• Marsh Street, Bristol -
    Price on request

    Watercolour over pencil with touches of gum arabic

    16.7 by 11.1 cm., 6 5/8 by 4 3/8 in.

     

    Provenance:

    Rev. James Bulwer (1794-1879), by descent;

    The Palser Gallery, St James?s, London;

    Unidentified auction, 24 March 1981, lot 53;

    Christopher and Rosemary Warren until 2020

     

    Exhibited

    The Palser Gallery, 27 King Street, St James?s, no. 51

     

    Marsh Street lies in the centre of Bristol, St Stephen?s church which lies on nearby Baldwin Street can be seen clearly from Marsh Street.

     

    The Rev. James Bulwer (1794-1879) was a pupil of John Sell Cotman and the owner of a fine collection of British watercolours.

  • Twlight, Egypt -
    Price on request

    Signed and inscribed verso: I sketched this by the Twilight Decmber 27th/not that the scene is anything more than?/I have regarded a hundred times in?/but because I saw the figures in the (spot)/they strongly reminded me of two?./(Agar in the desert) or the Good Sam(aritan)/The scene is application to either?/WM

    Watercolour over pencil heightened with bodycolour and gum arabic

    16.8 by 27.3 cm., 6 ? by 10 ? in.

     

    Provenance:

    James Orrock (1829-1913);

    Sir James Dromgole Linton (1840-1916);

    Anonymous sale, Christie?s, 20th April 1896, lot 69;

    Albany Gallery, London

     

    Literature:

    Francis Greenacre and Sheena Stoddard, W.J. M?ller 1812-1845, 1991, p.116, no. 102, ill.

     

    Exhibited:

    Bristol Art Gallery, W.J. M?ller, 7th September ? 17th November 1991, no.102


    This dates from M?ller?s tour of Greece and Egypt in 1838-39. He left Bristol in September 1838 and spent six weeks in Athens before continuing to Alexandria in early November. M?ller was excited by the novelty of Egypt since ? ?a halo of mystery still lingered around this land of the ancient East.? (see Cyril Bunt, The Life and Work of William James M?ller of Bristol, 1948, p.37). 

    The crowded streets, exotic costumes and bazaars enthralled M?ller, especially in Cairo, and he subsequently sailed up the Nile as far as Luxor, Karnak and the Valley of the Kings. He returned to Bristol in the Spring of 1839.

  • Study of North African Figures -
    Price on request

    Watercolour

    10.1 by 15.1 cm., 4 by 6 in.

     

    Provenance:

    Anonymous sale, Sotheby?s, 31st January 1990, lot 7 (part)


    This dates from M?ller?s tour of Greece and Egypt in 1838-39. He left Bristol in September 1838 and spent six weeks in Athens before continuing to Alexandria in early November. M?ller was excited by the novelty of Egypt since ? ?a halo of mystery still lingered around this land of the ancient East.? (see Cyril Bunt, The Life and Work of William James M?ller of Bristol, 1948, p.37). 

    The crowded streets, exotic costumes and bazaars enthralled M?ller, especially in Cairo, and he subsequently sailed up the Nile as far as Luxor, Karnak and the Valley of the Kings. He returned to Bristol in the Spring of 1839.

  • A Thatched Cottage in a Wood -
    Price on request

    Signed or inscribed lower right: Wm Muller 1838

    Oil on board

    30 by 38 cm., 11 ? by 15 in.

     

    Literature:

    Francis Greenacre and Sheena Stoddard, W.J. M?ller 1812-1845, 1991, p.102, no. 78, ill.

     

    Exhibited:

    Bristol Art Gallery, W.J. M?ller, 7th September ? 17th November 1991, no.78

     

    Greenacre and Stoddart (op.cit.) suggest that this oil sketch was painted on the spot which is unusual in M?ller?s work. A later inscription on the reverse reads: `Bourton near Gillingham.? This is likely to be Flax Bourton or Bourton Combe which is about five miles outside Bristol.

  • Fisherman by a Lock -
    Price on request

    Oil on canvas

    35 by 25.5 cm., 13 ? by 10 in.

     

    Provenance:

    L.J. Cave, 75 Chester Square, London

  • A Stream in a Sunlit Glade -
    Price on request

    Watercolour over pencil heightened with bodycolour and scratching out, with arched top

    35 by 53.3 cm., 13 ? by 21 in.

     

  • On the river Lynn at Lynmouth, Devon -
    Price on request

    Signed with initials lower left: Lynmouth WM/44

    Watercolour over pencil heightened with bodycolour and gum arabic

    34.7 by 52.9 cm., 13 1/2 by 20 3/4 in.

     

    Muller returned from his journey to Lycia in Turkey with the archaeologist Sir Charles Fellows in May 1844 and immediately went to stay with his brother Edmund Gustavus, also an artist in Bristol. In July the two brothers, together with another Bristol artist William West, travelled down to Lynmouth in Devon where they stayed for two months. There he completed four or five oil paintings and a number of watercolours, many of which are inscribed 'Lynmouth.'

  • Cascades on a river in a wooded Landscape, possibly Swallow Falls, Betws-y-Coed -
  • Dhows on the Nile, Egypt -
    Price on request

    Watercolour over pencil

    13 by 36 cm., 5 by 14 inches

     

    Provenance:

    Bill Thomson, his sale, Sotheby?s, 25th November 1999, lot 56;

    Private collection, UK, until 2011

     

    This dates from M?ller?s tour of Greece and Egypt in 1838-39. He left Bristol in September 1838 and spent six weeks in Athens before continuing to Alexandria in early November. M?ller was excited by the novelty of Egypt since ?`a halo of mystery still lingered around this land of the ancient East?. M?ller was only twenty-six and, with his exceptionally fine eye for colour, light and shade, his imagination must have been fired by everything he saw (see Cyril Bunt, The Life and Work of William James M?ller of Bristol, 1948, p.37).

     

    The crowded streets, exotic costumes and bazaars enthralled M?ller, especially in Cairo, and he subsequently sailed up the Nile as far as Luxor, Karnak and the Valley of the Kings. He returned to Bristol in the Spring of 1839. Two other Nile views by M?ller are in the British Museum (see Greenacre and Stoddard, W.J. M?ller 1812-1845, exhibition catalogue, 1991, nos. 100 and 101, ill.).

  • Near Subiaco, Italy -
    Sold

    Inscribed verso: Near Subeago, Italy

    Watercolour over pencil heightened with bodycolour, stopping out and gum arabic

    22 by 34 cm., 8 1/2 by 13 in.

     

    Provenance:

    Norman D. Newall (1888-1952), his sale, Christie's, 13th December 1979, lot 52

     

    Subiaco lies in Lazio, in central Italy, about 25 miles from Tivoli on the river Aniene. It was where the first printing press was established in Italy in 1465.

  • Titian's House, Venice -
    Sold

    Signed lower right: Titians Palace/WMuller 
    Pencil on Whatman paper dated 1833 
    43.3 by 28.1 cm., 17 by 11 in.

    In an early biography of the artist, Solly wrote that ?To visit Venice had been the goal of M?ller?s ambition for months, if not years. Most thoroughly did he enter heart and soul into the wondrous time-worn beauty of this floating city? (N. Neal Solly, Memoir of the Life of William M?ller, 1875, p.39). He and Fripp spent two months in Venice, continuing south to Florence on 22nd November. They visited many palazzos and galleries and M?ller was particularly impressed by the work of Titian and Tintoretto. Titian lived near the Fondamenta Nuove in the north of Venice.
  • The Grand Canal, Venice -
    Sold

    Inscribed lower right: Grand Canal Venice 
    Pencil 
    28.2 by 44.3 cm., 11 by 17 1/4 in. 

    This is a view looking north up the Grand Canal from near the Accademia with the imposing facade of the Ca Rezzonico on the left. Muller stayed at the Albergo dell'Europa opposite the Dogana while he was in Venice. 
  • A North African Market Scene -
    Sold

    Watercolour over pencil

    28 by 18.2 cm., 11 by 7 in.

     

    Provenance:

    Anonymous sale, Sotheby's, 31st January 1990, lot 7 (part)


    This dates from Muller's tour of Greece and Egypt in 1838-39. He left Bristol in September 1838 and spent six weeks in Athens before continuing to Alexandria in early November. Muller was excited by the novelty of Egypt since `a halo of mystery still lingered around this land of the ancient East.' (see Cyril Bunt, The Life and Work of William James Muller of Bristol, 1948, p.37).

     

    The crowded streets, exotic costumes and bazaars enthralled Muller, especially in Cairo, and he subsequently sailed up the Nile as far as Luxor, Karnak and the Valley of the Kings. He returned to Bristol in the Spring of 1839.


  • A Bridge over a River in a Wooded Landscape -
    Sold

    Signed lower right: WMuller/1836.

    Oil on canvas

    26.1 by 36.7 cm., 10 1/4 by 14 1/2 in.

     

    Provenance:

    The Gyrn Castle House sale, Christie's, 17th July 2006, lot 158, where bought by the present owner

  • A River in a Wooded Landscape -
    Sold

    Watercolour and bodycolour over pencil

    29.4 by 45.6 cm., 11 ? by 18 in.

     

  • The artist's studio, probably 22 Charlotte Street, London -
    Sold

    Signed with the artist's monogram lower right: WJM

    Pencil on blue-grey laid paper, watermarked Snelgrove's / 1829;

    19.1 by 30.4 cm., 7 by 12 in.

     

    Provenance:

    Sale, London, Sotheby's, 26 March 1975, lot 195,

    where acquired by Cyril and Shirley Fry.

     

    Exhibited:

    Bristol, Museum and Art Gallery, William James Muller 1812-1845, 1991, no. 179

     

    Francis Greenacre and Sheena Stoddard have dated the present drawing to circa 1840. The painting on the easel is of an Egyptian scene and M?ller only returned from Egypt in spring 1839 and moved to London. At Charlotte Street, the artist has rooms including the studio on the first floor. The figures depicted are likely to include M?ller?s pupil Edward Dighton and his friend James Chisholme Gooden.

  • The Round Tower at Andernach on the Rhine -
    Sold


    Signed with initials lower right: Andernach 1834/wm

    pencil

    44.2 by 29.1 cm., 17 ¼ by 11 ½ inches

     


    Provenance:

    Robert H. Edmondson;

    By descent to T.A. Edmondson;

    With the Sabin Gallery, London;

    With the Motcombe Galleries, London

     


    The `Round Tower’, completed in 1453, is part of the medieval fortifications of Andernach which stands on the Rhine several miles north of Koblenz.



  • Heidelberg from the banks of the river Neckar, Germany -
    Sold

    Signed with initials lower centre: Entrance to Heidelberg 1834 WM. August.

    pencil

    41.7 by 28.2 cm., 16 ¼ by 11 inches

     

    Provenance:

    Robert H. Edmondson;

    By descent to T.A. Edmondson;

    With the Sabin Gallery, London;

    With the Motcombe Galleries, London

     

    This dates from Müller’s seven month tour of the continent with his fellow artist George Arthur Fripp in the summer of 1834 and early 1835. They crossed the Channel in mid July and continued to Cologne. From there, they walked down the banks of the Rhine to Heidelberg which was their first prolonged stop.

  • The Theatre of Xanthus, Lycia -
    Sold

    Signed lower left: Theatre of Xanthus WM.1843

    Watercolour over pencil, with collector's mark lower right

    37.4 by 55.7 cm., 14 ? by 21 ? inches

     

    Provenance:

    Thomas George Baring, 1st Earl of Northbrook (1826-1904);

    S. Rowland Pierce, his Executors' sale in these Rooms, 17th October 1968, lot 113, bt. Langham;

    Dr Theodore Besterman, his sale, Christie's, 14th December 1971, lot 74, bt. Agnew;

    A Deceased Estate sale, Sotheby's, 25th November 2004, lot 194, bt. by the present owner

     

    Exhibited:

    Brighton Art Gallery, 1962, no.69

     

    This dates from the most important sketching tour of Muller's career, in Lycia in modern day Turkey in the winter of 1843-44. He left England with his pupil Harry John Johnson (1826-1884) on 12th September 1843 and after stopping for supplies at Smyrna met up with the archaeologist Sir Charles Fellowes, who had organised the expedition, at the mouth of the river Xanthus. On 1st November they walked the six miles to Xanthus, the ancient capital of Lycia and they remained in the area for three months. Muller worked constantly, despite the bad weather, and developed a looser more confident style and worked on a larger scale than he had before.

     

    He returned with `one or two hundred drawings? (N. Neal Solly, Memoir of the Life of William Muller, 1875, p.200, letter from M?ller to J. Satterfield, 12th February 1844) which were widely recognised as the finest achievement of his career. They were shown at a meeting of London's Graphic Society in January 1845 and then not until after his sudden death aged 33, only eighteenth months after his return. They were exhibited at the Bristol Institution, along with other works, before being sold in London. The Bristol Gazette described them thus: `The great characteristic of the sketches is their freedom and spirit ? a bold, comprehensive, almost daring ? and yet most natural ? grasping of the subject?.? (Bristol Gazette, 5th March 1846, p.3). For more on M?ller?s Lycian trip, see Greenacre and Stoddart, W.J. Muller, exhibition catalogue, 1991, p. 142-145.

     

    This is a view of the remains of Xanthus.  In the foreground is a typical Lycian house tomb where the stone has been hewn to imitate wooden roof beams.  The Roman amphitheatre is behind and probably dates from the 2nd century AD.  It is relatively intact, with only the upper rows of the auditorium missing, having been used as construction material for later buildings.  On the far right is the top of the Pillar tomb, an unusual funeral monument in Lycia, as it is actually two tombs in one and it is likely to date from the 4th or 3rd centuries B.C.

  • On the River Lynn, Devon -
    Sold

    Signed and dated 1844 lower left

    Watercolour heightened with bodycolour

    330 x 525 mm., 13 x 20 ¾ in.

     

    Provenance:

    With Guy Peppiatt Fine Art, 2005;

    Private Collection, UK

     

    This dates from Müller's visit to Lynmouth in May 1844 with his brother and William West, another artist. He was `charmed with its quiet beauty' (see Cyril G.E. Bunt, The Life and Work of William James Müller of Bristol, 1948, p.47).

  • The Room of Marie de Medici, Chateau of Blois, France -
    Sold

    Signed and dated 1841 lower left

    Watercolour heightened with touches of bodycolour and scratching out

    19.5 by 27.1 cm., 7 ¾ by 10 ½ inches

     

    In the Spring of 1840, Müller was commissioned by Messrs Hodgson and Graves of Pall Mall to produce forty watercolours of French views which related to the Renaissance period of Francis I. Of these forty, twenty-six were to be lithographed for a book `Sketches of the Age of Francis I’. Müller left from Southampton with his pupil Edward Dighton in early June and visited various sites in Normandy reaching Paris on the 17th. After a month there and at Fontainebleau, he visited Orleans, Blois and the Loire valley before returning to England from St Malo in September.  A watercolour of this view was published as plate XIII of `Sketches of the Age of Francis I’ in 1841, but with different figures.

     

    Provenance:

    John Edward Taylor (1830-1905)

     

    Exhibited:

    Leeds City Art Gallery, National Exhibition of Works of Art, 1868, no.15;

    Birmingham, City Museum and Art Gallery, a Loan Collection of Paintings in Oil and Water-colours by William J. Müller, 1896

  • Wooded Landscape with Sheep -
    Sold

    Signed lower left: W. Muller 1843

    Oil on panel

    22.8 by 40 cm., 9 by 15 ¾ in.

     

    Provenance:

    Anonymous sale, Christie's, 10th June 2003, lot 62;

    Private Collection until 2019

  • Bull Paunch Lane, Bristol -
    Sold

    Signed lower left: WMuller 1836. and inscribed with title verso

    Black chalk heightened with white on buff paper

    36.9 by 26.1 cm., 14 ½ by 10 ¼ in.

     

    Bull Paunch Lane is now called Lawford St and runs off Old Market. A smaller undated version of this drawing is in Bristol City Art Gallery (see Francis Greenacre and Sheena Stoddard, W.J. Muller, exhibition catalogue, 1991, no.16, p. 64, ill.).

     

Thumbnail panels:
Now Loading