Giovanni (1732) Volpato Paintings & Artwork for Sale | Giovanni (1732) Volpato Art Value Price Guide

Aug. 23, 2026
The Disputation Of The Holy Sacrament
Est: $1,800 - $2,800
Sheet Size: 758 x 580 mm (29.84 x 22.83 in) Plate Size: 740 x 556 mm (29.13 x 21.89 in) GIOVANNI VOLPATO ITALIAN, BASSANO 1735 1803 ROME. Original Artist: Raphael Intermediate Draughtsman: Giuseppe Carducci Printmaker: Giovanni Volpato Dated 1779 Medium: Engraving And Etching The Disputation Of The Holy Sacrament Is A Copperplate Print Finished In 1779 By Italian Engraver Giovanni Volpato, Reproduced After A Fresco By Raphael With Giuseppe Carducci Serving As The Intermediate Draughtsman. Raphael’S Original Fresco Is Housed In The Stanza Della Segnatura, One Of The Four Raphael Rooms In The Vatican Museums. The Chamber Was Decorated By Raphael Under The Commission Of Pope Julius Ii. Its Name Derives From The Supreme Ecclesiastical Tribunal, The Signatura Gratiae Et Iustitiae. Four Major Frescoes By Raphael Adorn The Room: The Disputation Of The Holy Sacrament (Representing Theology), The Virtues And The Law (Representing Jurisprudence), The School Of Athens (Representing Philosophy), And Parnassus (Representing Poetry). The Stanza Della Segnatura Was The First Chamber Raphael Decorated In The Vatican, Exerting An Immense Influence On Roman Art. These Large Scale, Intricately Composed Murals Stand As The Pinnacle Of The High Renaissance Grand Manner, Marking The Outset Of Raphael’S Illustrious Roman Career. Raphael Transformed A Mere Gallery Of Individual Portraits Into A Genuine Assembly Of Figures, Each Captured In Dynamic Poses. Every Human Figure And All Perspective Lines Converge Toward The Central Eucharist And Monstrance, Expressing The Core Theme Through Natural, Unmediated Bodily Action. Rejecting The Rigid, Formulaic Rendering Favoured By His Predecessors, Raphael Sought To Immerse Each Character Within The Scene’S Narrative. He Portrayed Figures Through Gestures And Facial Expressions, Drawing On Extraordinary Mastery Of His Craft And Exhaustive Studies To Craft A Vivid, Lifelike Composition That Feels Immediate And Relatable. The Circle, A Quintessential Sacred Geometric Form, Recurs Throughout The Work: In The Nimbus Surrounding The Dove, In The Throne Where Christ Sits, And In The Aureole Encircling God The Father. All These Circular Motifs Align Along The Central Vertical Axis Together With The Holy Trinity, The Eucharist And The Monstrance. The Upper Register Exudes Serenity, Solemn Grandeur And Monumental Stillness, While The Lower Register Brims With Lively Movement. Individual Figures Are Subordinated To The Unified Whole, Upholding Symmetrical Balance Across The Assembly And Embodying The Rigid Hierarchical Order Of The Church. Though The Fresco Is Traditionally Titled The Disputation Of The Holy Sacrament, This Name Stems From An 18Th Century Misinterpretation Of A Passage By Vasari. The Term "Disputation” Implies Discord Or Opposition Between Debaters, Yet The Painting Depicts Universal Veneration Of The Eucharist And Praise For The Holy Trinity. A More Accurate Reading Divides The Fresco Into Two Principal Zones Arranged Across Three Horizontal Tiers: The Upper And Middle Tiers Together Form The "Triumph Of The Church”, And The Bottom Tier Depicts The "Assembly Of The Faithful”. The Upper Zone Centres On The Holy Trinity. Christ Sits Enveloped Within A Vast Luminous Aureole, With God The Father Positioned Above It. Seraphim And Cherubim Occupy The Left And Right Sides Of The Celestial Sphere Respectively. The Dove Of The Holy Spirit Rests Beneath Christ, Pointing Directly To The Painting’S Focal Point—The Eucharist Held In The Monstrance, Which Also Serves As The Vanishing Point Of The Entire Perspective Construction. Four Child Angels Flank The Dove, Each Holding One Of The Four Gospels: Matthew, Mark, Luke And John. To Christ’S Left Stands The Virgin Mary, And To His Right Saint John The Baptist. Arrayed On Either Side Are Saints And Prophets. Starting From The Far Left: Saint Peter, Adam (Without A Halo), Saint John The Evangelist, King David With His Harp, Saint Stephen And Jeremiah. On The Right Side, Ordered From The Centre Outward: Judas Maccabeus, Saint Lawrence, Moses Bearing The Stone Tablets Of The Law, An Apostle (Either Saint Matthew, Saint James The Greater Or Saint James The Lesser), Abraham And Saint Paul. The Lower Zone Depicts The Assembly Of The Faithful, Populated By Theologians, Bishops, Monks, Abbots, Popes, Patrons, Philosophers And Anonymous Lay Worshippers. Not All Figures Have Been Definitively Identified, So No Exhaustive List Of Individual Portraits Is Provided Here.
Hotspot Auctions
Aug. 23, 2026
The Liberation Of Saint Peter
Est: $1,500 - $1,800
Sheet Size: 770 x 580 mm (30.32 x 22.83 in) GIOVANNI VOLPATO,ITALIAN, BASSANO 1735 1803 ROME Original Creator: Raphael Intermediate Draughtsman: Bernardino Nocchi Printmaker: Giovanni Volpato Dated 1780 Medium: Engraving And Etching The Liberation Of Saint Peter Is A Copperplate Print Completed In 1780 By The Italian Engraver Giovanni Volpato, After A Fresco By Raphael, With Bernardino Nocchi Acting As Intermediate Draughtsman. Raphael’S Original Fresco Is Housed In The Hall Of Heliodorus Within The Vatican Museums, The Second Chamber Decorated By The Artist Between 1511 And 1514. The Four Murals Covering The Chamber’S Four Walls Are As Follows: The Expulsion Of Heliodorus From The Temple (1511 1512), The Mass At Bolsena (1512), The Liberation Of Saint Peter (1513 1514), And The Meeting Of Pope Leo The Great And Attila (1514). As The Signature Chamber Neared Completion In The Summer Of 1511, Raphael Began Designing The Decorative Scheme For The Adjacent Room, Intended To Serve As An Audience Hall. In June Of That Same Year, The Pope Returned To Rome Following A Devastating Defeat In The Italian Wars Against France. Amid The Prevailing Political Uncertainty, A Decorative Programme Was Devised To Emphasise Divine Protection Granted To The Church At Pivotal Moments In History, Illustrating Miraculous Divine Intervention Against Both Internal And External Foes, Centred Around The Pope’S Cherished Devotion To The Eucharist. The Liberation Of Saint Peter Symbolises The Miraculous Triumph Of The First Pope Amid His Deepest Tribulations. Composed Of Three Tightly Interconnected Narrative Episodes, The Work Relies Entirely On Chiaroscuro For Its Dramatic Effect; Light Stands As The Absolute Protagonist Of This Nocturnal Scene. The Shadow Shrouded Background Contrasts Sharply With The Radiant Apparition Of The Holy Angel. Four Distinct Light Sources Animate The Composition: Moonlight Glinting Off Soldiers’ Armour; Flickering Torchlight With Shifting, Erratic Shadows; Supernatural Sacred Radiance Emanating From The Angel; And Soft Glow Streaming Through A Window At The Bottom, Which Mingles With The Angel’S Luminescence When The Shutter Opens. Even Though The Window Aperture Visually Divides The Wall Surface Into Three Distinct Zones, Raphael Unifies The Entire Composition Seamlessly. On The Left, A Troop Of Prison Guards Discover The Escape. Their Armour Glints Under The Supernatural Apparition And Wavering Torchlight, As They Gaze Upon The Miracle Helpless And Alarmed. At The Centre, The Angel Appears Luminous Within The Prison Cell, Visible Through Heavy Dark Iron Bars. Saint Peter Lies Bound In Chains, Fast Asleep. The Angel’S Radiance And The Illuminated Prison Cage Generate Breathtaking Spatial Depth, The Glow Permeating Every Element Within The Scene, Including Residual Red Pigment On The Prison Stone Walls. Peter Appears Aged And Worn. Scholars Interpret The Fresco As An Allegory For The Passing Of Pope Julius Ii In 1513, His Deliverance From The "Earthly Prison” Of Mortal Life. Others Read It As An Allusion To Cardinal Leo X’S Release From Captivity After The Battle Of Ravenna. On The Right, Peter Walks Free. The Divine Messenger Leads Him By The Hand Up The Stone Staircase, While All Guards Fall Miraculously Into Slumber, Crafting An Ethereal Atmosphere Poised Between Dream And Reality. SchöNes Blatt Selten, Leicht Schmutzig Und Die Ecken Etwas Gestossen
Hotspot Auctions
Jul. 22, 2026
Giovanni Volpato (Italian, 1733-1803), P
Est: £300 - £500
Giovanni Volpato (Italian, 1733-1803), Pio Sexto Pont Max, a set of four, engravings by Bernardino Nochi et al, 51.5 by 73.5cm, gilt frames (4)
Kinghams Auctioneers
Jul. 12, 2026
GIOVANNI VOLPATO ITALIAN, BASSANO 1735-1803 ROME
Est: $1,800 - $2,800
Sheet Size: 758 x 580 mm (29.84 x 22.83 in) Plate Size: 740 x 556 mm (29.13 x 21.89 in),The Disputation of the Holy Sacrament Original Artist: Raphael Intermediate Draughtsman: Giuseppe Carducci Printmaker: Giovanni Volpato Dated 1779 Medium: Engraving and Etching The Disputation of the Holy Sacrament is a copperplate print finished in 1779 by Italian engraver Giovanni Volpato, reproduced after a fresco by Raphael with Giuseppe Carducci serving as the intermediate draughtsman. Raphael’s original fresco is housed in the Stanza della Segnatura, one of the four Raphael Rooms in the Vatican Museums. The chamber was decorated by Raphael under the commission of Pope Julius II. Its name derives from the Supreme Ecclesiastical Tribunal, the Signatura Gratiae et Iustitiae. Four major frescoes by Raphael adorn the room: The Disputation of the Holy Sacrament (representing Theology), The Virtues and the Law (representing Jurisprudence), The School of Athens (representing Philosophy), and Parnassus (representing Poetry). The Stanza della Segnatura was the first chamber Raphael decorated in the Vatican, exerting an immense influence on Roman art. These large-scale, intricately composed murals stand as the pinnacle of the High Renaissance grand manner, marking the outset of Raphael’s illustrious Roman career. Raphael transformed a mere gallery of individual portraits into a genuine assembly of figures, each captured in dynamic poses. Every human figure and all perspective lines converge toward the central Eucharist and monstrance, expressing the core theme through natural, unmediated bodily action. Rejecting the rigid, formulaic rendering favoured by his predecessors, Raphael sought to immerse each character within the scene’s narrative. He portrayed figures through gestures and facial expressions, drawing on extraordinary mastery of his craft and exhaustive studies to craft a vivid, lifelike composition that feels immediate and relatable. The circle, a quintessential sacred geometric form, recurs throughout the work: in the nimbus surrounding the dove, in the throne where Christ sits, and in the aureole encircling God the Father. All these circular motifs align along the central vertical axis together with the Holy Trinity, the Eucharist and the monstrance. The upper register exudes serenity, solemn grandeur and monumental stillness, while the lower register brims with lively movement. Individual figures are subordinated to the unified whole, upholding symmetrical balance across the assembly and embodying the rigid hierarchical order of the Church. Though the fresco is traditionally titled The Disputation of the Holy Sacrament, this name stems from an 18th-century misinterpretation of a passage by Vasari. The term "disputation” implies discord or opposition between debaters, yet the painting depicts universal veneration of the Eucharist and praise for the Holy Trinity. A more accurate reading divides the fresco into two principal zones arranged across three horizontal tiers: the upper and middle tiers together form the "Triumph of the Church”, and the bottom tier depicts the "Assembly of the Faithful”. The upper zone centres on the Holy Trinity. Christ sits enveloped within a vast luminous aureole, with God the Father positioned above it. Seraphim and Cherubim occupy the left and right sides of the celestial sphere respectively. The Dove of the Holy Spirit rests beneath Christ, pointing directly to the painting’s focal point—the Eucharist held in the monstrance, which also serves as the vanishing point of the entire perspective construction. Four child angels flank the Dove, each holding one of the Four Gospels: Matthew, Mark, Luke and John. To Christ’s left stands the Virgin Mary, and to his right Saint John the Baptist. Arrayed on either side are saints and prophets. Starting from the far left: Saint Peter, Adam (without a halo), Saint John the Evangelist, King David with his harp, Saint Stephen and Jeremiah. On the right side, ordered from the centre outward: Judas Maccabeus, Saint Lawrence, Moses bearing the stone tablets of the law, an apostle (either Saint Matthew, Saint James the Greater or Saint James the Lesser), Abraham and Saint Paul. The lower zone depicts the Assembly of the Faithful, populated by theologians, bishops, monks, abbots, popes, patrons, philosophers and anonymous lay worshippers. Not all figures have been definitively identified, so no exhaustive list of individual portraits is provided here.
Hotspot Auctions
Jul. 12, 2026
GIOVANNI VOLPATO,ITALIAN, BASSANO 1735-1803 ROME
Est: $1,500 - $1,800
Sheet Size: 770 x 580 mm (30.32 x 22.83 in),The Liberation of Saint Peter Original Creator: Raphael Intermediate Draughtsman: Bernardino Nocchi Printmaker: Giovanni Volpato Dated 1780 Medium: Engraving and Etching The Liberation of Saint Peter is a copperplate print completed in 1780 by the Italian engraver Giovanni Volpato, after a fresco by Raphael, with Bernardino Nocchi acting as intermediate draughtsman. Raphael’s original fresco is housed in the Hall of Heliodorus within the Vatican Museums, the second chamber decorated by the artist between 1511 and 1514. The four murals covering the chamber’s four walls are as follows: The Expulsion of Heliodorus from the Temple (1511–1512), The Mass at Bolsena (1512), The Liberation of Saint Peter (1513–1514), and The Meeting of Pope Leo the Great and Attila (1514). As the Signature Chamber neared completion in the summer of 1511, Raphael began designing the decorative scheme for the adjacent room, intended to serve as an audience hall. In June of that same year, the Pope returned to Rome following a devastating defeat in the Italian Wars against France. Amid the prevailing political uncertainty, a decorative programme was devised to emphasise divine protection granted to the Church at pivotal moments in history, illustrating miraculous divine intervention against both internal and external foes, centred around the Pope’s cherished devotion to the Eucharist. The Liberation of Saint Peter symbolises the miraculous triumph of the first Pope amid his deepest tribulations. Composed of three tightly interconnected narrative episodes, the work relies entirely on chiaroscuro for its dramatic effect; light stands as the absolute protagonist of this nocturnal scene. The shadow-shrouded background contrasts sharply with the radiant apparition of the holy angel. Four distinct light sources animate the composition: moonlight glinting off soldiers’ armour; flickering torchlight with shifting, erratic shadows; supernatural sacred radiance emanating from the angel; and soft glow streaming through a window at the bottom, which mingles with the angel’s luminescence when the shutter opens. Even though the window aperture visually divides the wall surface into three distinct zones, Raphael unifies the entire composition seamlessly. On the left, a troop of prison guards discover the escape. Their armour glints under the supernatural apparition and wavering torchlight, as they gaze upon the miracle helpless and alarmed. At the centre, the angel appears luminous within the prison cell, visible through heavy dark iron bars. Saint Peter lies bound in chains, fast asleep. The angel’s radiance and the illuminated prison cage generate breathtaking spatial depth, the glow permeating every element within the scene, including residual red pigment on the prison stone walls. Peter appears aged and worn. Scholars interpret the fresco as an allegory for the passing of Pope Julius II in 1513, his deliverance from the "earthly prison” of mortal life. Others read it as an allusion to Cardinal Leo X’s release from captivity after the Battle of Ravenna. On the right, Peter walks free. The divine messenger leads him by the hand up the stone staircase, while all guards fall miraculously into slumber, crafting an ethereal atmosphere poised between dream and reality. Schönes Blatt selten, leicht schmutzig und die ecken etwas gestossen
Hotspot Auctions
Apr. 09, 2026
GIOVANNI VOLPATO Bassano del Grappa, Italy (1735) / Rome, Italy (1808) "The Four Seasons"
Est: €7,500 - €10,000
Etching and engraving. After drawings by Teseo, inspired by Raphael's designs for the Vatican Stanze and the tapestries of the Sistine Chapel. It does not, therefore, correspond to a specific pilaster. A rare contemporary example in color, still with a clear chromatic freshness. Signed and dated in the plate: Ludovicus Teseo Taurinensis delin.; Joannes Volpato sculp. Romae 1775. Measurements: Image: 107 x 47 cm; Paper: 108.4 x 53.5 cm
Ansorena
Mar. 25, 2026
Giovanni VOLPATO
Est: €4,000 - €6,000
Giovanni VOLPATO (Bassano del Grappa, 1735 – Rome, 1803) La galerie des statues du musée Pio-Clementino à Rome Aquarelle gouachée sur trait gravé The statue gallery in Museo Pio Clementino, Rome, gouache and watercolor on engraved line, by G. Volpato 20.47 x 28.74 in. 52 x 73 cm Provenance : Vente anonyme ; Paris, Hôtel Drouot, Thierry de Maigret, 21 juin 2023, partie du n° 42 ; Collection particulière du Sud de la France Giovanni VOLPATO (Bassano del Grappa, 1735 – Rome, 1803) 52 x 73 cm
Artcurial
Jan. 24, 2026
18TH C GIOVANNI VOLPATO LOGGE DEL VATICANO ETCHING
Est: $1,000 - $10,000
"Logge Del Vaticano" etching by Giovanni Volpato (1735-1803, Venician) circa late 18th C. This etching has been re-printed from the original Loggie de Rafaele nel Vaticano by Giovanni Volpato. Giovanni Volpato was born in Bassano del Grappa (then part of the Republic of Venice). He received his first training from his mother, an embroiderer, and then studied under Giovanni Antonio Remondini. In 1762 he went to Venice and worked with Joseph Wagner and Francesco Bartolozzi, engraving several plates after Piazzetta, Mariotto, Amiconi, Zuccarelli, Marco Ricci and others. He worked for some time for the Duke of Parma, until a plate of the Monument of Francesco Algarotti in Pisa brought him wider notice. Size: 23.5" X 29.5" Framed Condition: Wear commensurate with age. This etching does NOT come with a certificate of authenticity. See images for complete condition.
Florida Estate Sales Inc.
Nov. 29, 2025
18TH C GIOVANNI VOLPATO LOGGE DEL VATICANO ETCHING
Est: $1,000 - $10,000
"Logge Del Vaticano" etching by Giovanni Volpato (1735-1803, Venician) circa late 18th C. This etching has been re-printed from the original Loggie de Rafaele nel Vaticano by Giovanni Volpato. Giovanni Volpato was born in Bassano del Grappa (then part of the Republic of Venice). He received his first training from his mother, an embroiderer, and then studied under Giovanni Antonio Remondini. In 1762 he went to Venice and worked with Joseph Wagner and Francesco Bartolozzi, engraving several plates after Piazzetta, Mariotto, Amiconi, Zuccarelli, Marco Ricci and others. He worked for some time for the Duke of Parma, until a plate of the Monument of Francesco Algarotti in Pisa brought him wider notice. Size: 23.5" X 29.5" Framed Condition: Wear commensurate with age. This etching does NOT come with a certificate of authenticity. See images for complete condition.
Florida Estate Sales Inc.
Oct. 28, 2025
Manufacture by Giovanni Volpato (1735-1803) ''Musa Urania'', biscuit group, imprinted at the base "G. Volpato, Rome" (h. cm 21,5) (defects and minor losses) Our sculpture is inspired by the marble model of the 1st century AD which is an i...
Est: €2,000 - €3,000
Manufacture by Giovanni Volpato (1735-1803) ''Musa Urania'', biscuit group, imprinted at the base "G. Volpato, Rome" (h. cm 21,5) (defects and minor losses) Our sculpture is inspired by the marble model of the 1st century AD which is an integral part of the prestigious Boncompagni Ludovisi Collection, it was originally part of a larger marble group, which included all nine Muses, the divine inspirers of the arts and sciences. For comparison see: AA.VV.Memories of the Ancient, exhibition catalogue, Capitoline Museums, Rome 2008, page 235-236 IT Manifattura di Giovanni Volpato (1735-1803) ''Musa Urania'', gruppo in biscuit, impressa alla base "G. Volpato, Roma" (h. cm 21,5) (difetti e piccole mancanze) Urania, figura divina e custode della conoscenza astronomica, rappresentava per gli antichi la personificazione stessa della volta celeste, della quale deteneva la comprensione di ogni corpo astrale. In questa speciale occasione, la notte delle stelle cadenti, rivolgiamo la nostra attenzione alla splendida statua di Urania, attualmente custodita nelle sale di Palazzo Altemps. La nostra scultura si ispira al modello marmoreo del I secolo d.C. che Ã¨ parte integrante della prestigiosa Collezione Boncompagni Ludovisi, faceva originariamente parte di un gruppo marmoreo piÃ¹ ampio, che includeva tutte e nove le Muse, le divine ispiratrici delle arti e delle scienze. Per confronto si veda: AA.VV.Ricordi dell'Antico, catalogo mostra, Musei Capitolini, Roma 2008, pag.235-236 La produzione della manifattura Volpato era, nella sua quasi totalitÃ , un vero e proprio campionario della cultura archeologica del momento. Le opere erano ispirate direttamente a quei marmi antichi che Volpato stesso contribuiva a portare alla luce attraverso le sue attivitÃ di scavo. Sebbene la maggior parte delle creazioni fosse di chiara ispirazione classica, Volpato non disdegnava qualche incursione nel "moderno". Esempi notevoli di questa deviazione includevano opere come il celebre gruppo scultoreo del Teseo e il Minotauro o l'erma raffigurante Papa Pio VI. Per queste opere dal carattere piÃ¹ contemporaneo, gli studiosi attribuiscono i modelli ad artisti di spicco che gravitavano attorno alla sfera di Volpato, tra cui Vincenzo Pacetti, Gavin Hamilton e Bartolomeo Cavaceppi, nomi che attestano l'alto livello delle collaborazioni artistiche instaurate da Volpato. Volpato si dimostrÃ² non solo un abile artista e artigiano, ma anche un astuto imprenditore. La sua strategia commerciale era all'avanguardia per l'epoca. Nei suoi cataloghi di fabbrica, veri e propri strumenti di marketing, e nelle "Note de' pezzi", che diffondeva in tutta Europa grazie a una fitta rete di amicizie e conoscenze straniere, Volpato inseriva strategicamente riferimenti ai capolavori conservati nei piÃ¹ importanti musei di antichitÃ della cittÃ di Roma. Tra questi figuravano opere iconiche come l'Apollo e le nove Muse del prestigioso Museo Pio-Clementino o il Galata morente del neonato Museo Capitolino, contribuendo cosÃ¬ a elevare il prestigio delle sue riproduzioni. Non solo i musei pubblici, ma anche le grandi raccolte private venivano citate come fonte di ispirazione per le sue opere, accrescendo l'attrattiva per una clientela colta e raffinata. Un esempio emblematico di questa strategia Ã¨ il riferimento al celeberrimo Fauno Barberini, un'opera d'arte di inestimabile valore e fascino, il cui richiamo conferiva un'aura di autenticitÃ e prestigio alle creazioni di Volpato.
Il Ponte Auction House
Oct. 28, 2025
Manufacture by Giovanni Volpato (1735-1803) Menander and Posidippus, pair of biscuit figures (max cm 18x23) on plinth bases in yellow Siena marble (max cm 20x30) (defects) One with imprinted signature "Volpato" Provenance: Private collect...
Est: €4,000 - €5,000
Manufacture by Giovanni Volpato (1735-1803) Menander and Posidippus, pair of biscuit figures (max cm 18x23) on plinth bases in yellow Siena marble (max cm 20x30) (defects) One with imprinted signature "Volpato" For comparison see: A. CarÃ²la-Perrotti, The Porcelain of the Royal Ferdinandea Factory, 1978; A. Gonzalez-Palacios, Filippo Tagliolini, Turin, 1988; Lukacs (eds) Classics and Invention, Rome, 2009, Cat. 9, pp. 68-70. IT Manifattura di Giovanni Volpato (1735-1803) Menandro e Posidippo, coppia di figure in biscuit. Uno con firma impressa "Volpato" (cm max 18x23) su basi a plinto in marmo giallo di Siena (cm tot max 20x30) (difetti) Il prototipo di questi biscuit Ã¨ il marmo di epoca ellenistica, oggi nel Museo Pio Clementino alla Galleria delle Statue (inv. 588): il ritratto del commediografo Menandro, in coppia con la figura rappresentante il poeta greco Posidippo (detto Silla). Le sculture erano state scoperte nel 1588 nei pressi della vigna del monastero di San Lorenzo a Panisperna e restarono a Villa Negroni fino al 1785, quando entrambi furono acquistati da Thomas Jenkins, per poi passare al Museo Pio Clementino nel 1789. La versione in biscuit (conosciuta ad oggi in soli altri due esemplari di collezioni italiane private) Ã¨ citata in entrambi i cataloghi della fabbrica noti, in francese ed in italiano: nel catalogo italiano e' citata come 'Li due consoli Menandro e Posilipo, abusivamente chiamati Mario e Silla Di Villa Negroni'. La nostra coppia di biscuit andrÃ quindi datata, sulla scorta della citazione italiana, al periodo antecedente al 1789: in entrambi i cataloghi il prezzo per la coppia e' di 12 zecchini, notando pero' che, nel catalogo a stampa in lingua francese, i due biscuit sono indicati singolarmente a 6 zecchini l'uno. Per confronto si veda: A. CarÃ²la-Perrotti, La Porcellana della Real Fabbrica Ferdinandea,1978; A. Gonzalez-Palacios, Filippo Tagliolini, Torino, 1988; G. Lukacs (a cura di) Classici e Invenzione, Roma, 2009, cat. 9, pp. 68-70.
Il Ponte Auction House
Sep. 25, 2025
Giovanni Volpato (Bassano del Grappa 1732 - Roma 1803) - Two prints with grotesques, 1774
Est: €350 - €500
130 x 52 cm (the sheet) inscribed below: Ludovicus Teseo Taurinensis delin. Cum Privilege SSmi Dni Nri Clementis XIV Johannes Volpato sculp. Rome 1774 defects and tears
Finarte
Sep. 25, 2025
Giovanni Volpato (Bassano del Grappa 1732 - Roma 1803) - Two prints from Raphael's Vatican Rooms
Est: €250 - €350
both 62 x 81 cm one depicting the Miracle of Bolsena, reproduced on canvas, and the other the Dispute on the Blessed Sacrament, both within a 19th century palmette frame
Finarte
Jul. 31, 2025
Giovanni Volpato, 1733-1803, Section of the Vatican Loggias, Hand-Colored Engraving
Est: $400 - $600
Giovanni Volpato 1733-1803 Section of the Vatican Loggias Hand-Colored Engraving Creases.
Nye & Company
Jun. 28, 2025
Volpato, Giovanni
Est: -
Volpato, Giovanni 1733 Bassano - 1803 Rom. Blick auf Delphi: "Heic claro surgit delphorum marmore templum [...]". Kupferstich nach einem Gemälde von Claude Lorrain. Im Stich unter der Darstellung betitelt, rechts bezeichnet. Darstellungsgröße ca. 44,6 x 58 cm, hinter Passepartout und Glas gerahmt ca. 67,5 x 77 cm. Blatt minimal fleckig und geknickt, Papier beschädigt, wurde nicht geöffnet. Volpato, Giovanni 1733 Bassano - 1803 Rome. View of Delphi: ‘Heic claro surgit delphorum marmore templum [...]’. Copper engraving after a painting by Claude Lorrain. Titled in the engraving below the depiction, inscribed on the right. Depiction size approx. 44.6 x 58 cm, framed behind passepartout and glass approx. 67.5 x 77 cm. Sheet minimally stained and creased, paper damaged, has not been opened.
Auktionshaus Sieglin GmbH
Jun. 28, 2025
Volpato, Giovanni
Est: -
Volpato, Giovanni 1733 Bassano - 1803 Rom. Auf dem Heimweg. Kupferstich nach einem Gemälde von Claude Lorrain. Im Stich unter der Darstellung betitelt, rechts bezeichnet. Darstellungsgröße ca. 44,6 x 58 cm, hinter Passepartout und Glas gerahmt ca. 67,5 x 77 cm. Blatt minimal fleckig und geknickt, wurde nicht geöffnet. Volpato, Giovanni 1733 Bassano - 1803 Rome. On the way home. Copper engraving after a painting by Claude Lorrain. Titled in the engraving below the depiction, inscribed on the right. Image size approx. 44.6 x 58 cm, framed behind passepartout and glass approx. 67.5 x 77 cm. Sheet minimally stained and creased, has not been opened.
Auktionshaus Sieglin GmbH
May. 29, 2025
GIOVANNI VOLPATO (ANGARANO, 1735 - ROME, 1803) - PERSEUS AND ANDROMEDA
Est: €80 - €100
Giovanni Volpato (Angarano, 1735 - Rome, 1803) - Perseus and Andromeda Etching 24,5 x 31,3 cm (plate) 44,5 x 61,5 cm (sheet)
Kruso Art
May. 03, 2025
LOGGE DEL VATICANO ETCHING BY GIOVANNI VOLPATO 18C
Est: $1,000 - $10,000
"Logge Del Vaticano" etching by Giovanni Volpato (1735-1803, Venician) circa late 18th C. This etching has been re-printed from the original Loggie de Rafaele nel Vaticano by Giovanni Volpato. Giovanni Volpato was born in Bassano del Grappa (then part of the Republic of Venice). He received his first training from his mother, an embroiderer, and then studied under Giovanni Antonio Remondini. In 1762 he went to Venice and worked with Joseph Wagner and Francesco Bartolozzi, engraving several plates after Piazzetta, Mariotto, Amiconi, Zuccarelli, Marco Ricci and others. He worked for some time for the Duke of Parma, until a plate of the Monument of Francesco Algarotti in Pisa brought him wider notice. Size: 23.5 X 29.5" Condition: Wear commensurate with age. This etching does NOT come with a certificate of authenticity.
Florida Estate Sales Inc.
Apr. 26, 2025
3 PC LOT OF ANTIQUE DECORATIVE ARTS
Est: $200 - $400
Three piece lot of antique decorative arts, including a pair of framed etchings by Giovanni Volpato (1740-1803) and Raffaelo Morghen (1758-1833) Principi del Designo, folio, 1786, along with a framed plaster plaque in relief of Angels Heads, after Joshua Reynolds, signed Banks lower right; etchings each 27"H 32.5"W overall, plaque 17"H 15"W overall
Clements
Apr. 12, 2025
GIOVANNI VOLPATO: Veduta Degli Archi di Constantino, e di Tito, e della Meta Sudante.
Est: €300 -
GIOVANNI VOLPATO Bassano del Grappa 1735 - 1803 Rom Veduta Degli Archi di Constantino, e di Tito, e della Meta Sudante. Ansicht des Konstantin- und Titusbogens sowie weiterer antiker Ruinen in Rom. Radierung nach einer Zeichnung von Francesco Pannini, um 1774. Auf Bütten. 47,5 x 68 cm (Blatt). Ringsum bis zur Darstellung bzw. Legende beschnitten. Minimal fleckig sowie mit zwei kurzen hinterlegten Randeinrissen. [ms]
Winterberg-Kunst
Mar. 30, 2025
Giovanni VOLPATO (Bassano 1735 - Rome 1803) et Abraham DUCROS (Moudon 1748
Est: €800 - €1,200
Giovanni VOLPATO (Bassano 1735 - Rome 1803) et Abraham DUCROS (Moudon 1748 - Lausanne 1810). Vue animée des jardins de la villa Borghèse à Rome. Gravure réhaussée 50.5 x 64 cm (à vue)
Osenat
Mar. 12, 2025
Volpato (Giovanni, 1733-1803). Raphael's Stanze for Pope Pius VI, circa 1770-80, 14 engravings
Est: £700 - £1,000
Volpato (Giovanni, 1733-1803). Raphael's Stanze for Pope Pius VI, circa 1770-80, 14 engravings * Volpato (Giovanni, 1733-1803). Raphael's Stanze for Pope Pius VI, circa 1770-80, a series 14 engravings on India laid paper by Giovanni Volpato, Raphael Morghen, Aloysius Fabri, and Vincenzo Salandri after drawings by Joseph Cades, Bernardino Nocchi, Stefano Tofanelli, Jacopo Conca, Tommaso Minardi, Ferdinando Cavalleri, and Gaetano Palmaroli, of the original frescoes by Raphael, printed by the Calcographia Camerale, Rome, and sold by Giovanni Volpato, each with circular blindstamp of the Calcographia Camerale to lower outer corners, with very wide blank margins, some marks and soiling to margins, with short closed tears to sheet edges (without loss), plate size 56.5 x 74.5 cm (22 1/4 x 29 1/4 ins) QTY: (14) NOTE: The prints illustrate Raphael's decorations for the Vatican Stanze: The School of Athens, The Disputa, The Expulsion of Heliodorus, The Meeting of Leo and Attila, Parnassus, The Fire in the Borgo, The Mass at Bolsena, The Deliverance of Saint Peter, The Coronation of Charles the Great, and others.
Dominic Winter Auctions
Feb. 19, 2025
Giovanni Volpato, Italian (1733 - 1803), L ' Arrotino (The Grinder), c. 1764, etching and engraving on laid paper, 14"H x 10 3/4"W, 18 1/2"H x 14 3/4"W (mat)
Est: -
Giovanni Volpato Italian, (1733 - 1803) L ' Arrotino (The Grinder), c. 1764 etching and engraving on laid paper After a painting by Francesco Maggiotto (Italian, 1750 - 1805). Some discolorations.
Ripley Auctions
Dec. 15, 2024
Giovanni VOLPATO (Bassano 1735 - Rome 1803) et Abraham DUCROS (Moudon 1748
Est: €800 - €1,200
Giovanni VOLPATO (Bassano 1735 - Rome 1803) et Abraham DUCROS (Moudon 1748 - Lausanne 1810). Vue animée des jardins de la villa Borghèse à Rome. Gravure réhaussée 50.5 x 64 cm (à vue)
Osenat
Dec. 06, 2024
Volpato, Giovanni
Est: €50 - €75
(1733 Bassano del Grappa - Rom 1803). Dixit Dominus ad Moysen: Altare de terra facietis mihi. Moses errichtet einen Altar. Aus der Folge von 4 Bl. Kupferstich n. Amiconi u. Bartolozzi bei Ridne, Venedig. 37,8 x 49,2, Blgr. 45 x 56 cm. Mit den Namensz. u. 4 Zeilen lat. Text i.d. Platte. Ob. u. unt. Rd. wegen einiger Einrisse breit unterlegt, etw. gebr. u. stockfl., li. Rd. mit Wasserrd. D
Kiefer Buch- und Kunstauktionen
Dec. 04, 2024
Giovanni Volpato, Italian (1733 - 1803), L ' Arrotino (The Grinder), c. 1764, etching and engraving on laid paper, 14"H x 10 3/4"W, 18 1/2"H x 14 3/4"W (mat)
Est: -
Giovanni Volpato Italian, (1733 - 1803) L ' Arrotino (The Grinder), c. 1764 etching and engraving on laid paper After a painting by Francesco Maggiotto (Italian, 1750 - 1805). Some discolorations.
Ripley Auctions
Sep. 18, 2024
Giovanni Volpato (Bassano del Grappa 1732-Roma 1803) - Sorrowful Madonna
Est: €3,500 - €7,000
white earthenware sculpture 24.5 x 14 x 16 cm signed in paste G. Volpato Roma defects and shortcomings
Finarte
Jul. 05, 2024
Volpato, Giovanni
Est: €70 - €100
(1733 Bassano - Rom 1803). "Torna da i patrii Campi e da i lavori" Ca. 46 x 32 cm. Je mit Namensz. in der Pl. R
Kiefer Buch- und Kunstauktionen
Jun. 24, 2024
GIOVANNI VOLPATO (1733-1803), AFTER
Est: -
Giovanni Volpato (1733-1803), after Raphael, later reprint/facsimile after the pilaster decorations from 'Loggie di Rafaele nel Vaticano', framed behind glass 112 x 35 cm
Historia Auctionata
Jun. 24, 2024
GIOVANNI VOLPATO (1733-1803), AFTER
Est: -
Giovanni Volpato (1733-1803), after Ludovicus Teseo Taurinensis, colored copper engraving, pilaster decorations from "Loggie di Rafaele nel Vaticano", horizontal folds, stained, longer tear at lower margin, framed behind glass 110 x 54 cm
Historia Auctionata
Jun. 06, 2024
Italien - Padua - "Pianta di Padova".
Est: €1,200 - €1,800
Grundrissplan mit ornamentaler Bordüre und Detailansichten. Kupferstich (von 20 Platten; nicht zusammengesetzt) nach G. Valle, von und bei G. Volpato in Rom, dat. 1781/84. Gesamtgröße: Ca. 177 x 205 cm. (75) - Semenzato, Padova illustrata, S. 20, Abb. 9 und 10. - Zu Giovanni Volpato (1733-1803) siehe Thieme/Becker XXXIV, 530. - Unter dem italienischen Kopftitel der aus 9 Blättern bestehende Grundrissplan mit einer dekorativen Kartusche mit Maßstab und architektonischen Elementen in der rechten unteren Ecke, zu beiden Seiten 10 Detailansichten der wichtigsten Gebäude der Stadt, die Zwischenräume mit grotesken Ornamenten besetzt und unter dem Plan abschließend zwei Legenden, dazwischen die Ansicht "Veduta del Prato della Valle".
Zisska & Lacher
Apr. 16, 2024
VOLPATO GIOVANNI (1733 - 1803) - Spring
Est: €50 - €100
VOLPATO GIOVANNI (1733 - 1803). Spring. Inventor Francesco Zuccarelli. Publisher Joseph Wagner.. 53,00 x 43,00 cm.
Capitolium Art
Apr. 04, 2024
VOLPATO, Giovanni (1735-1803), a partir de Correggio (1489-1534) "JESUS CRISTO ORANDO DE JOELHOS NO MONTE OLIVETE", gravura s/ papel. Emoldurado
Est: €30 - €60
VOLPATO, Giovanni (1735-1803), a partir de Correggio (1489-1534) "JESUS CRISTO ORANDO DE JOELHOS NO MONTE OLIVETE". Com a seguinte legenda em latim : "Cum pervenisset Jesus ad Montem Olivarum positis genibus orabat". Ex tabula Madriti in Pinacotheca Regis. Gravura sobre papel, aberta a água - forte e a ponteado, no seu estado primitivo a negro. Desenhada por Ant. Allegri da Coreggio e gravada por Joh. Volpato, em Roma, em 1773. Bom estado de conservação, mas com manchas nas margens brancas do papel. Emoldurada. Destaque para a bonita e sólida moldura em madeira, decorada com pequeno friso dourado. Dim. aprox. mancha: 32 x 34,5 cm; Dim. aprox. total: 66 x 80.5 cm.
Palácio do Correio Velho
Mar. 02, 2024
Giovanni Volpato, Italian (1733 - 1803), L ' Arrotino (The Grinder), c. 1764, etching and engraving on laid paper, 14"H x 10 3/4"W, 18 1/2"H x 14 3/4"W (mat)
Est: $200 - $300
Giovanni Volpato Italian, (1733 - 1803) L ' Arrotino (The Grinder), c. 1764 etching and engraving on laid paper After a painting by Francesco Maggiotto (Italian, 1750 - 1805). Some discolorations.
Ripley Auctions
Feb. 27, 2024
Giovanni Volpato - Pilaster decoration from Raphael's Loggias in the Vatican, after Ludovicus Teseo Taurinensis
Est: £300 - £500
Giovanni Volpato, Italian 1733-1803 Pilaster decoration from Raphael's Loggias in the Vatican, after Ludovicus Teseo Taurinensis; copper engraving on laid paper, 102 x 47.2 cm. Provenance: Private Collection, UK. Note: The present engraving derives from Raphael's (1483-1520) decoration of the walls of the Vatican Loggia, with Volpato producing a collection of engravings illustrating the Vatican Loggias between 1772 and 1776. Volpato was a prominent printmaker, specialising in the depiction of 16th-century monuments, including the frescoes of the Palazzo Farnese in Rome.
Roseberys
Feb. 20, 2024
Giovanni Trevisan detto Volpato (Angarano 1735 - Roma 1803)
Est: €100 - €150
Giovanni Trevisan detto Volpato (Angarano 1735 - Roma 1803) Primavera e Inverno Coppia di acquaforte 43 x 57 cm Giovanni Trevisan also called Volpato (Angarano 1735 - Rome 1803) Spring and Winter A pair of etchings 43 Ã— 57 cm
Lucas Aste
Feb. 16, 2024
Volpato, Giovanni
Est: €70 - €100
(1733 Bassano del Grappa - Rom 1803). Dixit Dominus ad Moysen: Altare de terra facietis mihi. Moses errichtet einen Altar. Aus der Folge von 4 Bl. Kupferstich n. Amiconi u. Bartolozzi bei Ridne, Venedig. 37,8 x 49,2, Blgr. 45 x 56 cm. Mit den Namensz. u. 4 Zeilen lat. Text i.d. Platte. Ob. u. unt. Rd. wegen einiger Einrisse breit unterlegt, etw. gebr. u. stockfl., li. Rd. mit Wasserrd.
Kiefer Buch- und Kunstauktionen
Feb. 07, 2024
ENGRAVING BY GIOVANNI VOLPATO
Est: -
GIOVANNI VOLPATO (Bassano del Grappa 1735 - Roma 1803) LA VALLE DEL COLOSSEO CON GLI ARCHI DI COSTANTINO E TITO ED IL TEMPIO DI VENERE E ROMA Incisione a delineato, cm. 47 x 65 Foglio libero
Casa d'Aste Babuino
Dec. 13, 2023
Volpato, Giovanni
Est: €100 - €150
(1733 Bassano del Grappa - Rom 1803). Dixit Dominus ad Moysen: Altare de terra facietis mihi. Moses errichtet einen Altar. Aus der Folge von 4 Bl. Kupferstich n. Amiconi u. Bartolozzi bei Ridne, Venedig. 37,8 x 49,2, Blgr. 45 x 56 cm. Mit den Namensz. u. 4 Zeilen lat. Text i.d. Platte. Ob. u. unt. Rd. wegen einiger Einrisse breit unterlegt, etw. gebr. u. stockfl., li. Rd. mit Wasserrd.
Kiefer Buch- und Kunstauktionen
Dec. 09, 2023
Giovanni VOLPATO (1733-1803),D'après
Est: €400 - €600
Scène de la vie de saint Joseph Ensemble de quatre gravures en couleur numérotées 40 x 51 cm Pliures et traces d'humidité
OXIO
Dec. 08, 2023
Giovanni Volpato, 1733 – 1803 sowie Raphael Morghen, 1758 – 1833
Est: €40 - €60
PIO SEXTO PONT. MAX. Paar Kupferstiche nach Raphael (1483-1520). Sichtmaß: 43 x 74 cm sowie 61 x 73,5 cm. Jeweils hinter Glas, in vergoldetem Rahmen. (13801540) (18)
Hampel Fine Art Auctions
Oct. 23, 2023
GIOVANNI VOLPATO (1733-1803), attribué Battaille romaine
Est: €300 - €600
GIOVANNI VOLPATO (1733-1803), attribué Battaille romaine Bas-relief en terre cuite figurant une bataille Romaine. Dimensions : 1,7 x 15,6 x 20 cm Provenance : Collection privée Londres en 1864 ( note au dos )
Accademia Fine Art
Jul. 20, 2023
Volpato (Giovanni, 1733-1803). Veduta di.. Foro Romano, & Anfiteatro Flavio oggidi Colosseo (2)
Est: £200 - £300
Volpato (Giovanni, 1733-1803). Veduta di.. Foro Romano, & Anfiteatro Flavio oggidi Colosseo (2) * Volpato (Giovanni, 1733-1803). Veduta di Campo Vaccino contenente il Foro Romano, il Comizio, il Vulcanale e parte del Tempio dello Pace e della Via Sacra, & Veduta dell' Anfiteatro Flavio oggidi Colosseo osservato dal Celio, Rome, 1773/1776 respectively [but later], two copper engraved views by Giovanni Volpato after Francesco Panini, published in Rome by the Calcografia della Reverenda Camera Apostolica, probably late 19th century, a few surface marks and light soiling to margins, each fully laid down on 20th century backing card, plate size 48 x 69 cm (19 x 27 ins), sheet size 53 x 74.5 cm (21 x 29 ins), matching black and gilt frames, glazed QTY: (2)
Dominic Winter Auctions
Jul. 12, 2023
AFTER RAPHAEL, FOUR ENGRAVINGS
Est: $200 - $400
Four Engravings Copied from Loggie Di Raffaello in Vaticano by Giovanni Volpato (1753-1803). Framed dimensions: H: 40 1/2 x W: 10 1/4 in. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email or by telephone . Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Gray's Auctioneers shall have no responsibility for any error or omission.
Gray's Auctioneers
Jun. 27, 2023
ENGRAVING BY GIOVANNI VOLPATO
Est: €600 - €800
GIOVANNI VOLPATO (Bassano 1733 - Roma 1803) VEDUTA IN PROFILO DELLA CITTÁ DI ROMA Incisione a colori, cm. 46 x 206 Misure del foglio cm. 51 x 225 Sottotitolata In cornice
Casa d'Aste Babuino
Jun. 24, 2023
Volpato, Giovanni (1733 Italien 1803)
Est: €300 - €360
"Veduta ini Profilo della città di Roma", nach Francesco Panini. Kupferstich (besch., fleckig, gebräunt). 48x 206 cm. Rahmen (best.).
Dannenberg
Jun. 03, 2023
Giovanni VOLPATO. (1735-1803) …
Est: €40 - €50
Giovanni VOLPATO. (1735-1803) « Jésus au Mont des Oliviers » Burin. 1773. D'après Le CORRÈGE (Allegri Da CORREGIO) (1489-1534) Épreuve sur papier vergé. Anciennement contrecollée sur papier. Dimensions image : 315 x 340 mm Dimensions papier : 367 x 375 mm
Rois & Vauprès
Mar. 22, 2023
GIOVANNI VOLPATO (BASSANO 1735-1803 ROME) Vue de la pyramide de Cestius à R
Est: €4,000 - €6,000
GIOVANNI VOLPATO (BASSANO 1735-1803 ROME) Vue de la pyramide de Cestius à Rome plume et encre brune, aquarelle et gouache, rehaussé de gomme arabique 52,8 x 75 cm (20 3/4 x 29 1/4 in.)
Christie's