1931– 20 02

new horizons

2021

front cover the artist’s studio estate is represented by Messum’s 1. Anemones with Passing Crabber, 2001 1 1 oil on canvas 51 x 46 cm 20 ⁄8 x 18 ⁄8 ins signed and inscribed on reverse Atelier no. 308 above www.messums.com 2. The Last Voyage of the SS45, 1997 7 12 Bury Street, St James’s, London SW1Y 6AB oil on canvas 71 x 76 cms 28 x 29 ⁄8 ins signed lower right and also signed on reverse and inscribed on the back ‘The Last Voyage of the SS45 (recently decommissioned)’ Telephone: +44 (0)20 7287 4448 3. Venice with Gondola Poles, 1983 oil on canvas 1 56 x 51 cms 22 x 20 ⁄8 ins Atelier no. 232 Photograph by Stephen Cornwell John Miller 1931 – 2002

“Mist rolled in obscuring the view, dampening our faces. Our presence unseen and, but for footprints in the sand, our passing would have gone unnoticed”

There is an open invitation within John Miller’s pictures, a chance to share the mysteries that join sky, land and sea into a wholeness.

Most good art is intuitive, painted from an inner spirit. There are long hours of observation and time spent on fruitless application when mind and brush refuse to agree, but less is always more.

“You would have had to be with us that morning on Sands – for it was when the mist rolled back and the theatre of it all came alive that words become inadequate, and that is when John’s pictures takeover.” DM

4. August Day – St Ives Bay, 2001 oil on canvas 7 7 91 x 86 cms 35 ⁄8 x 33 ⁄8 ins signed and inscribed on reverse Atelier no. 379 Tribute to John Miller

by Ian Collins

“In all their variety the Miller pictures are illustrations of integrity, reverence and resilience. They hang well in hospitals and hospices; they communicate to children. Calming and healing, their appeal is universal.”

In the funeral address for John Miller, in For those of us with fond memories of childhood in August 2002, David Cornwell said that a line of holidays as far west as we could possibly imagine – books could not cover the lives his very old and on, on and forever on along the old A30, or better very dear friend had led. What hope, then, for this yet by slow train calling at stations of the saints after brief memorial tribute? sky-crossing over the Tamar Bridge – August in is a definition of happiness. We seemed, The speaker, better known as spy writer John Le way back then, to be heading into the sun itself. Carré, named a series of separate identities for the real John. It was a startling tally to many in the Over time our bright recollection has become ever crowded congregation who had come to mourn purer and more elemental. Sky shimmer and sea a popular painter hailed simply as “the Cornish ripple now glitter in washes of ultramarine and cobalt Monet”. on slashes of searing sandy white to remind us that all colour is a manifestation of light. And so those blue Incarnations of the deceased had run to special remembered thrills have come to match the most soldier, restaurateur, actor, antiques dealer and famous – for once the word iconic is not misplaced – architect: but “always, eternally, artist”. In that of John Miller’s beach and estuary paintings. abiding creative calling he had been a master and a mystic – a visionary offering glimpses of the infinite. If living still, he would surely be hailed as a grand In life as in art, so to complete the outline of a fair old man of British art. His scores of solo shows had but very complex portrait. spanned Europe and North America. Back in 2003 a survey of 200 UK retailers of prints and posters The Cornwell/Le Carré eulogy insisted that a placed him among the four top-selling deceased string of biographical volumes aiming to do justice artists of all genres and periods. His beaches had to his late great friend would not include a single put the Cornish Monet up there with the French dishonourable page. And he concluded: “We shall one, and above Van Gogh (7th), Picasso (8th) and never know a better man than John Miller – or a Matisse (10th). happier one.”

5. Interior Landscape Green over Blue, 1990 oil on canvas 7 76 x 71 cms 29 ⁄8 x 28 ins Now a reassessment of the legacy of John Miller parade-ground boredom into the private bliss of art in this catalogue and exhibition marks the 40th might have been the sum of the story. In this case anniversary of his collaboration with David Messum. the plot thickened. It also comes on the eve of what would have been Creative and contemplative John Miller was also a the artist’s 90th birthday. man of action; the many articles of his faith included Reputations can rise and fall and rise again. But this profound belief in loyalty and patriotism. His much remains wholly on the level: John Miller was a military service was a deeper and more dangerous good artist and a good man. commitment than he was ever able to admit.

***** The life-long bond with David Cornwell was founded in the secret world of espionage – that Born on 30 July 1931, John Miller grew up in the special soldiery alluded to in the 2002 funeral south London suburb of Streatham. He was the address when an old comrade saluted “a good man elder of two sons in a close-knit family. His architect on a very dark night”. Their friendship was forged father encouraged early gifts in painting, drawing in fire. and carpentry; they went hand in hand with what was clearly a reflective nature. So John enrolled at The orderly and constructive mind of the demobbed the nearby Croydon School of Art, but left after John Miller then turned to architecture. He studied just one term. at Regent Street Polytechnic while being articled to the firm of Milner & Craze in its brilliant heyday of Having gravitated towards painting theatre sets, he restoring damaged (often bombed) churches and moved with typical gusto to training for the spotlight building new ones. – and in due course won acting roles on stage and screen. According to the CV he later presented, Then, in 1953, he went to the Norfolk shrine of a singular progression across the arts had been Walsingham – a centre of pilgrimage in medieval broken only by the generally humdrum demand on Europe revived in the 20th century – to design a every young man of his immediate post-war era: new gatehouse, hostel and shop. Surveying the site National Service. But there was nothing humdrum in the village street, he asked a passing pilgrim to about John Miller. hold one end of his tape measure.

Conscripted in 1949, he was commissioned into the The holder, Michael Truscott, had been drawn Royal Army Service Corps, with a posting to the to Walsingham as part of a wider desire to join a British colony of Malta – a Mediterranean island religious order. In the meantime he was to complete with just the kind of sun-drenched scenery he later his training as a specialist nurse in London, and the loved to paint. An escape from barrack-room and instant soul-mates ended up renting rooms in the

6. Downland, 2001 oil on canvas 1 1 51 x 46 cms 20 ⁄8 x 18 ⁄8 ins signed and inscribed on reverse Atelier no. 400 same house. Their bond proved constant when all village of Treen, they bought Trelogan at , else changed. near Land’s End and high above Whitesand Bay, as a guesthouse for artists. The £2,500 purchase Early on they opened L’Elixir – a coffee bar and had needed a mortgage they could not afford and restaurant on Richmond Hill. Regulars included repayment problems ended when a buyer appeared writer Beverley Nichols and singer Eartha Kitt. out of the blue. Determined to move to Cornwall, The venture was a tasteful and social success but she had stuck a pin in a map – nailing Trelogan. a commercial failure when the venue itself was demolished for a road-widening scheme. Lady Luck allowed a move to Chapel Street in Penzance, where Michael had a ground-floor But John Miller’s personal road to Damascus ran antiques shop, John a first-floor art gallery and they as far as St Buryan, near Penzance – where, as a lived in a flat above. Additionally, John rented a novice ecclesiastical architect, he had been sent to studio and drawing office in nearby New Street. survey a parish church whose foundations lay in one of the earliest Cornish monasteries. The revelation David Cornwell, a regular guest, had first called was Cornwall itself. A visitor had the sense of at the cliff-top cottages at St Buryan. The novelist coming home. now bought them as the ideal writer’s retreat – after conversion plans by John Miller, just when And so in 1958 John and Michael pooled resources his architectural career was taking off locally and running to a few pounds, packed their belongings internationally. into an old Austin 7, and drove to a new and permanent life in West Penwith, where moors and In 1966 he became consultant designer for the cliffs of Cornish granite finally give way to the blue hotels division of the Rank Organisation. Amid all Atlantic ocean. the jetting around Europe on business assignments, the in-demand designer of hotels, nightclubs and They needed a lot of granite within themselves to apartments sustained an injury to his drawing hand. eke out a living in an economically deprived county With not a little irony, he used a period of enforced reliant on mining, farming, fishing and, now, tourism. rest to nurse a long-held ambition. Once his hand In the county of Bernard Leach, the father of British recovered, he would become a full-time artist. studio pottery, Michael longed to pot and John to paint. Most immediately they turned capable hands Given the many guises of John Miller it was perhaps to subsistence tasks from potato picking to painting inevitable that he would go through numerous and decorating. phases as a painter. He had the three key qualities for evolving creativity: courage, application and talent. After renting in a dilapidated row of cottages above Essentially a humble man governed by concern for the cliff at St Buryan, and then in the neighbouring others, he poured the same love he felt for people

7. Quiet Bay, 1995 oil on canvas 1 1 92 x 85 cms 36 ⁄4 x 33 ⁄2 ins signed and inscribed on reverse into painting. For him it was all an act of homage – that nowhere in West Penwith is further from the the art of devotion. sea than , but the attraction then was a tracery of trees twisting and overarching sunken But he knew his work was good and worked hard to lanes and inspiring many paintings. And the house make it better via Art Gallery showings in was a perfect haven. the 1960s. Having started the decade with election to the Newlyn Society of Artists, he then served as All the Miller charm and persuasive power had chairman and architect. been required to coax a large mortgage from a reluctant bank manager. Five chalets were added to Digging in the fertile ground between figuration and the garden for long-term lets to ensure repayments, abstraction, he was forever in thrall to the quicksilver along with a purpose-built studio. J.W.M. Turner and now in the long tradition of English impressionists liberated to experiment in The former rectory, built around 1820, exuded the edgy Cornwall with its strong colours and limpid atmosphere of a religious retreat while also being light to make something new and scintillating. a hive of industry. Domestic life revolved around the kitchen and Michael’s splendid meals. Not for Altering his stance through the 1970s, while nothing had delectable Miller illustrations garnished steadily strengthening his reputation, he had a the 1980 volume Cooking With Vegetables by first exhibition with David Messum in 1982 and Cornish cook and jungle explorer Marika Hanbury their regular London shows were reliably popular Tenison; while a suite of later abstracted colourist through all the stylistic changes to come. Most of paintings would adorn the super-stylish London them were sell-outs. restaurant of television chef Gary Rhodes.

A gift to print and screen interviewers, John Miller The air of an Indian ashram extended over house, never lost his love of theatre. In 1986 he co-starred studio, pool-room and other outbuildings, where in A Breath of Fresh Air – a television film about the John Miller was both resident artist and guru. late 19th century artistic pioneers of the Newlyn Michael had moved from ceramics to multiple School. He played with aplomb, pursuits – from picture framing and restoring, to appearing alongside Nanette Newman and Michael bulk buying of artists’ supplies to share among a Culver as Elizabeth and Stanhope Forbes. painterly neighbourhood.

By that point John and Michael were long installed They became so famous for befriending waifs and in historic Sancreed House – with Elizabeth and strays – recovering addicts, sufferers of break-ups Stanhope Forbes among the forward-looking and break-downs, fellow artists - that troubled souls artists lying in the churchyard alongside their were referred by the Samaritans. One day a Russian garden. It may now seem more than a little ironic

8. Paraportiani II, 1986 oil on canvas 1 61 x 51 cms 24 x 20 ⁄8 ins signed lower right lady they had barely met turned up to announce – in Cathedral. This God’s eye view over that she would be living with them for the rest of Cornwall from the Devon border picks out every her life. Which she duly did. In this refuge everyone parish church as an aerial formation of Cornish was afforded equal respect, whether a visiting saints advances like angels from the . Archbishop of Canterbury or a tramp refilling his The symbolism would become more subtle. Thermos flask between trudges. Always rising early for another working day, the When John’s father joined the company in the next- land-locked artist had been crowding his studio door churchyard, his mother joined the Sancreed with ethereal studies of sand, sea and sky – House family. Always very close, they grew closer meditations on unbounded space – when, in 1995, still as a son cared tenderly for a parent through he and Michael suddenly moved on and into one infirmity until she died. Or, actually, after she of his panoramic pictures. They had tired of living died. For an absolute belief in a mother’s abiding under trees. presence literally lit up the Miller art with the Those seascapes had been drawn partly from acclaimed series of “interior landscapes” in which visits to the Scilly isle of Tresco, but still more from a wisp of a figure can just be perceived within a scenery in and around the Hayle Estuary. Now, realm of Cornish and celestial light. Glimpses of an perched just above the high-water mark at Lelant, infinity of love. the painter could watch fishing boats plying across The same spirit went into elaborately carved and the bay and ponder wide horizons with the pink painted constructions that might have been baroque tinge of dawn. jewel boxes or medieval reliquaries. But rather than Parking on the quay, they then walked with their holding gems or saintly bones, each of these ornate provisions along the beach or across a golf course, containers opens to reveal a small figure. The puny depending on the state of the tide. The cottage, also pilgrim – the barest representation of everyman beside a railway line, was a far cry from Sancreed. and everywoman – insists in the humanity at the heart of everything. Once again, the point is There were further moves in the vicinity before the power of love over loneliness, despair and a final relocation to St Mary’s Studio in Penzance death itself. – a former Victorian school latterly serving as an auction house. At last he had the space, light and Here is a quieter, and ultimately more affecting, accessibility he needed for large canvases. rendition of the act of bearing spiritual witness in material form than John Miller had achieved in 1980, But no single setting could ever hold them. They when his Cornubia, Land of the Saints painting was had always enjoyed travelling and so many journeys unveiled by Prince Charles – the Duke of Cornwall – particularly to Venice and Greece – had been

9. Godrevy, 1997 oil on canvas 7 76 x 71 cms 29 ⁄8 x 28 ins Atelier no. 370 reflected in John’s ensuing pictures. Glimpses of an In all their variety the Miller pictures are illustrations infinite exploration. of integrity, reverence and resilience. They hang well in hospitals and hospices; they communicate In a very late discovery of Goa – on India’s to children. Calming and healing, their appeal is southwestern coast – they had found their tropical universal. paradise, where they aimed to spend nine months of every year. Fresh subjects to paint, new social The bringer of enlightenment was also a wry projects to pursue. The turn of the 21st century entertainer – delighting in human quirks and found a famous English artist teaching street children contradictions. His answer to a moral question to make model boats for sale. might end with a rip-roaring recital of a Kipling poem or a Noel Coward song. Only John Miller, Sage and accomplished John Miller might have back from a tropical paradise and after another long seemed at the end of a life’s work when he reached session in his studio, could travel in an old gold Rolls the biblical span of threescore years and ten. But Royce for duties in Truro Cathedral and remain his mind teemed with new plans when he died – true to the spirit of St Francis. stoically, peacefully, happily – just short of his 71st birthday. As his body ailed he had put off medical Painter, Prophet, Showman, Spy. And, of course, the attention for painting. best legacy of a happy life is shared laughter.

IAN COLLINS is an independent art writer and curator. He has written studies of John Craxton, Rose Hilton, John McLean and Guy Taplin and worked with the Yale Center for British Art in New Haven, the British Museum in London, the Sainsbury Centre in Norwich and the Benaki Museum in Athens. He lives in and Greece.

“ Reputations can rise and fall and rise again. But this much remains wholly on the level: John Miller was a good artist and a good man.”

10. Evening Lelant (illustration for book on St Ives), 1996 oil on canvas 7 76 x 71 cms 29 ⁄8 x 28 ins signed and inscribed on reverse ‘Evening Lelant St Ives book’ Atelier no. 379 11. Sunrise of Wonder – Sunrise Series no. V, 2001 oil on canvas 1 7 102 x 76 cms 40 ⁄8 x 29 ⁄8 ins signed and inscribed on reverse Atelier no. 174 12. Trink Hill, 2001 oil on canvas 1 1 51 x 46 cms 20 ⁄8 x 18 ⁄8 ins signed and inscribed on reverse Atelier no. 295 13. Red Gates, 1986 oil on canvas 61 x 61 cms 24 x 24 ins signed lower left 14. Figure in the Poolroom, 1988 oil on board 7 61 x 76 cms 24 x 29 ⁄8 ins signed lower right 15. Goldfish and Lilies I, 1993 16. Poolroom Reflection,1991 oil on canvas oil on canvas 1 33 x 38 cms 13 x 15 ins 56 x 51 cms 22 x 20 ⁄8 ins signed and inscribed on reverse signed and inscribed on reverse Atelier no. 285 17. Goldfish and Lilies II, 1991 oil on canvas 1 61 x 51 cms 24 x 20 ⁄8 ins ‘Fishpond’ inscribed on reverse Atelier no. 383 19. Venice from the Lagoon, 1988 oil on canvas 1 1 41 x 46 cms 16 ⁄8 x 18 ⁄8 ins Atelier no. 325

20. Morning, Venice, 1988 oil on canvas 1 46 x 56 cms 18 ⁄8 x 22 ins Atelier no. 323

18. Foxgloves in the Garden, Sancreed in Dappled Light, 1988 oil on canvas 66 x 61 cms 26 x 24 ins signed and inscribed on reverse and signed lower right 21. Moroccan Balcony II, 1991 oil on canvas 1 71 x 51 cms 28 x 20 ⁄8 ins Atelier no. 394 22. Dutch White Excelsior Irises, 2000 oil on canvas 7 76 x 71 cms 29 ⁄8 x 28 ins signed and inscribed on reverse Atelier no. 211 23. Summer Landscape, Penwith, 1997 24. Hill and Clouds, Penwith, 1994 gouache oil on canvas 1 1 1 36 x 36 cms 14 ⁄8 x 14 ⁄8 ins 56 x 51 cms 22 x 20 ⁄8 ins Atelier no. 231 Atelier no. 311 25. Tresco Beach, 1992 oil on canvas 7 61 x 91 cms 24 x 35 ⁄8 ins inscribed on reverse ‘This is the first beach painting following a visit to Tresco, it is for my beloved friend Michael. A small thanks for his patience and support through the trials of painting. 7 August 1992’ Atelier no. 171 26. My Boat is so Small, 1996 oil on canvas 7 71 x 76 cms 28 x 29 ⁄8 ins inscribed on reverse: ‘We cannot think of the time that is oceanless.’ The dry salvages - T. S. Eliot Atelier no. 206 27. Autumn Landscape, Penwith, 1998 oil on canvas 7 76 x 71 cms 29 ⁄8 x 28 ins Atelier no. 243 28. Penwith Landscape III, 1999 oil on canvas 7 76 x 71 cms 29 ⁄8 x 28 ins signed on reverse Atelier no. 238 29. Sancreed Beacon, 1995 30. Emerald Landscape, 1998 oil on canvas oil on canvas 1 1 1 1 41 x 36 cms 16 ⁄8 x 14 ⁄8 ins 51 x 46 cms 20 ⁄8 x 18 ⁄8 ins signed lower right and signed and inscribed on reverse signed and inscribed on reverse Atelier no. 368 Atelier no. 321 31. Safe Mooring, 1996 gouache 1 1 74 x 69 cms 29 ⁄8 x 27 ⁄8 ins Atelier no. 245 32. West Penwith Landscape, 1991 oil on canvas 7 7 48 x 58 cms 18 ⁄8 x 22 ⁄8 ins signed lower right Atelier no. 294 33. Sunrise of Wonder, 2000 oil on canvas 1 97 x 71 cms 38 ⁄4 x 28 ins signed and inscribed on reverse Atelier no. 256 34. Arum Lilies, 2000 35. Trencorm, 1999 gouache gouache on paper 1 7 7 38 x 36 cms 15 x 14 ⁄8 ins 86 x 81 cms 33 ⁄8 x 31 ⁄8 ins Atelier no. 270 Atelier no. 258 36. Irises, 2000 37. The Isles of Scilly, 1992 gouache oil on canvas 1 3 1 38 x 36 cms 15 x 14 ⁄8 ins 30 x 41 cms 11 ⁄4 x 16 ⁄8 ins Atelier no. 271 Atelier no. 214 38. Above Sancreed, 1994 40. Evening Landscape, 1995 gouache gouache 3 5 3 3 40 x 37 cms 15 ⁄4 x 14 ⁄8 ins 34 x 30 cms 13 ⁄8 x 11 ⁄4 ins Atelier no. 618 Atelier no. 135

39. Summer Fields, Penwith I, 1995 41. Summer Fields, Penwith I, 1994 gouache gouache 3 3 5 3 30 x 30 cms 11 ⁄4 x 11 ⁄4 ins 37 x 35 cms 14 ⁄8 x 13 ⁄4 ins Atelier no. 072 Atelier no. 107 42. Construction 9, 1990 wood 1 1 1 51 x 36 x 9 cms 20 ⁄8 x 14 ⁄8 x 3 ⁄2 ins

43. Construction – Figure enclosed, 1990 wood 3 1 1 100 x 31 x 31 cms 39 ⁄8 x 12 ⁄4 x 12 ⁄4 ins Atelier no. 279

44. Interior Dance, 2000 oil on canvas 1 71 x 51 cms 28 x 20 ⁄8 ins signed and inscribed on reverse Atelier no. 433

42. 43.

44. 45. Palazzo Pisami by Moretta 1470, 1983 watercolour 7 25 x 38 cms 9 ⁄8 x 15 ins Atelier no. 347

46. Scuola de St Marco, Venice, 1979 watercolour 1 3 34 x 42 cms 13 ⁄4 x 16 ⁄8 ins Atelier no. 628

47. Venice, 1988 oil on canvas 1 1 41 x 51 cms 16 ⁄8 x 20 ⁄8 ins Atelier no. 310 John Miller 1931 – 2002

1931 Born in London Council and given to HRH Prince Charles; regional feature in Arts Review ‘In another Buddhism’ and ‘The Miracle of Mindfulness’, 1996 CD cover on Robert Fripp’s ‘Radiophonics 1985 Great Spaces in a Whisper—The Lakes, 1949 National Service – Commission Royal Army solo exhibition at John Makepeace light’ by Celia Delahay. published by Century; Featured in ‘Dig’ on – Soundscapes Venice and Cornwall Service Corps – Served in Malta GC. Workshops, Parnham House; solo 1987 A crucifix commissioned by Lord and Lady Channel 4. Vol. 1 – Live in Argentina’; book jacket 1986 John Miller—The Greek Pictures exhibitions at the Grosvenor Gallery, 1952 Studied Architecture, School of St Levan for the chapel on St Michael’s 1992 Painting expedition to Tresco, Isles of ‘When Words Fail’ by the Very Rev. David 1988 Reflections—The Garden Pictures; The Vancouver and Mitch Morse Gallery, New Architecture, Regent Street Polytechnic Mount; painting ‘San Giorgio in Morning Scilly, followed by exhibition at Gallery Shearlock, Canterbury Press; donated Christmas Exhibition, watercolours York. Mist’ donated in aid of Brunel Engineering Tresco; ‘Artists from Cornwall’ at Royal painting ‘Shoreline’ to The Mermaid 1958 Moved to Cornwall to paint 1989 John Miller—Recent Paintings 1980 Illustrations for ‘Cooking with Vegetables’ Centre Trust and auctioned by Christie’s; West of England Academy, ‘Contemporary Appeal, Art for Healing, exhibition at Royal 1961 Elected member of Newlyn Society of by Marika Hanbury-Tenison; group Newlyn Orion Gallery ‘Looking West’ Icons’ at Royal Albert Memorial Museum, Cornwall Museum. 1990 John Miller—Interior landscapes; Twelve Artists; first solo exhibition at Newlyn Art Cornish Landscapes exhibition at Rooksmoor Gallery, touring exhibition; Exeter University Exeter, touring exhibition; ‘The Penwith 1997 Group show: Penzance Arts Club, ‘Quality Gallery and repeated in 1964, 1966, 1967, Gloucester, ‘John Piper, Henry Moore and ‘A tribute to Charles Causley’, touring Art Experience’ organized by Penwith of Light’. 1991 John Miller—Summer Gold; John Miller— 1969, 1970, 1971, 1972, 1976 and 1978 John Miller’; four paintings purchased by exhibition; ‘A Painter in Search of St Francis’ District Council in Cuxhaven, Germany; Recent Paintings 1998 Group show: Alpha House Gallery, 1962 Artists from Cornwall, RWS galleries, Harlech Television; ‘Cornubia, Land of the on ITV. Two half-hour programmes written visit to Egypt with David and Millie Sherborne, ‘A Matter of Faith’. 1992 Great Spaces in a Whisper (2); Selected London Saints’ commissioned for Truro cathedral and narrated by John Miller and produced Messum and Rose Hilton; Sketchbook of recent paintings: Tresco, Venice, Mallorca and unveiled by HRH Prince Charles; by John Bartlett; ‘At home with….’ Cornwall launched at Penzance and District 1999 Group shows: St Elwyn’s Church, Hayle, 1963 Artists from Newlyn, Ostend, Belgium. 1993 Works on Paper—Cornish Landscapes review in Western Morning News by James interview by Tim Hubbard in BBC Radio Museum and Art Gallery and exhibition of ‘Godrevy’; Royal Cornwall Museum, ‘The 1964 Elected Chairman, Newlyn Society of and Beach Scenes; Recent Paintings—The Mildren. Cornwall. watercolours from book; donated ‘Mounts History of Christianity in Cornwall’. Artists; FRSA; moved to Sancreed House beach paintings 1981 Painting purchased by Victoria & Albert 1988 Visit to Egypt and the Alhambra, Spain; Bay Impression’ to Penzance and District 2000 Solo exhibitions: White Gallery, Hove; where he lived until 1995. 1994 John Miller—Annual Exhibition and Recent Museum; Painting of the Scilly Isles Javea with David and Millie Messum; feature Museum and Art Gallery to start their Innocent Fine Art, Bristol; Royal Cornwall 1966 Consultant Designer, Hotels division of Paintings commissioned by the Royal Institute in Arts Review ‘Seeing Beauty for the collection of contemporary art. Museum, ‘Looking at the Open Sea’; Joined Rank Organisation. Designed Fore Street of Chartered Accountants and given First Time: The Art of John Miller’ by Max 1993 Group exhibition, ‘Demarco’s Choice’ Portland Gallery. 1995 John Miller—Works on Paper; Annual Gallery, St Ives, for Mrs Rainsford and to HRH Prince Charles as a wedding Wykes-Joyce; review in Western Morning at Newlyn Orion Art Gallery; donated 2001 Solo exhibition: ‘Seeing is Believing’, Exhibition and Recent Paintings exhibited in first two group exhibitions. present; made member of the Diocesan News ‘Self-Searching Reaps Reward’ by painting ‘The Beacon, Sancreed’ to The Portland Gallery, London; Exeter 1996 New Paintings, Annual Exhibition 1971 Group exhibition at Plymouth Art Gallery Advisory Committee; group exhibition Frank Ruhrmund. Cornwall Heritage Trust for launch of their Pheonix, ‘Looking at the Open Sea’; Exeter 1998 New Paintings 1972 Artists from Cornwall, Birmingham ‘Contemporary British Artists’ at Green prize draw; Seaside sketchbook published; Healthcare Arts, ‘Sunrise of Wonder’ 1989 ‘Images of Paradise’ exhibition in aid 1999 John Miller – Paintings from Two Decades University College Oxford; solo exhibitions at The of Survival International at Harewood appointed Lay Canon at Truro cathedral; touring exhibition to hospitals until 2003. 2010 John Miller: Journeys 1973 Solo exhibition, The Framer’s Gallery, Grosvenor Gallery, Vancouver and the House and Christie’s, London; centenary book jacket ‘For the Time Being’ by the Rt 2002 John Miller died at his home in Penzance. Brotherton Gallery, London; Reviews in Rev Michael Fisher, SSF. 2021 John Miller, Messum’s St James’s Penzance; Review in Western Morning exhibition at Cornwall County Hall, ‘A 2003 Solo exhibition: John Miller, Memorial the New York Times and The Washington News ‘Artist Looking Up’ by Frank Century of Art in Cornwall’; two limited 1994 ‘Showcase’ an exhibition of paintings by 18 of Exhibition, Portland Gallery, London; Post, ‘Around the Galleries in London’ by Ruhrmund. edition prints, ‘Palace Reflections’ and Cornwall’s leading artists at Royal Cornwall Falmouth Art Gallery, ‘The Magic of Miller’ Publications Max Wykes-Joyce; featured on ITV ‘Made 1974 Solo exhibitions: The Orion Gallery, ‘Venice Light’ published by Venture Prints Museum; solo exhibition at – a celebration of John’s work. Leave Tomorrow Behind (John Miller’s in the West’, produced by Kevin Crooks— Ltd.; entry in Debrett’s ‘Distinguished School of Mines; preached sermon at Truro Penzance, and Little Baddow Arts Centre, 2005 Solo exhibition: Gallery & Autobiography), 1989; Sketchbook of Cornwall, programme awarded bronze medal People of Today’; review in Arts Review by Cathedral during Three Spires Festival; Essex; Review in Arts Review by Lorraine Museum, Penzance, ‘John Miller (1931– 1992; Seaside Sketchbook, 1993; Another Shade 1982 First exhibition at David Messum Gallery Emma Burn; review in Western Morning featured in ‘Rhodes around Britain’; featured Craig 2002) A Retrospective Exhibition; Portland of Blue, 2000; Seeing is Believing 2001. News ‘Quality of Light Comes Across in Gardens Illustrated, ‘Art in the Garden: 1975 First London solo show at the Anthony 1983 Spring visit to Venice with Michael Truscott Gallery, London – ‘John Miller (1931–2002) in Paintings’, by James Mildren; ‘Leave Miller’s Tale’ by Kirsty Fergusson; featured Fortescue Gallery; work included in ‘The and Michael and Jean Cox. He returned later Public and Corporate Collections Tomorrow Behind’ featured in Sunday in What’s On Inside Cornwall ‘Painting the 2005 – 2012 New Craftsman, St Ives British Season’, Galerie Aziza, Grosvenor with Robin Hanbury Tenison to stay on the Abbey Hotel, Penzance; Avon County Council; Times Colour Magazine by Alison Beckett. Blues’ by Felicity Whitehead. Street Giudecca with Geoffrey Humphries; joined Exhibitions at David Messum Gallery BUPA; The Burton Group; Cornwall County by David and Millie Messum and Stephen 1990 Member of the Council of the School of 1995 ‘A celebration of Cornwall in poetry, prose 1976 Solo exhibition Galerie Aziza; Review in 1981 Joined David Messum Gallery who became Council; Cunard; Discipline Global Mobile; Exeter Cornwell who took photos for the winter St Clare; visit Sicily and Morocco; featured and letters’, John Miller, Anna Murphy at New York Herald Tribune by Max Wykes- sole agents Hospice; Harlech TV; John Lewis Partnership; catalogue; ‘Venice Revisited’ in Country Life. in London portrait ‘Mauve over darling’ by Newlyn Art Gallery as part of centenary London Transport Museum; Penlee House Joyce. 1982 New Horizons, Cornwall and Venice 1984 Illustrations for Serenissma Travel brochure Emma Burn; review in Western Morning celebrations; CD cover on Robert Fripp’s Gallery and Museum; Royal Devon and Exeter 1977 Solo exhibitions: Festival Gallery, Bath; after visit to Burgundy; visit to Lake District; News ‘Artist’s change of style holds big ‘A blessing of tears’ Live in California; 1984 Venice revisited; Scenes from Abroad— Hospital; Sony, Europe; St Michael’s Mount; Truro Frost and Reed, Bristol; The Brotherton ‘Happy Returns’ exhibition at Newlyn surprise’ by Frank Ruhrmund; review in commissioned by Exeter and District exhibition of watercolours commissioned Cathedral; Victoria and Albert Museum. Gallery, London. Painting purchased by Orion gallery; book jacket, ‘Night at the Arts Review by Emma Burn; featured in Hospice to paint a triptych for their chapel; by Serenissima Travel Avon City Council; review in Bristol Carn’ by A. L. Rowse. Arts Review by Frank Ruhrmund; featured ‘Beach Paradise’ in Homes and Gardens; Evening Post, ‘Back to the World of in Homes and Gardens ‘Miller’s Retreat’ ‘Shore Footed’ in House and Garden; 1985 Trustee of Passmore Edwards Art Gallery, Reality’, by James Belsey. Westward by Joanna Laidlaw; interview by Kate Figes solo exhibition ‘Mini Retrospective’, Truro Newlyn; ‘To Speak of Great Spaces in a TV Open Art Exhibition, City Hall, ‘Inspiration’ in Kaleidoscope on BBC Radio cathedral; moved to Lelant on the Hayle We are indebted to Heather Kaute for her help in the preparation Whisper’ in Harpers and Queen. Truro; painting ‘Penzance over the Hill’ 4; interview by Tim Hubbard on BBC Estuary, St Ives. of this catalogue. She was John Miller’s long-term secretary and presented to Cornwall County Council 1986 ‘A Breath of Fresh Air’, TSW and Channel Radio Cornwall; entry in Dictionary of 20th continued to help run the studio estate with John’s partner Michael 4 TV play about the by Westward. Group exhibition at Century Painters and Sculptors by Frances Truscot after John’s death in 2002 and finally cataloguing the Bederkesa, Germany, ‘Joan Gilchrest, painters. John Miller played the part of Spalding. complete works after Michael Truscot’s death in 2018. Rose Hilton, John Miller’. Frank Bramley with Nanette Newman as 1991 Donated painting ‘Sancreed Beacon’ to Elizabeth Forbes and Michael Culver as 1978 Major retrospective, Newlyn Orion Gallery the new Gallery, St Ives, for auction Stanhope Forbes; visits to Crete, Corfu 1979 Ten historical paintings of St Michael’s at the Penzance Auction House; review in and Tuscany; ‘Midweek’ with Libby Purvis Mount commissioned by Lord and London Portrait by Emma Burn; featured on BBC radio; featured in ‘Highway’ with ISBN 978-1-910993-64-4 Publication No: CDLXXII Lady St Levan; painting of Duchy Farm in ‘Songs of Praise’ with Pam Rhodes; book CDLXXII Sir Harry Secombe on ITV; book jacket, Published by David Messum Fine Art commissioned by Stoke Climsland Parish jackets ‘Living by Zen’, ‘Introduction to Zen ‘Stories from Trenarren’ by A. L. Rowse; © David Messum Fine Art All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing from the publisher. The Studio, Lords Wood, Marlow, Buckinghamshire. Tel: 01628 486565 www.messums.com Photography: Steve Russell, Printed, by DLM-Creative www.messums.com