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Art & Architecture 1990s
24' x 32' oil on canvas. This mid length par 3, another example of the genius of George Thomas, features the inspirational concept of a bunker within the boundaries of the putting surface. This painting was done after the excellent restoration of #6 by architect Ron Forse in the 1990’s. The home atop the canyon wall behind the green was omitted from the painting as it only serves to distract from what is otherwise one of the more beautiful views in golf.
While Shinnecock is the undoubted masterpiece of William Flynn, he did incorporate one green complex
24'x24' Oil on Panel. Consistent with the view of other architects in the first decade of the 20th century, Henry and William Fownes believed that bunkers were hazards and were a place to be avoided. Immediate recovery was not guaranteed nor was it meant to be necessarily straightforward either. From that philosophy was born the 60 yard long church pew bunker with seven grass ridges.
2000s
24” x 32” oil/canvas The very short but very demanding 18th requires pin point accuracy, both off the tee and with the approach. This view from the left side offers the best angle and view to reach the putting surface, although even if reached in regulation, the green offers many problems for a less than well judged and
A simple but extremely intimidating par three of 165 yards, the sixth at Royal Dornoch with its strong, prevailing Atlantic wind, paradoxically requires a player to start his shot towards the biggest threat on the hole. The aforementioned threat is that any overplayed shot to the right will tumble well down the hill to the eleventh fairway. The resultant recovery shot will now, not only be downwind and quite awkward, it will be directly towards the hazards to the left of the green. On the other hand, a timid tee shot can be carried by the wind and toward those just mentioned left side hazards of sand, fescue grasses or even worse, the gorse covered slope.
This view from around 100 yards out on the short par 4 first, is intended to not only convey the appealing parkland nature of this Tom Bendelow/William Langford design (1913), but also to illustrate the recently renovated bunkers that Cornish, Silva and Mungeam, Inc. (work done over the winters of 2001 and 2002) returned to this seemingly innocent but rather difficult test. Being a 'Golden Age' design, the inherent difficulty is not a result of length, but from the architects' demand on strategic placement from the tee, an obvious necessity to avoid 'short siding' one's approach, and on keeping the ball 'under the hole' on the undulated and sloped greens. LaGrange is a beautifully conditioned golf course where very quick green speeds can be readily achieved.
40' x 60' o/canvass. This painting attempts to capture that late afternoon light that seems to turn many landscapes to a golden hue. At La Grange, an 1899 Tom Bendalow/William Langford design, this is particularly evident at the 400 yard, dogleg, right 16th as the over hanging trees, adjacent lake, and cleverly placed bunkers contribute to this 'golden' aura. This is no easy approach as the green is seriously sloped up from the front to the ridge and then away in the back.
This Johnny Miller designed, high end public course design, located in Rocklin California (just outside Sacramento), features a meandering creek, large old oak trees and 'environmentally sensitive' areas, all of which come dramatically into play. So much so, that in order to facilitate weekend golfers and faster play, the course has been subsequently 'softened' by a team consisting of Jim Ferrin, Dave Wilber, Mark Parsinen and Dick Bartor. This view of the short par 4, 15th hole, from a perspective a about 100 yards out and although a little too far right of the ideal lay up position, attempts to convey the mature landscape and natural setting that can be found on this relatively new course.
This view from the approach to the 11th green reveals the scale and overwhelming size of the trees at the Olympic Club. A recent tree trimming and removal project has succeeded in opening up the course to sunlight and the vistas to golfers. The 11th serves as a perfect example of what can be achieved by eliminating the claustrophobic effects of 'tree lines' by allowing areas between the trees for air and light.
The 16th is a lengthy par four in which the left turning dogleg is protected by a phalanx of enormous trees. These 'Sentinels' force the player to take the longer, and safer, route to the right which quite naturally lengthens the second shot. For the daring player who tests the left side, the rewards, and the punishments, can be very significant even though the 16th is rarely a birdie hole without some form of miraculous play.  Eighteenth Hole and Clubhouse at The Valley Club of Montecito The beautiful Tom Doak restoration of Alister MacKenzie's bunkering is readily visible in this view up the finishing hole. With the California mountains in the background, the 18th and 15th greens positioned left and right below the elegant clubhouse, the Valley Club remains a journey back to the taste and charm of the old world.
This par 3 from the slightly elevated back (190 yards) and middle tees (165 yards), is layed out in a South/West direction. It therefore generally plays into a right to left quartering wind off the Pacific Ocean. This makes reaching the back right pin placement on a green that narrows considerably from left to back right all the more difficult. Although the approach and green slope from left to right, and a small mound can 'bump' a ball toward the green, one must carry the unmaintained sand and sage before anything good can happen.  Approaching Weather - the Seventeenth at Bandon Trails This par 3 can be played form several different tees, all of which have been artfully set by architects Ben Creshaw and Bill Coore, at various angles and distances to this very steep multi-level green. Nonetheless, each of these variously elevated tees requires a shot into the prevailing Pacific breeze. A breeze that can play havoc with any shot that is less than solidly struck. Although there is a forced carry to the approach and green complex depicted here, a shot that misses the green left, right or long (as one can readily see) is in for some serious problems. Insofar that this hole appears so late in the round, it obviously reserves the potential to spoil the round of anyone who thinks they are going to tame Bandon Trails.  Autumn Corridor, the Third at the Country Club of Rochester The view, 50 yards or so in front of the tee, depicts the short, uphill par 4, third hole. But this hole is a seducer as the elevated and severely sloped green is more accessable with a full wedge than a 'feel' shot of less distance. Naturally, that brings the perfectly placed Donald Ross fairway bunkering into play, and a number of options for the player of every skill level.  Deepening Shadows at the Country Club of Rochester, Fourth Hole This Donald Ross creation has been recently restored by architect Gil Hanse. Hanse's faithful restoration of Ross's bunker work can readily be seen in this medium to long, par 3. The hole plays through a shoot of mature trees from a natural elevation on which the tees are set to provide a series of different lengths. Hole number 4 is just one of five charming and challenging one shotters that can be found in this 'Golden Age' design.  The Secluded Eighth at the Country Club of Rochester This view was chosen as it brings into focus the beautifully restoration by Gil Hanse of the Donald Ross bunkers which march up the right side, and then cross over, the eighth fairway. This long, and somewhat uphill, par 4 with a sloped and undulating putting surface, plays into a prevailing easterly beeze which only contributes to the cleaver difficulties provided by the architect.  Break in the Clouds, the tenth at the Country Club of Rochester 24' x 32' oil on canvas. This reachable in two,dogleg to the right par 5 still has some subtle problems for the player who misses to the right of the green. The green slopes from left to right and is very narow in the back right pin placement. The beautiful and stately trees behind the green make this hole particularly attractive and were therefore used to highlight the sun breaking through on an otherwise cloudy day.  Deepening Shadows at Augusta National's Tenth Perry Maxwell - more than any other architect - left his imprint on the Augusta National Golf Club by redesigning more than seven of their greens, considered by many to be the most charismatic set in the world. It all started in 1937, when Robert Tyre (Bobby) Jones, Jr. and Clifford Roberts set out to bolster The Masters Tournament as the preeminent invitational for the game's elite players. Afraid that Augusta was losing its bite, Jones and Roberts retained Maxwell, one of Alister MacKenzie's disciples, to fine-tune his mentor's craftsmanship. Michael G. Miller's 24 x 30 inch, oil on canvas portrays lengthening afternoon shadows across the tenth green - which Maxwell relocated on a knoll more than 100 yards beyond MacKenzie's original greenside bunker -- positioned in the foreground. This new green location transformed the downhill par 4 into one of the game's most demanding holes.  Looming Weather at Old Town's Twelfth Michael G. Miller's 32 x 40 inch, oil on canvas depicts looming weather on the 445 yard par 4 from a cross-course perspective. In 1938, Charlie and Mary Reynolds Babcock donated 165 acres to help establish the Old Town Club next to their historic estate, now showcased as The Reynolda House and Gardens. At his investment firm - Reynolds & Company - Babcock once hired Clifford Roberts, the co-founder of the Augusta National, who had just commissioned Perry Maxwell to reconstruct many of Alister MacKenzie's original green sites for The Masters Tournament. Delighted with the results, Roberts recommended that Babcock also retain Maxwell to design his employer's new course in Winston-Salem.The Golden Age of golf architecture likely ended at this juncture, because Old Town remains the last significant design by any architect prior to World War II. For information on commissioning Mike Miller to paint a specific hole for you or your club, please contact him directly on 765.393.2211. 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 mgmfineart@gmail.com or through his web site |
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