James Smillie was born in Edinburgh, Scotland, on 23 November 1807. His father was a silversmith. James was fascinated from a young age by the art of engraving silver objects, witnessed at his father's business. He soon became determined to learn the art himself, though his mother held him back for some time, saying he was far too young.
But the young James, only twelve at the time, was rather persistent and so ended up being an apprentice at the Edinburgh studio of James Johnston, a well-known silver engraver. This was short-lived, due to the sudden death of said Johnston, and another apprenticeship followed, this time in the studio of Edward Mitchell. This, however, was cut short as well, because in 1821, the whole family emigrated to Quebec, Canada.
James' father started his own silversmith shop in Quebec and employed James, who set to work developing his engraving skills. He soon moved from engraving names in rings, etc, to more elaborate engravings for visiting cards. Soon after, he would open his own engraving shop, together with his elder brother David. Business was booming, as the local regiment came to them for engraving their ornaments and crests. Later, father and sons would combine their shops in a better part of town, to attract more business. All the while, James developed his engraving and artistic talents. He received a number of orders for engraving various scenes.
In 1827, Smillie got the opportunity to sail to England, where he would be able to get better training as a landscape and portrait engraver. While finding no luck in London, he returned to his home town of Edinburgh where he managed to be taken in and trained by Andrew Wilson. For the first time, Smillie was able to seriously study the art of engraving and he made great strides.
After some five months, Smillie returned to Canada. After the sudden death of their father, both brothers moved to the United States in 1830, in search of better job opportunities.
James’ career flourished and he became known for his quality engravings, which made the major banknote printing firms sit up and pay attention. In 1861, the National Bank Note Co hired him as Master Engraver.
In 1869, Smillie engraved the vignette for a 30c US definitive. It depicted John Trumbull's painting of Burgoyne's surrender at Saratoga. Die proofs were made but the stamp was rejected at the final stage, because the authorities were afraid it might offend the British. The painting did eventually appear on a 1927 stamp, engraved by John Eissler, but the general consenus is that Smillie's version is much superior and much more detailed, even though the 1927 engraving is about four times as large.
Several other vignettes engraved by Smillie for that 1869 set did eventually end up on stamps. The scenes depicted on the 12c, 15c and 24c are by his hand.
Die proofs exist which show that the vignette of the 24c was originally meant to be used for the 10c value. That 24c is considered the most difficult engraving ever produced for a US stamp. The illustration, after Trumbull's painting of the Declaration of Independence, included all 42 figures seen on the large painting as well. Smillie even managed to give the six main figures a likeness which is uncanny seeing the tiny format of the portraits.
The engraving of the 3c of that set, depicting a locomotive, is actually also an engraving by Smillie, but an existing one. Smilie had made the engraving, part of a larger scene named 'The Crossing' for an 1861 $500 banknote of Montgomery, Alabama. The original engraving was reduced slightly for use on the 1869 postage stamp.
James Smillie retired in 1874 but remained active as an engraver, even doing the odd job for the ABNC. He passed away on 5 December 1885.
The Smillie family were an incredibly artistic family, with James’ brother William Cumming and his son Walter de Forest Smillie, as well as one of James’ own sons, James David, being stamp engravers.
You will find James Smillie's database HERE.
But the young James, only twelve at the time, was rather persistent and so ended up being an apprentice at the Edinburgh studio of James Johnston, a well-known silver engraver. This was short-lived, due to the sudden death of said Johnston, and another apprenticeship followed, this time in the studio of Edward Mitchell. This, however, was cut short as well, because in 1821, the whole family emigrated to Quebec, Canada.
James' father started his own silversmith shop in Quebec and employed James, who set to work developing his engraving skills. He soon moved from engraving names in rings, etc, to more elaborate engravings for visiting cards. Soon after, he would open his own engraving shop, together with his elder brother David. Business was booming, as the local regiment came to them for engraving their ornaments and crests. Later, father and sons would combine their shops in a better part of town, to attract more business. All the while, James developed his engraving and artistic talents. He received a number of orders for engraving various scenes.
In 1827, Smillie got the opportunity to sail to England, where he would be able to get better training as a landscape and portrait engraver. While finding no luck in London, he returned to his home town of Edinburgh where he managed to be taken in and trained by Andrew Wilson. For the first time, Smillie was able to seriously study the art of engraving and he made great strides.
After some five months, Smillie returned to Canada. After the sudden death of their father, both brothers moved to the United States in 1830, in search of better job opportunities.
In 1869, Smillie engraved the vignette for a 30c US definitive. It depicted John Trumbull's painting of Burgoyne's surrender at Saratoga. Die proofs were made but the stamp was rejected at the final stage, because the authorities were afraid it might offend the British. The painting did eventually appear on a 1927 stamp, engraved by John Eissler, but the general consenus is that Smillie's version is much superior and much more detailed, even though the 1927 engraving is about four times as large.
Several other vignettes engraved by Smillie for that 1869 set did eventually end up on stamps. The scenes depicted on the 12c, 15c and 24c are by his hand.
Die proofs exist which show that the vignette of the 24c was originally meant to be used for the 10c value. That 24c is considered the most difficult engraving ever produced for a US stamp. The illustration, after Trumbull's painting of the Declaration of Independence, included all 42 figures seen on the large painting as well. Smillie even managed to give the six main figures a likeness which is uncanny seeing the tiny format of the portraits.
The engraving of the 3c of that set, depicting a locomotive, is actually also an engraving by Smillie, but an existing one. Smilie had made the engraving, part of a larger scene named 'The Crossing' for an 1861 $500 banknote of Montgomery, Alabama. The original engraving was reduced slightly for use on the 1869 postage stamp.
James Smillie retired in 1874 but remained active as an engraver, even doing the odd job for the ABNC. He passed away on 5 December 1885.
The Smillie family were an incredibly artistic family, with James’ brother William Cumming and his son Walter de Forest Smillie, as well as one of James’ own sons, James David, being stamp engravers.
You will find James Smillie's database HERE.