Joseph Mallord William Turner

Palaces on the Grand Canal, Venice, from the Junction with the Rio di Ca’ Foscari, with the Rialto Bridge in the Distance

1819

View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Artist
Joseph Mallord William Turner 1775–1851
Medium
Graphite on paper
Dimensions
Support: 112 x 185 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D14453
Turner Bequest CLXXV 72

Catalogue entry

Inverted relative to the sketchbook’s foliation, the drawing continues across folio 71 verso opposite (D14452), from a viewpoint at the entrance to the Rio di Ca’ Foscari, looking east across the bend of the Grand Canal at this point. On the present page the view is continued east-north-east in the direction of the Rialto Bridge, the southern half of which is just visible below the adjacent campanile of San Bartolomeo, itself bracketed by the pinnacles and dome of Santi Giovanni e Paolo, about half as far again beyond the bridge. With the distinctive twin obelisk finials of the Palazzo Papadopoli above the bridge in the distance, the Palazzo Balbi looms in the left foreground.1
Finberg related the overall view to a painting of about 1735 by Canaletto (1697–1768) of Venice: A Regatta on the Grand Canal (National Gallery, London), from a higher viewpoint (likely the Ca’ Foscari), noting minor changes to the buildings between Canaletto’s, Turner’s and his own times.2 He also noted Turner’s ‘P Pisani’ as indicating the Palazzo Pisani Moretta, which contained a Veronese painting Turner had been asked to ‘observe particularly’, as discussed by Nicola Moorby in entries for the contemporary Route to Rome sketchbook (Tate D13904–D13905; Turner Bequest CLXXI 24a–25),3 and that the chance, distance glimpse of Santi Giovanni e Paolo here is Turner’s only exterior record of the imposing church he visited to see Titian’s St Peter Martyr altarpiece, as discussed under folio 40 verso (D14390).4
Keith Andrews5 and Lindsay Stainton6 have compared the view in the 1840 watercolour Palazzo Balbi on the Grand Canal (National Galleries of Scotland).7 Stainton has also noted the present drawing in relation to another 1840 watercolour, from the Grand Canal and Giudecca sketchbook (Tate D32136; Turner Bequest CCCXV 20).8 For other drawings made in the vicinity and an overview of Turner’s coverage of Venice, see the sketchbook’s Introduction.
In his 1909 Inventory, Finberg listed this page as having been ‘Exhibited drawings, No.602e, N.G.’ in the early National Gallery sequence, which he amended in his interleaved copy, crossing out the ‘e’ and inserting ‘f’.9 As the published topographical titles make clear, 602e was actually folio 61 recto (D14431). Evidently confused, the Turner scholar C.F. Bell annotated another copy: ‘?No View looking up the Grand Canal towards the Rialto’.10 For an attempt to clarify the difficulties arising out of the extraction of twelve leaves for display and their subsequent restoration to the sketchbook, see the technical notes in the Introduction.
1
See Finberg 1930, p.45.
2
Ibid.
3
Ibid.
4
Ibid., p.54.
5
See Andrews 1980, p.32.
6
See Stainton 1985, p.56.
7
Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, p.465 no.1372, reproduced.
8
See Stainton 1985, p.56.
9
Undated MS note by A.J. Finberg (died 1939) in interleaved copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.515.
10
Undated MS note by C.F. Bell (died 1966) in copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.515.

Matthew Imms
March 2017

1
MS note by Finberg in interleaved copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.515.
2
Finberg 1930, pl.VII; Finberg noted (p.vii) that the photographs for the book had been taken before the disaster; Ian Warrell queried the absence of the stain and signs of exposure in Finberg’s reproduction (undated notes, Tate catalogue files).

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