The Turner scholar C.F. Bell annotated Finberg’s 1909 Inventory entry (‘Bridge on the Riva degli Schiavone’): ‘Probably Ponte della Pietà’.1 The work’s title was amended in recent years as ‘Venice: The Ponte della Veneta Marina on the Riva degli Schiavoni’,2 in the wake of Tate’s near-comprehensive Turner and Venice exhibition, when it was not exhibited or reproduced, likely on account of its relatively poor condition (see the technical notes).
The Ponte della Veneta Marina is at the entrance to the Rio della Tana, south of the Arsenale, linking the Riva San Biagio and Riva dei Setti Martiri, and considerably further east than the Ponte della Pietà on the Riva degli Schiavoni, mooted by Bell and adopted in earlier sources. However, an early photograph shows buildings then abutting its north-eastern corner,3 which would have impeded the view on the right here. The bridge seems to be mentioned in a memorandum in the contemporary Rotterdam to Venice sketchbook (Tate D32431; Turner Bequest CCCXX 86), and there is a pencil drawing showing its elevation from the Canale di San Marco in the Venice and Botzen book (D31835; CCCXIII 23); see also D31809 (CCCXIII 10), where a rougher view is inscribed ‘Ponte della Venetta [sic] Marina’.
Similar candidates are the nearby Ponte dell’Arsenale (featuring obelisks not indicated here) and the Ponte della Cà di Dio. It may be that the structure is an amalgamation of all three, or none, introduced simply as a setting for figures promenading along the waterfront; see the discussion of these bridges in relation to the capriccio-like foreground of a contemporary colour study, Tate D32160 (Turner Bequest CCCXVI 23). Compare also a loosely worked gouache study on grey paper (D32235; CCCXVIII 16), prominently labelled with what seems to be the single word ‘Marina’.
At any event, the view is westwards along the slow curve of the Riva beside the Canale di San Marco and the Bacino beyond, with the domes of Santa Maria della Salute and the campanile of San Marco (St Mark’s) almost dissolving in the hazy afternoon light. Ian Warrell described the present study as among those likely derived from Canaletto’s panoramic Bacino compositions.4 He has noted Ruskin’s grouping of ‘a series of views along the rambling Riva degli Schiavoni, which suggests that Turner explored its length by foot, as well as from the water’: Tate D32120 (Turner Bequest CCCXV 4) from the contemporary Grand Canal and Giudecca sketchbook, and D32157–D32160 (CCCXVI 20–23) in the present grouping,5 to which Warrell added this sheet and D32168 (CCCXVI 31),6 linked by ‘the brilliant sunshine refracted by the surface of the Bacino’.7
Undated MS note by Bell (died 1966) in copy of Finberg 1909, Prints and Drawings Room, Tate Britain, II, p.1020.
Tate catalogue files.
See ‘Ponte della Veneta Marina’, Venipedia, accessed 6 April 2018, https://venipedia
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See Warrell 2003, p.47.
Warrell 1995, p.100.
See Warrell 2003, pp.227, 265 note 36.
Ibid., p.227; see also Stainton 1985, p.60.
Warrell 1995, pp.102–3.
Cook and Wedderburn 1904, p.296.
Albeit Peter Bower, Turner’s Later Papers: A Study of the Manufacture, Selection and Use of his Drawing Papers 1820–1851, exhibition catalogue, Tate Gallery, London 1999, p.81, notes that the Muggeridge family had taken over after 1820, still using the ‘C Ansell’ watermark.
‘Appendix: The papers used for Turner’s Venetian Watercolours’ (1840, section 2) in Warrell 2003, p.259.
Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, p.463 no.1356, reproduced.
Ibid., p.464 no.1365.
Warrell 2003, p.259.
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