward Youry (1916 – 1994)
Ceramic Group, Calif. 1950
Stoneware; various dimensions
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Ames Star Angel
Jean Ames (1903 – 1986)
Star Angel, 1950-51
Enamel on copper
10 x 10 in.
Collection of Scripps College, Claremont, Calif.
Gift of Jean Goodwin Ames
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Woolley Reclining Figure
Jackson Woolley (1910 – 1992)
Reclining Figure, undated
Enamel on copper
12 x 18 in.
Collection of the Enamel Arts Foundation, Los Angeles, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Sekimachi Marugawa
Kay Sekimachi (Born 1926)
Marugawa I - III, 1974-75 (detail)
Natural linen; various dimensions
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Benjamin Abstraction 1955
Karl Benjamin (Born 1925)
Abstraction, 1955
Oil on Canvas
30 x 48 in.
Collection of the artist, Claremont, Calif.
Courtesy of Louis Stern Fine Arts, West Hollywood, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Dike Spear Fishers
Phil Dike (1906 – 1990)
Spear Fishers #1, 1955
Watercolor on paper
21 ½ x 14 ½ in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Hertel Night Group
Sue Hertel (1930 - 1993)
Night Group, 1986
Oil on Canvas
32 x 43 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Sheets Early Morning
Millard Sheets (1907 – 1989)
Early Morning Patzcuaro, 1947-1948
Watercolor on paper
39 x 29 ¼ in.
Collection of the Sam and Alfreda Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Zornes Forest Scene
Milford Zornes (1908 – 2008)
Forest Scene, 1973
Watercolor on paper
21 x 29 in.
Collection of the Sam and Alfreda Maloof Foundation for Arts and Crafts
Alta Loma, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Stewart Herons
Albert Stewart (1900 – 1965)
Herrons, Calif. 1950
Wood
41 x 12 ½ in.
Collection of Patricia Stewart Jump, Ventura, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Svenson Sea Sprite
John Svenson (Born 1923)
Sea Sprite, 1967
Redwood
20 x 52 ½ x 14 in.
Collection of the artist, Upland, Calif.
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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| Natzler Group
Sam Maloof coffee table (1958) owned by painter Karl Benjamin with ceramics by Gertrud and Otto Natzler
Credit: John Sullivan, The Huntington Library, Art Collections, and Botanical Gardens
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Maloof Workshop
Sam Maloof in workshop with hornback chairs, about 1960.
Photo: Alfreda Maloof, courtesy of the Maloof Foundation
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| Maloof Dining Room
Alfreda Maloof in dining room of the Maloof home, about 1964.
Photo: Sam Maloof, courtesy of the Maloof Foundation
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