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 10

Catalogue entry

The drawing continues across folio 9 verso opposite (D14505). 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 (1930): ‘San Giorgio on the left, the Ponte della Cà d Dio on right’.2
The viewpoint is a little further south-east along the Riva di Ca’ di Dio towards the Rio dell’Arsenale than in the previous double-page prospect (folios 8 verso–9 recto; D14503–D14504), with the Ponte Ca’ di Dio on the right of the main view, which is continued above with what appears to be the vigorously decorated façade with Turkish-style motifs on the Riva di Ca di Dio. Towards the left of the main drawing is a very compressed view of the Riva degli Schiavoni waterfront west as far as the Palazzo Ducale (Doge’s Palace) and the campanile and domes of St Mark’s. The inscription at the top may have been transcribed from a local street sign.
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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