WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.
WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.
WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.
WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.
WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.
WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.
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WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.

Estimate: 6,000 - 8,000 GBP

WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.

Estimate: 6,000 - 8,000 GBP

Lot Sold:6,875GBP
(1 bid, reserve met)

Description

WILLIAM WARD

British

1829 - 1908

Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.

signed lower left with the artist's monograme: WW; signed and inscribed WW. 29th. Jan 1881. on verso


watercolour, heightened with pen and red ink and stopping out

22.7 by 29cm., 9 by 11½in.

framed: 45 by 51.5cm., 18 by 20in.


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Please note, Condition 11 of the Conditions of Business for Buyers (Online Only) is no applicable to this lot

Condition Report

The work has been well preserved. The pigments are fresh, although some of the most delicate pigments have soften slightly. This slight fading does not disturb the overall impression of the work.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

Provenance

William Abercrombie (1838-1908)

Diana Mervin, née Whalley (1912-1990; by descent from the above) 

A gift from the above to the mother of the present owner, circa 1960

Catalogue Note

William Ward painted this watercolour in 1881, and has taken his subject from Turner’s atmospheric study of Venice (painted in 1840), which formed part of the Turner Bequest and that was exhibited at the National Gallery, London, in 1857. The work is now held at Tate, Britain, London.


This watercolour was acquired by the Manchester based stockbroker and Ruskinian; William Abercrombie (1838-1908). Also in common with that lot, it seems highly likely that the note on the reserve of the frame was written by William Abercrombie himself. The main body of the text is taken from volume XIII, page 211 of The Complete works of John Ruskin and reads: ‘It is low water, and the exposed beach is carefully expressed in the middle distance. Note that even in the apparently hasty passage on the left the painter has carefully marked the separate knots of the furled felucca sail. Anyone else, in a hurry, would assuredly have drawn one continuous line for the sail, and then the dots or lines across it; it is much more difficult, and implies more deliberate purpose, to draw the sail itself in broken dots all the way down, implying that, where it is tied to the yard, the yard and sail together are so slender as to be lost sight of.’


We are very grateful to Professor Stephen Wildman for his help when cataloguing this lot.

WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.
WILLIAM WARD | Venice: The Zitelle, Santa Maria della Salute, the Campanile and San Giorgio Maggiore from the Canale della Grazia, after Joseph Mallord William Turner, R.A.
Lot Closed