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Art & Architecture Please note: Michael Miller is offering through December 2006 close out pricing on his original works. Pricing varies from $2,500 to $7,500 dependent upon size with a 36' x 48' oil on canvas being $4,500. Available works are seen below as well as in The Art of Golf Design by Geoff Shackelford and Mike Miller. For more information, please contact Mike Miller directly at telephone 310.836.5202 or at email mgmart@sbcglobal.net
GolfClubAtlas.com is proud to devote an entire section to the paintings of Michael G. Miller, the foremost painter of golf courses in the world today. Mike has painted a 19th century style in both still life and golf landscapes since 1985. After having received formal training at UCLA Extension and the Brentwood Art Center, he benefited from the 'one on one' mentoring of Mr. Gene Mako in Los Angeles. Through these latter teachings, Mike developed an appreciation for the work of 19th century masters such as Henri Fantin-Latour, Jean Baptiste Chardin, Eugene Boudin, Winslow Homer, W. M. Chase, J.A.M. Whistler, Robert Henri, Frank Benson, and John Singer Sargent. At the same time, Mike worked as the Head Golf Professional at Mountain Gate CC and then as the Head Golf Professional at Riviera Country Club from 1993 to 1998. The dual career of painter and golf professional have merged into one as Mike paints full time now. In doing so, he calls on his experience in golf, a keen interest in golf course design and an intense interest in painting to produce noteworthy golf landscapes. His one-man exhibition in the main gallery of the World Golf Hall of Fame Museum in St. Augustine, Florida ran to great acclaim. Golf architecture fans like Gil Hanse have acquired his paintings and Ben Crenshaw has one in his collection as well. According to Hanse,
To speak with Mike Miller about commissioning or purchasing an original painting, please call him directly in Los Angeles on 310.836.5202 or contact him by email at mgmart@sbcglobal.net. Originals range in price from $5,000 to $25,000, depending on the size. The paintings featured on this web site along with those in his book The Art of Golf Design are available in Epson ink jet prints as well, ranging from $100 to $500 in price. The paintings below are grouped by decade according to how the holes would have appeared at that time. 1910s
This could have been painted from photographs in 1920 or 2000 as little has changed since Herbert Fowler remodeled Old Tom Morris's work in 1909. Mike's decision process involved whether the ever present sheep should be included and whether or not to include the tape that surrounds the 6th green. Tape is used around each green at Westward Ho! to keep the cattle off the putting surfaces. Mike eventually decided to include neither, which is true to his early roots as being a landscape painter. Indeed, in some of his earliest works, Mike didn't even include the flag and flagstick as he wanted his paintings to be pure landscapes.
1920s
36” x 40” oil/panel. This view of hole 16 focuses on the idyllic nature of dusk at Fishers Island and Long Island Sound. The isolated and rustic nature of the course is appreciated in the low light that barely illuminates Seth Raynor’s architecture.
36'x48' o/p $12,000 A great par 3 of 217-226 yards; the tee shot is usually a full wood over the lake, rough grass and a road. It is often said it is a hole 'where only God can make a three.' Architect George Crump is reported to have felt that the green had too much 'squareness,' but died before he decided what to do with it. As the title indicates, this painting depicts a windless summer day that would best allow the player a chance at avoiding the abundant areas of trouble.
48'x36' o/p A superb short hole of up to 145 yards, with a small green that is comprised of many complicated slopes. The bunkers are very close and seem to attract the ball. 'There is no welcome here,' as it has been said, and there isn’t. A small pot bunker in front has been colorfully referred to as the 'Devil’s Aperture' but has more commonly been referred to by a name unprintable here. This painting depicts the ruralness of 1925 when the pines and other trees had not yet encroached on the architecture. The remote area of Pine Valley is enhanced by the relationship of sky to landscape.
36'x48' o/p $12,000 This hole is a prime example of the 'penal school' of architecture. Therefore a player whose shot finds 'Hell’s Half Acre' will most assuredly be punished. This hazard starts some 280 yards from the tee and extends another 150 yards to the next section of fairway. Consequently, strategy comes seriously into play on a lay-up short or a more heroic attempt at a carry with the second shot. Insofar that the hole can measure 585 yards, the green is surrounded by sand and fronted by broom, one’s troubles are not over even if the aforementioned intimidating hazard has been avoided.
18' x 24', oil on panel, Architect: George Crump Insofar that the tee shot is downhill, the length is a usually not demanding. But the prevailing wind into the golfer's face can change this dramatically. Not only in terms of distance, but weather and wind raise the possibility that sand or water that surround the green,
24' x 26', oil on panel, Architect: George C. Thomas Jr. This hole is a prime example of George Thomas' concept of creating the ultimate in variety within one hole. The eleventh is primarily a 244 yard par 3, with some playing characteristics of a redan, only reversed to reward a left-to-right play. But Thomas also designed a 300 yard tee to create a high risk driveable par 4 for the strong player. The bunkering and green contours were designed to make a challenging pitch for those who laid up. There was another option as a par 3 from a tee positioned to the right of this view.
For information on commissioning Mike Miller to paint a specific hole for you or your club, please contact him directly on 310.836.5202. Limited edition prints are also available for the paintings featured above. Final edition prints are signed, numbered and titled, on Somerset Velvet paper, either cut or torn (deckled) edges, sprayed with UV protective coating, packed in clear sleeve with foamcore backing. Mike Miller can reached at mgmart@sbcglobal.net. |
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