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Bridge of Sighs, Ducal Palace and Custom House, Venice, 1833 by Joseph Mallord William Turner
Canvas Print - 14395-TJW

Location: Tate Gallery, London, UK
Original Size: 51.1 × 81.6 cm

Bridge of Sighs, Ducal Palace and Custom House, Venice by J. M. W. Turner (1833) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 14.5 × 24 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

Bridge of Sighs, Ducal Palace and Custom House, Venice by Joseph Mallord William Turner, 1833 - canvas print
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Giclée Canvas Print | $61.81 USD

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SKU:14395-TJW
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Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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14.5″ × 24″

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 13 × 21.7 in print therefore arrives as 15.4 × 24 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 14.5 × 24 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of J. M. W. Turner's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 51.1 × 81.6 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Tate Gallery, London, UK. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Turner’s "Bridge of Sighs, Ducal Palace and Custom House, Venice" from 1833 isn’t just a painting of Venice. It’s Turner taking Venice apart and rebuilding it with his own feverish obsession for light and movement. Look at it. It’s as if the city has been dunked in water - everything is shimmering, half-solid, half-vanishing. What’s meant to be the firm structure of the Ducal Palace almost dissolves into the air. This is no postcard of Venice; it’s Venice in flux, caught mid-breath.

Turner’s technique here is loose, verging on the sloppy - but that’s the point, isn’t it? The boats in the foreground look like they’ve been hurriedly slapped together with a dirty brush, the shadows and lines bleeding into each other as if they don’t really care about form. And yet, amidst all this chaos, there’s a strange kind of clarity. You *feel* the movement of the gondolas, the sway of the boats, the ripple of the water - it's alive.

As for the colors, they’re almost too clean for what he’s showing us. That sky - too blue, too crisp. The water - a gleaming mirror of gold and brown. It's like Turner’s trying to dazzle us with light, to blind us with it, so we miss the fact that the whole scene is, in reality, unraveling. The buildings, those icons of Venetian power and history, are reduced to soft, fading shapes - almost as if they’re sinking, just like the city itself. It’s disorienting, unsettling, and yet you can’t look away.

Turner wasn’t interested in details here. He was interested in the feeling of Venice - its fragility, its beauty, its inevitable decay. And he captured it all with an audacious brush and a vision that was as restless as Venice itself.

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