Alec Miller was born and brought up in a three-roomed tenement in Glasgow, one of a family of six. His father was a cabinetmaker who could only work intermittently because of ill health. Alec left school at the age of twelve and was apprenticed to a Mrs. Mackay who ran a woodcarving shop in Glasgow. Besides being his employer she was also a most important mentor to him, opening his eyes to the artistic world beyond Glasgow, and in particular the work of CR Ashbee and his Guild of Handicraft. Eventually he joined Ashbee and the Guild, after it had moved from the East End of London to Chipping Campden in Gloucestershire.

 

Ashbee ran an architectural practice alongside the Guild and this led to many useful contacts for Miller, so that when the Guild had closed in 1908 he was able to continue working from Campden. In 1937 Miller emigrated to the United States having already made a number of trips both to fulfill commissions and to lecture on a wide range of subjects.

 

Most of Miller’s work initially was ecclesiastical and included much work for Coventry Cathedral (all destroyed by the Blitz), Montreal Cathedral, and many other churches all over England. However from about 1915 onwards he made increasing numbers of portrait busts and reliefs.

 

Essentially Miller was a carver, both in wood and stone. He worked directly not choosing to make models first. For this reason his work for the Coronation Hall is unique.