William Miller (engraver)

William Miller
William Miller, photograph, circa 1862
Born	(1796-05-28)May 28, 1796 Edinburgh, Scotland, United Kingdom
Died	January 20, 1882 Sheffield, England, United Kingdom
Cause of death	(burial location: Quaker Burial Ground, The Pleasance, Edinburgh, Scotland, United Kingdom)
Spouse	Jane Miller

William Miller was a Quaker line engraver from Edinburgh, Scotland.

Miller became an apprentice to William Archibald in 1814. His first published engraving was in that year, of an apple tree for William Archibald. This engraving appeared in Vol I of the Caledonian Horticultural Society. He spent four years with William Archibald, then setting up on his own account. At the end of 1819 he moved to Hackney to join the workshop of George Cooke. The premium paid for his eighteen month stay with Cooke was £240. Other apprentices with Cooke included William Shotter Boys. Whilst an apprentice with Cooke, Miller drew a series of plants from the neighbouring nursery of Loddiges. These were engraved by Cooke and published in volumes v - vii of Loddiges Botanical Cabinet, London, J and A Arch, 1820 - 1822.

Miller was one of the principal engravers of J. M. W. Turner. His engravings after Turner included Portsmouth, Clovelly Bay and Comb Martin for An Antiquarian Tour Round the South Coast, J and A Arch, 1826; Bass Rock for Scott's Provincial Antiquities of Scotland, 1826; seven plates Straits of Dover, Great Yarmouth, Stamford, Windsor Castle, Chatham, Carew Castle and Durham Cathedral for Picturesque Views in England and Wales, London, Longman and Co, 1838.

James Giles, one of William Miller's pupils, wrote some reminiscences of his time staying at Hope Park. Writing from Redhill on Sept 17th 1883 (published privately in Memorials of Hope Park): "Wm Miller's admiration of Turner was unbounded, and his pupils soon caught the infection. The drawings, which at first sight looked so mysterious and unintelligible, the more they were pondered, unfolded their wondrous meaning and beauty; and from my own experienceI can testufy, that sitting for weeks before the same drawing, I did not tire over them, as was the case with inferior pictures. The plates executed from 1833 to 1836 consisted of the illustrations to Scott's Works, Turner's 'Annual Tour', Gainsborough's 'Watering Place', a large Venice, by Turner and, of course, some plates of less note. The plates for Rogers's poems were engraved before my time, but not published till afterwards; these are probably the most exquisite gems that ever were, or ever will be produced. I beg however to differ from Ruskin in my estimate of them. I like Loch Lomond, and the old Ancestral Hall better than the vignette, with the fountain, at the beginning of the volume...........The Gainsborough was entirely the work of your father's own hand; it was done from a smaller copy of the ooriginal in the National Gallery. The pencil drawing was sent as usual to be transferred by the printer through the rolling press on to the etching ground, but when it came back the drawing was found to have shifted during the process, and the transferred outlines were thick and blurred. I should have been appalled, but your father made light of it, and etched away as if it had been all right.

"I need hardly say that it is as the interpreter of Turner your father's fame very much rests, and that Tunrer himself preferred 'the Scotch Quaker' to all other engravers. The skill with which he translated the high aerial effects was beyond all rivalry..........

"In making the outline drawings for transference to the plate, we were instructed to preserve every minute touch, indeed, keeping the touch was a point much insisted on. I remember an amusing instance of htis. I was etching the Pass of Killicrankie, a vignette for Scott's Works; cottages were in flames, and the dead lying in the foreground; in the distance was a row of dark spots - the subject suggested they might be a regiment of soldiers, at the same time they looked very much like fir-trees. I asked your father's opinion, he reply was 'Oh, just keep the touch, and they can be taken for wither.' He was not, however, so particular inthe case of architecture; and when Edinburgh, from St. Anthony's Chapel, was in hand, he sent me to the spot to make sketches of the principal buildings in the distance. The High School in Turner's drawing was little more than a white patch. Your father did the foreground, and I believe, the sheep, but St. Anthony's Chapel, and the various distant buildings were etched by me - the latter from the sketches I had taken. For closeness of line and minute detail, it is the most laborious plare I was ever engaged on, and will, I believe, bear looking at through a magnifier. Of course ,the beautiful effects depend entirely on the finish of your father> I had only to do with the mechanical part - the body - the soul is his. In the case of Turner's figures, perhaps keeping the touch was carried too far.

"Your father usually etched the foreground of the plates his pupils worked upon; and was fond of etching water, both rough and smooth, whcih was remarkable for its liquid effect.

"Turner's touched proofs were always an oject of interest in the workroom. I recollect on the margin of one of them he had written. 'Mr Miller will please return all my touched proofs.' Whether this was done I cannot say; but they are generally considered the property of the eengraver. They must be of considerable value."

Large single prints by Miller after Turner include The Grand Canal for Hodgson and Graves, 1837; Modern Italy for F G Moon, issued as the Presentation Plate for the National Art Union in 1843; and The Rhine, Osterprey and Feltzen for D T White in 1852.

His last engraved work was a series of vignettes after Myles Birket Foster to illustrate two volumes of the poems of Thomas Hood, published by Moxon in 1871 and 1872.

The Galleries below illustrate many of his engravings and are arranged in date order (though engravings that were prepared as suites for series of annuals are presented together and cause minor disruptions of the date order).

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  This photograph of William Miller was taken by the Edinburgh photographer Tunny in about 1862.
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  The wood engraving in this obituary of William Miller is taken from the photograph by Tunny
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  Obituary of William Miller, The Scotsman, January 21, 1882
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  William Miller's engraving workroom at Hope Park
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  Millerfield House, the croquet lawn, approx 1860
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  Jane Miller, approx 1870

Artistic friends and Pupils

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  Sir Daniel Wilson, pupil of William Miller, later Principal of University College, Toronto, 1816-1892
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  William Chapman, pupil of William Miller, 1817-187?
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  James Giles, pupil of William Miller, 1809-1886
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  Dr John Brown, Author of Rab and His Friends
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  Sir J Noel Paton RSA, 1821-1901
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  Sir George Harvey PRSA, 1806-1876

• Engravings by William Miller
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  Apple Tree engraving by William Miller for William Archibald 1814
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  Botany Plate 124 engraving by William Miller for William Archibald 1817
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  Shipbuilding Plate 490 engraving by William Miller for William Archibald 1817
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  Shipbuilding Plate 491 engraving by William Miller for William Archibald 1817
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  War Plate 552 engraving by William Miller for William Archibald 1817
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  War Plate 558 engraving by William Miller for William Archibald 1817
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  Phlox carnea (Loddiges 111) drawing by William Miller engraved by G Cooke, 1818
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  Stapelia vetula (Loddiges 428) drawing by William Miller engraved by G Cooke, 1818
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  Phaca astragalina (Loddiges 429) drawing by William Miller engraved by G Cooke, 1818
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  Erica ventricosa (Loddiges 431) drawing by William Miller engraved by G Cooke, 1818
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  Pinguicula gandiflora (Loddiges 445) drawing by William Miller engraved by G Cooke, 1818
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  Olea europaeae longifolia (Loddiges 456) drawing by William Miller engraved by G Cooke, 1818
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  Erica purpurea (Loddiges 703) drawing by William Miller engraved by G Cooke, 1818
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  Erica primuloides (Loddiges 715) drawing by William Miller engraved by G Cooke, 1818
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  Calothamnus quadrifida (Loddiges 737) drawing by William Miller engraved by G Cooke, 1818
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  Human Skull plate Va, after drawing by William Miller
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  Human Skull plate Vb, after drawing by William Miller
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  Human Skull plate VI, after drawing by William Miller
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  Human Skull plate VII, after drawing by William Miller
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  Human Skull plate VIII, after drawing by William Miller
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  Human Skull plate X, after drawing by William Miller
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  Fly agaric, plate 54, engraving after R K Greville, 1823
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  Fungi, plate 171, engraving after R K Greville, 1823
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  Frontispiece, engraving after T Rickman, 1825
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  Clovelly Bay, engraving after Turner, 1826, Rawlinson 115
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  Comb Martin, engraving after Turner, 1826, Rawlinson 119
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  Portsmouth, engraving after Turner, 1826, Rawlinson 120
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  Bass Rock, engraving after Turner, 1826, Rawlinson 200
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  Ancient Sarcophagi. Plataea engraving after H W Williams, 1829
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  Ancient Temple at Corinth engraving after H W Williams, 1829
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  Caritena, Ancient Brenthe engraving after H W Williams, 1829
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  Corinth. Apocorinthus of Corinth engraving after H W Williams, 1829
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  Delphi, Castalian Fountain, on Mount Parnassus engraving after H W Williams, 1829
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  Eleusis, & Part of the Island of Salamis engraving after H W Williams, 1829
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  Mount Oleno, Peloponnesus after H W Williams, 1829
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  Mountains of Locri Ozolae, looking towards Naupactus engraving after H W Williams, 1829
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  Nemea engraving after H W Williams, 1829
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  Part of Misitra, the Ancient Sparta engraving after H W Williams, 1829
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  Parthenon of Athens engraving after H W Williams, 1829
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  Patras (Ancient Patrae) Achaia engraving after H W Williams, 1829
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  Plain of Orchomenos from Livadia engraving after H W Williams, 1829
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  Plain of Plataea, from Mount Cithaeron engraving after H W Williams, 1829
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  Promontary of Sunium from the Sea engraving after H W Williams, 1829
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  Rocks of the Strophades engraving after H W Williams, 1829
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  Temple of Minerva, Acropolis of Athens engraving after H W Williams, 1829
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  Temples of Jupiter Panhellenius, Aegina engraving after H W Williams, 1829
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  View Looking across the Isthmus of Corinth engraving after H W Williams, 1829
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  View on the Thames near Windsor, engraving after D Havell, 1829
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  Tapeworms Plate IV engraving after P Syme, 1830
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  Carrick Castle, engraving after W Brown, 1830
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  Dunfermline Palace, engraving after W Brown, 1830
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  Dunoon Castle, engraving after W Brown, 1830
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  Dunstuffnage Castle, engraving after W Brown, 1830
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  Falkland Palace, engraving after W Brown, 1830
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  Kildrummie Castle in Mar, engraving after W Brown, 1830
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  Court of Linlithgow Palace, engraving after W Brown, 1830
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  Linlithgow Palace, engraving after W Brown, 1830
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  Lochmaben Castle, engraving after W Brown, 1830
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  Rothsay Castle Bute, engraving after W Brown, 1830
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  Roxburgh Castle, engraving after W Brown, 1830
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  Scone Palace, engraving after W Brown, 1830
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  Traquair, engraving after W Brown, 1830
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  Lake of Como engraving after S Prout, 1830
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  Borghese Palace, Rome engraving after Samuel Prout, 1831
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  Isola Bella, Lago Maggiore engraving after J D Harding, 1832
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  The Seashore, Cornwall engraving by William Miller after R P Bonington, 1831
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  Marly (Rawlinson 327) engraving after Turner, 1832
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  Palace of La Belle Gabrielle on the Seine (Rawlinson 331) engraving after Turner, 1834
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  The Bandit's Home, engraving after J V Barber, 1832
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  Delos, engraving after D Havell, 1832
• Side and end views of a locomotive engine similar to the Planet employed on the Liverpool and Manchester Railway manufactured by Messrs. Rob. Stephenson & Co., Newcastle upon Tyne engraving by William Miller after J Kindar, 1832
  Side and end views of a locomotive engine similar to the Planet employed on the Liverpool and Manchester Railway manufactured by Messrs. Rob. Stephenson & Co., Newcastle upon Tyne engraving by William Miller after J Kindar, 1832
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  Llanercost Priory, Cumberland, engraving after T Allom, 1832
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  Newcastle-upon-Tyne, from New Chatham, Gateshead, engraving after T Allom, 1832
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  North and South Shields, Taken from the Rocks near Teignmouth, engraving after T Allom, 1832
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  Ullswater from Pooly Bridge, engraving after T Allom, 1832
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  Sunset (after Claude) engraving on page after G Barrett, 1832
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  Sunset (after Claude) engraving after G Barrett, 1832
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  Mount Aetna (after Claude) engraving on page after Richard P Bonington, 1832
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  Mount Aetna (after Claude) engraving after Richard P Bonington, 1832
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  Richmond Hill engraving on page after G Barrett, 1832
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  Richmond Hill engraving after G Barrett, 1832
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  The Halt in the Desert engraving on page after D Roberts RA, 1832
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  The Halt in the Desert engraving after D Roberts RA, 1832
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  The Wreck engraving after S Williamson, 1833
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  Tomb of Humaioon Delhi, engraving after W Purser, 1833
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  Delhi, engraving after W Purser, 1833
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  Thubare, engraving after S Austin, 1833
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  Seven-storied Palace at Bejapore, engraving after S Prout, 1833
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  The British Residency at Hyderabad, engraving after Capt. Grindley, 1834
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  A Garden, Rawlinson 373
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  Old Manor House, Rawlinson 380
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  Venice, The Rialto - Moonlight, Rawlinson 386
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  Loch Lomond, Rawlinson 396
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  Nantes, Rawlinson 432
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  Nantes frontispiece, Rawlinson 432
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  Between Clairemont and Mauves, Rawlinson 447
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  Chateau de Nantes, Rawlinson 452
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  Rouen, Rawlinson 466
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  Rouen St Catherine's Hill, early proof engraving Rawlinson 468
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  Rouen St Catherine's Hill Rawlinson 468
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  Pont Neuf, Paris, Rawlinson 486
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  Melun, Rawlinson 491
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  Dumbarton Castle engraving after Turner, 1834, Rawlinson 518
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  Brussels engraving after Turner, 1834, Rawlinson 519
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  Hougemont proof engraving after Turner, 1834, Rawlinson 520
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  New Abbey, near Dunfries engraving after Turner, 1834, Rawlinson 521
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  Norham Castle, Moonrise engraving after Turner, 1834, Rawlinson 522
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  Jerusalem engraving after Turner, 1834, Rawlinson 523
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  Jerusalem proof engraving after Turner, 1834, Rawlinson 523
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  Brienne engraving after Turner, 1834, Rawlinson 527
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  Venice, the Campanile engraving after Turner, 1834, Rawlinson 528
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  Placenza engraving after Turner, 1834, Rawlinson 529
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  Placenza proof engraving after Turner, 1834, Rawlinson 529
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  Verona engraving after Turner, 1834, Rawlinson 530
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  Vincennes engraving after Turner, 1834, Rawlinson 531
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  Vincennes proof engraving after Turner, 1834, Rawlinson 531
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  St Cloud engraving after Turner, 1834, Rawlinson 532
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  Mayence engraving after Turner, 1834, Rawlinson 533
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  Mayence proof engraving after Turner, 1834, Rawlinson 533
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  The Simplon engraving after Turner, 1834, Rawlinson 535
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  Paris from Pere-la-Chaise engraving after Turner, 1834, Rawlinson 536
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  Paris from Pere-la-Chaise proof engraving after Turner, 1834, Rawlinson 536
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  Malmaison engraving after Turner, 1834, Rawlinson 537
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  Fontainebleau engraving after Turner, 1834, Rawlinson 538
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  Fontainebleau proof engraving after Turner, 1834, Rawlinson 538
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  Chiefswood Cottage engraving after Turner, 1834, Rawlinson 541
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  Chiefswood Cottage, engraved frontispiece by William Miller after Turner, 1834 Rawlinson 541
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  The Rhymer's Glen engraving after Turner, 1834, Rawlinson 542
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  Edinburgh from St Anthony's Chapel engraving after Turner, 1834, Rawlinson 543
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  Craigmillar Castle engraving after Turner, 1834, Rawlinson 546
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  Dunstaffnage engraving after Turner, 1834, Rawlinson 547
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  Linlithgow engraving after Turner, 1834, Rawlinson 548
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  Linlithgow proof engraving after Turner, 1834, Rawlinson 548
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  Glencoe engraving after Turner, 1834, Rawlinson 549
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  Glencoe proof engraving after Turner, 1834, Rawlinson 549
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  Killiecrankie engraving after Turner, 1834, Rawlinson 550
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  Killiecrankie proof engraving after Turner, 1834, Rawlinson 550
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  Inverness engraving after Turner, 1834, Rawlinson 551
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  Fort Augustus engraving after Turner, 1834, Rawlinson 552
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  Craig Crook Castle, near Edinburgh engraving after D O Hill, 1834
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  Botallack Mine, Cornwall engraving after C Stanfield, 1836
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  Hastings engraving after C Stanfield, 1836
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  Havre de Grace engraving after C Stanfield, 1836
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  The Dead Eagle - Oran engraving after Turner, 1837, Rawlinson 632
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  Straits of Dover, engraving after Turner, 1838, Rawlinson 221
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  Great Yarmouth, Norfolk, engraving after Turner, 1838. Rawlinson 234
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  Stamford, Lincolnshire, engraving after Turner, 1838, Rawlinson 241
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  Windsor Castle, Berkshire, engraving after Turner, 1838, Rawlinson 253
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  Chatham, Kent, open etching, engraving after Turner, 1838, Rawlinson 262
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  Chatham, Kent, engraving after Turner, 1838, Rawlinson 262
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  Carew Castle, Pembroke, engraving after Turner, 1838, Rawlinson 275
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  Durham Cathedral, engraving after Turner, 1838, Rawlinson 297
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  Ayr from Brown Carrick Hill after D O Hill, 1840
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  Ayr Market Cross after D O Hill, 1840
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  Banks of Doon after D O Hill, 1840
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  Bruar Water Upper Fall after D O Hill, 1840
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  Cassilis Castle after D O Hill, 1840
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  Culzean Castle with the Fairy Coves after D O Hill, 1840
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  Dunure Castle Carrick Shore after D O Hill, 1840
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  Loch Turit after D O Hill, 1840
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  Athens after D McKenzie, 1840
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  Lake of Geneva after D McKenzie, 1840
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  The Watering Place after Thomas Gainsborough, 1840
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  Tynemouth Priory, Rawlinson 641
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  Flamborough Head, proof engraving after John Martin
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  Evening, engraving after John Martin
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  The Minstrel engraving after D O Hill
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  Sunrise engraving after A B Johns
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  St Michael's Mount engraving after Bentley
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  The Giving of the Law after John Martin, 1844
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  The Deluge after John Martin, 1844
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  Entrance to Loch Skavaig, Skye engraving after Rev John Thomson, 1846
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  Kilchurn Castle, Loch Awe engraving by William Miller after J M W Turner, Rawlinson 664 first published state, 1847
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  Lochnaw, proof engraving after R K Greville, 1850
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  The Rhine - Osterprey and Feltzen, Rawlinson 669, 1852
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  Italian Goatherds, detail from engraving after R S Lauder, 1853
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  "The toil-worn cottar frae his labour goes" engraving after John Faed, from The Cotter's Saturday Night, Royal Association for the Promotion of the Fine Arts in Scotland, 1853
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  "Th' expectant wee things, toddlin, stacher thro'" engraving after John Faed, from The Cotter's Saturday Night, Royal Association for the Promotion of the Fine Arts in Scotland, 1853
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  View of Ayr, vignette frontispiece engraving afer John Faed, 1855
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  The Port of London, engraving after Samuel Bough, 1863
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  Tulleveolan, engraving after William Leitch, 1865
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  Dryburgh Abbey: the Grave of Scott, engraving after J A Bell, 1847
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  Pool of Thames, engraving after Sir A W Calcott, 1848
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  Prince of Orange Landing at Torbay, engraving after Turner, 1852, Rawlinson 739
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  The Watering Place, engraving after T Gainsborough, 1853
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  Dover - the Landing of Prince Albert, engraving after W Knell, 1857
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  Vietri, engraving after Clarkson Stanfield, 1859
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  The Shipwreck, engraving after Turner, 1861, Rawlinson 694
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  The Battle of Trafalgar, engraving after Turner, 1863, Rawlinson 698
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  Spithead, engraving after Turner, 1862, Rawlinson 699
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  Line Fishing off Hastings, engraving after Turner, 1863, Rawlinson 728
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  Modern Italy, engraving after Turner, 1875, Rawlinson 736
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  Wreck off Hastings, engraving after Turner, 1866, Rawlinson 740
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  Bethlehem, engraving after W L Leitch, 1866
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  Jerusalem from the Mount of Olives, engraving after H Warren, 1866
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  Antioch in Syria from the South West, engraving after H Warren, 1866
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  The Town and Isthmus of Corinth, engraving after S Bough, 1866
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  Peterborough, unpublished engraving after Birket Foster, 1868
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  Stratford, unpublished engraving after Birket Foster, 1868
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  Bolton Abbey engraving by William Miller after Henry Warren, 1871
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  Stratford, touched proof after Birket Foster, Hood's Poems, Moxon 1872
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  Hastings, touched proof after Birket Foster, p66, Hood's Poems, Moxon 1872
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  Hastings Beach, touched proof after Birket Foster, p67, Hood's Poems, Moxon 1872
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  Hastings Beach, touched proof after Birket Foster, p67, Hood's Poems, Moxon 1872
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  Hastings 'Boiling Sea', touched proof after Birket Foster, p71, Hood's Poems, Moxon 1872
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  Hastings 'Boiling Sea', touched proof after Birket Foster, p71, Hood's Poems, Moxon 1872

Ref: A Catalogue of Engravings by William Miller HRSA 1818 - 1871 By WFM (William F Miller, his eldest son), Published privately in 1886 Memorials of Hope Park comprising some particulars in the life of our dear father William Miller, together with a list of his engravings. By WFM (William F Miller, his eldest son), Published privately in 1886