Joseph Mallord William Turner

Santa Maria della Salute, Venice, with the Dogana, and the Campanili of San Moisè and San Marco (St Mark’s), from the Canale della Giudecca

1819

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In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Joseph Mallord William Turner 1775–1851
Part of
Venice to Ancona Sketchbook
Medium
Graphite on paper
Dimensions
Support: 111 × 184 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D14524
Turner Bequest CLXXVI 19 a

Catalogue entry

Finberg subsequently annotated his 1909 Inventory entry (‘The Dogana and the Salute, from the Giudecca’): ‘the Zitella [sic]. (with Campanile of S. Marks & S Zaccaria)?’.1 In another copy he wrote: ‘lkg down Giudecca’.2 The Turner scholar C.F. Bell wrote in another copy: ‘Panorama Salute l. Prison r’.3 Bell similarly marked Finberg’s In Venice with Turner (‘Dogana and Salute from the Zitelle’): ‘Panoramas. Salute on left, Prisons on right’.4
The viewpoint is the south side of the Canale della Giudecca, about level with the Zitelle church on the Isola della Giudecca, looking north-west to the domes of the church of Santa Maria della Salute, with the Seminario Patriarcale to its right and the porch of the Dogana at the centre. Beyond, across the mouth of the Grand Canal, is the campanile of San Moisè, with the Bacino waterfront terminating in a loose indication of the campanile of San Marco (St Mark’s) to the north.
For other drawings made in the vicinity, see the sketchbook’s Introduction.

Matthew Imms
March 2017

1
Undated MS note by A.J. Finberg (died 1939) in interleaved copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, opposite p.517.
2
Undated MS note by Finberg in copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.517.
3
Undated MS note by C.F. Bell (died 1966) in copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.517.
4
Undated MS note by Bell (before 1936) in copy of Finberg 1930, Prints and Drawings Study Room, British Museum, London, p.167, as transcribed by Ian Warrell (undated notes, Tate catalogue files).

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