How Much Are Sam Maloof Pieces?

[Mike Henderson]

Okay, roll back the clock to about 1950? when he began woodworking. He wasn't getting that kind of dough for a rocking chair. I have to believe that the key to his success was part design sense and definately marketing. He had to market himself as an artist to the right clientele who could afford his stuff.

Now, he didn't just start out saying he wanted $25K for a chair. His signature wasn't worth anything then. The thing is, he had to convince people who had money that his signature WAS worth that kind of money.

How does one go about doing that?

I'm certain he was a fine artisan, but he had to hype his name to command those prices. That's what PR is all about. And he had to have the nerve (to put it more politely) to say that he was worth that kind of money.

Isn't there anybody on this forum with the same kind of talent as Sam? Has anybody tried to market their furniture as artistic pieces at high prices?

I've had a number of conversations with other woodworkers about that - "Why did Sam become famous when other woodworkers with good design talent and craftsmanship did not?"

The only answer we could come up with is that Sam is very "likable" - you'd have to have met him to understand. As David said, he's very low key but very approachable. He seemed to love to talk with people of all types (customers, other woodworkers, etc.).

I think Sam was able to get a network of contacts who recommended him to influential collectors. Once "important" collectors started buying his stuff, he was on his way - not that day, but he was able to build his reputation over time.

When you look back at the era that Sam came up in as a woodworker, there were other well known woodworkers. I remember a picture of a group of them (Sam was in the picture). But everyone liked Sam.

Mike

[Rick Fisher]

If you want to be as successfull as Sam, it really very simple.

Just come up with a design that is unique, and people love..

Then build it better than most people would ever expect.. make the quality .. unbelievable..

Then .. attract celebrities and politicians like Jimmy Carter to own it and brag about it..

And finally, remain humble enough that eveyone loves you and wants you to succeed, forever..

[Joe Jensen]

I've had a number of conversations with other woodworkers about that - "Why did Sam become famous when other woodworkers with good design talent and craftsmanship did not?"

The only answer we could come up with is that Sam is very "likable" - you'd have to have met him to understand. As David said, he's very low key but very approachable. He seemed to love to talk with people of all types (customers, other woodworkers, etc.).

I think Sam was able to get a network of contacts who recommended him to influential collectors. Once "important" collectors started buying his stuff, he was on his way - not that day, but he was able to build his reputation over time.

When you look back at the era that Sam came up in as a woodworker, there were other well known woodworkers. I remember a picture of a group of them (Sam was in the picture). But everyone liked Sam.

Mike

I totally agree, but after having spent a day with him, I'm convinced of this following;
1) He was not driven by money or fame.
2) He was an artist first
3) He didn't really comprehend why people paid so much
4) He worked really hard and I think it's because deep down inside he worried that he would go hungry again
5) He left his estate is equal parts to his wife, daughter, and to the three apprentices who worked with him forever. Each started with him young and never left. The youngest had been with him over 20 years.

I think Sam was genuine and I don't think it was marketing or an act.

[Stephen Edwards]

There are three necessary elements of success in business and in art.

An ability or talent to do something really well.

A desire/drive to be successful

An opportunity to make it happen, even though sometimes we have to take the initiative to create the opportunity.

Apparently, Sam had the Right Stuff (in all areas it seems) at the Right Time and a smart person to help him make it happen.

I know a world class musician who created a new musical art form. He's won every musical award that one could imagine. In his field, he is the King and known as the master of his instrument the world over. He is, of course, wealthy. He's also down to earth and very humble. He is wealthy because his wife was as smart as a business person as he is gifted as a musician. Her business acumen and drive, coupled with his musical gift and drive, was the winning combination.

From what I've read, so it seems with Sam. My hat's off to him and the person who helped him to do his thing while they ran the business of Sam Maloof.

[Rick Fisher]

Many creative and talented people never make a lot of money.. It seems the two gifts are rarely graced upon the same person.

[Kevin McMichael]

A good analogy would be musicians. The greatest guitar player in the world is probably working construction or getting on a bus somewhere to go to his minimum wage job. Why would the woodworking profession be any different?

[Jeff Mohr]

Well the last two chairs I bought of Sam's cost me $20K and the dining table I purchased was only $75K


Just kidding!!!

I had the opportunity to meet him in person a few years back at the Greenville Woodworkers Guild Seminar and he was one of the most likable guys I've ever met. Here, me, a newbie to woodworking and talking to Sam Maloof and he asked me what kind of work I liked. He had no issue signing a couple autographs and chatting. Great guy.

[Phil Clark]

I had the opportunity to meet Sam last fall and don't disagree with most of what has been said in this thread. However, I can't imagine that Mike Johnson, who was with Sam for decades, will be too successful continuing to make pieces of Sam's design if he is forever thought of as one of Sam's "apprentices".

[Mike Henderson]

I had the opportunity to meet Sam last fall and don't disagree with most of what has been said in this thread. However, I can't imagine that Mike Johnson, who was with Sam for decades, will be too successful continuing to make pieces of Sam's design if he is forever thought of as one of Sam's "apprentices".

One of Sam's workers went off on his own and tried to make a business of building furniture. After a few years he came back to Sam and Sam re-hired him (Sam told this story).

It is extremely hard to be successful making custom furniture. Very few people succeed.

Mike

[The guy who's the chair of the Woodworking dept at Cerritos College had tried to make it as a custom furniture maker. He had to take the teaching job to make ends meet. And he was recognized as an extremely good furniture maker. He still builds furniture for clients, part time.]

[David Keller NC]

"Isn't there anybody on this forum with the same kind of talent as Sam? Has anybody tried to market their furniture as artistic pieces at high prices?"

There are probably multiple SMC members with just as much talent. Sam was indeed a visionary, but there's more to his success than just his work. Marketing has been mentioned, but there's an enormous element of "the right time, the right place" to it.

Many of the taste-makers in post WWII America saw "Danish Modern" as the wave of the future. While Sam's work in some ways is a departure from the style, it has many of the elements - emphasis on clean surfaces, the form of the furniture as the ornamentation, and "natural" finishes (as opposed to heavily colored and film-finished).

[Frank Drew]

David,

I agree about the link to Danish Modern; Maloof's work reminds me a bit of Hans Wegner's, particularly in the sculpted quality.

A seminal gallery furniture exhibition in 1972, called Woodenworks, really put Sam Maloof on the map, along with fellow furnituremakers George Nakashima, Wharton Esherick, Wendell Castle and Arthur Espenet Carpenter.

I don't follow the market, but I understand that after a brief slump in prices following his death, pieces by Nakashima have now reached astronomical heights, and there's no reason Maloof's won't follow suit. But for those interested in his furniture as furniture, I can't think of any reason not to buy the pieces that will be made going forward by his long time assistants, who were already doing a lot of the work, anyway, and certainly have a handle on the Maloof sensibility. The signature is for the investors.

[NICK BARBOZA]

I found this today while searching the web. it does touch on price escalation over time too. An interesting view into his shop some 27 years ago....before I was even born....

CHECK IT OUT

NWB

[David Winer]

If the world manages to continue for a couple more hundred years, Sam Maloof's furniture pieces will surely command out-of-sight prices comparable to those today of famous eighteenth century cabinet makers. In other words, they seem like bargains.

[Ellen Benkin]

Lots more now.

[Adam Grills]

IAbout 200-240 hours of labor in a rocker.

That is funny Guess you can tell people what ever they will believe. There may be that many hours from cutting the tree, milling, drying, sorting, milling, talking with the customer, making the chair, finishing, paperwork in accounting and building the shipping crate. Personally I would think under half that time.

That aside a great man that has been one of the great leaders in fine furniture and wooden art. Many craftsman incl. I will look up to him forever.

Adam