Joseph Mallord William Turner The Grand Canal, with the Rialto Bridge Flanked by the Fondaco dei Tedeschi and the Palazzo dei Camerlenghi, Venice; Studies of Boats; ?a Sculptural Group or Coat of Arms 1819
Joseph Mallord William Turner 1775–1851
Folio 83 Recto:
The Grand Canal, with the Rialto Bridge Flanked by the Fondaco dei Tedeschi and the Palazzo dei Camerlenghi, Venice; Studies of Boats; ?a Sculptural Group or Coat of Arms 1819
D14474
Turner Bequest CLXXV 83
Turner Bequest CLXXV 83
Pencil on white wove paper, 112 x 185 mm
Inscribed by Turner in pencil ‘Green [?Shutters]’ towards top right, on building, ‘green’ towards top centre, on boat, and ‘L’, ‘D B’, ‘Light’, ‘B’, ‘R’ and ‘[?O...]’ centre left, ascending vertically, on and around secondary study
Inscribed by John Ruskin in blue ink ‘83’ bottom left, upside down and ‘300’ top left, upside down
Stamped in black ‘CLXXV 83’ top left, upside down
Inscribed by Turner in pencil ‘Green [?Shutters]’ towards top right, on building, ‘green’ towards top centre, on boat, and ‘L’, ‘D B’, ‘Light’, ‘B’, ‘R’ and ‘[?O...]’ centre left, ascending vertically, on and around secondary study
Inscribed by John Ruskin in blue ink ‘83’ bottom left, upside down and ‘300’ top left, upside down
Stamped in black ‘CLXXV 83’ top left, upside down
Accepted by the nation as part of the Turner Bequest 1856
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.515, CLXXV 83, as ‘View on the Grand Canal, with the Ponte di Rialto; the dome of S. Bartolomeo in distance’.
1930
A.J. Finberg, In Venice with Turner, London 1930, pp.49, 166, as ‘p. 82a, 83. The Camerlenghi and Rialto from the Pescaria’.
1980
Keith Andrews, The Vaughan Bequest of Turner Watercolours, Edinburgh 1980, p.32.
The Turner scholar C.F. Bell annotated Finberg’s 1909 Inventory entry (‘View on the Grand Canal, with the Ponte di Rialto; the dome of S. Bartolomeo in distance’), crossing out the second half of the title and writing: ‘the Camerlenghi & Fondaco dei Tedeschi’.1
Inverted relative to the sketchbook’s foliation, the main drawing is a continuation from the view of the Rialto Bridge and its setting on the Grand Canal to the south across the whole of folio 82 verso opposite (D14473), under which comparable views are discussed.2 On the present page the arcaded façade of the Fondaco dei Tedeschi is towards the gutter, with a lightly indicated façade immediately to its left, where the Palazzo Ruzzini now stands, above the figure on the gondola; to the left again is the Palazzo Civran. For other drawings made in the vicinity and an overview of Turner’s coverage of Venice, see the sketchbook’s Introduction.
At the top centre is an incidental detail of elaborately bows or sterns. With the page turned vertically, in the outer half is what appears to be a sculptural or relief group, with figures annotated with indications of colour around a square blank area which may be a monument, altar, doorway or plaque, perhaps with a trophy of arms or other attributes above. Its significance is as yet undetermined, but it appears to have been drawn in the space left beside the canal view, and was perhaps recorded elsewhere in Venice later on. See under folio 40 verso (D14390) for Turner’s studies of artworks in Venice.
Matthew Imms
March 2017
How to cite
Matthew Imms, ‘The Grand Canal, with the Rialto Bridge Flanked by the Fondaco dei Tedeschi and the Palazzo dei Camerlenghi, Venice; Studies of Boats; ?a Sculptural Group or Coat of Arms 1819 by Joseph Mallord William Turner’, catalogue entry, March 2017, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, July 2017, https://www