There's some more examples here:

http://www.spd.org/images/blog/24001_1370874679711_1467086047_969381_298...

http://www.spd.org/images/blog/24001_1370874479706_1467086047_969379_976...

Miller by Fontbureau is very close.

Peter,

This is Brunel by Paul Barnes. You can find more information here and here. The models for this face, which is a British Modern, are a bit later than the models for Matthew Carter's Miller, which is a Scotch Roman. Contact us at info (at) commercialtype.com if you are interested in details on how to license this family.

Thanks for the reply. I should've known that it's by Paul Barnes, because I had earlier been looking at Austin, where I can see a lot of similarities - especially in the italics.

But thanks for the info, and I'll get back to you, if I need info on getting a license for this one.

Sorry to contradict my esteemed colleague and partner at Commercial Type, but Brunel for the most part uses models that are earlier than Miller. Brunel draws most of its inspiration from the moderns that Mrs Henry Caslon started producing around 1796, believed to be cut by John Isaac Drury. Some of the punches have survived and are at St Bride Printing Library. Miller draws on the Wilson specimen of 1812, and the Miller specimen of 1813, though in a looser manner than Brunel sticks to Drury. For example the lower case g clearly belongs to Wilson’s English No. 1 circa 1789, the model for Mardersteig’s Fontana and David Quay’s Wilson. For a more detailed analysis see James Mosley’s article
http://typefoundry.blogspot.com/2007/02/scotch-roman.html

Of course the reality is that Scotch Romans and British Moderns are quite close, and Miller and Brunel share much of the same DNA, which Mosley covers so well in the English Vernacular (Motif 11)