Joseph Mallord William Turner

The Riva di Ca’ di Dio, Venice, with the Campanile of St Mark’s in the Distance, Santa Maria della Salute, the Dogana and San Giorgio Maggiore across the Bacino, and the Giudecca Beyond


In Tate Britain

Prints and Drawings Room

View by appointment
Joseph Mallord William Turner 1775–1851
Graphite on paper
Support: 111 × 184 mm
Accepted by the nation as part of the Turner Bequest 1856
Turner Bequest CLXXVI 9 a

Catalogue entry

The drawing continues across folio 10 recto opposite (D14506). The Turner scholar C.F. Bell annotated Finberg’s 1909 Inventory entry (‘Looking along the Riva degli Schiavone from near the Rio dell’ Arsenale’): ‘S. Giorgio l. Ponte della Cà di Dio r.’1 Bell similarly annotated Finberg’s 1930 In Venice with Turner (‘Looking along the Riva from near the Arsenal’): ‘San Giorgio on the left, the Pont della Cà di Dio on right’.2
The viewpoint is a little further south-east along the Riva di Ca’ di Dio than in the previous double-page prospect (folios 8 verso–9 recto; D14503–D14504). On this page, there is a somewhat compressed view over the Bacino encompassing the dome and campanile of the church of San Giorgio Maggiore to the south-west on the left, with churches on the Isola della Giudecca beyond San Giorgio’s lighthouse, the Canale della Giudecca and the Grand Canal flanking the Dogana and the domes of the church of Santa Maria della Salute to the west towards the right, and the campanili of San Moisè and San Stefano at the gutter.
Hardy George has compared a single-page pencil panorama ‘from about the same viewpoint’ in the 1833 Vienna up to Venice (formerly ‘Lintz, Salzburg, Innsbruck, Verona and Venice’) sketchbook (Tate D31570; Turner Bequest CCCXI 79).3 For other drawings made in the vicinity, see the sketchbook’s Introduction.

Matthew Imms
March 2017

Undated MS note by C.F. Bell (died 1966) in copy of Finberg 1909, Tate Britain Prints and Drawings Room, I, p.516.
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).
George 1971, p.85.

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