Oil painting entitled 'Venice' by Frank Brangwyn. British School, 1897.

Oil painting entitled 'Venice'. Initialled and dated by the artist.

Bequeathed by Henry Louis Florence

Bequeathed by Henry L. Florence, 1916; formerly in Fry Collection (information from Nominal File: Florence, H.L., MA/1/F792/3, part 3)

Historical significance: Frank Brangwyn (1867-1956) travelled widely from the late 1880s, sailing to Constantinople and the Black Sea in 1888 and to Antwerp, the coast of Spain, Tunis, Tripoli, Jaffa, Izmir, Trebizond and Galatz in 1890. In 1891 he travelled to South Africa, to Spain in 1892, Morocco in 1893, and to Venice in 1896.

Venice was a favourite subject to which Brangwyn returned many times throughout his career. One of his earliest views of the city, this painting of 1897 represents the Dogana da Mar, the customs house established at the eastern tip of Dorsoduro, at the entrance to the Grand Canal, in the 15th century and rebuilt around 1680. Brangwyn's emphasis in the painting is on the bustle of working men and boats at the quay. The paint is handled vigorously, creating an effect of energy and movement. Wet paving stones form a reflective surface, and there are areas of bright light and deep shadow. Brangwyn's choice of view, which avoids the conventionally picturesque and puts the working men centre stage, is characteristic.

Venice was exhibited at the Royal Academy in 1897 (no. 219), where it was 'skied' - hung disadvantageously high on the gallery wall (Shaw Sparrow, pp. 230-231).

The painting was bequeathed to the V&A in 1916 by Henry L. Florence of Prince's Gate, South Kensington, London. The bequest also included paintings by Clausen, Corot, Leighton and Fantin-Latour.

Venice was a favourite subject to which Frank Brangwyn returned many times throughout his career. One of his earliest views of the city, this painting represents the Dogana da Mar, the customs house established at the eastern tip of Dorsoduro, at the entrance to the Grand Canal. The painting focuses the bustle of working men and boats at the quay. The choice of view, which avoids the conventionally picturesque and puts the working men centre stage, is characteristic of Brangwyn’s art. The free, vigorous handling of paint imbues the scene with a sense of energy and movement.

P.75-1917