This high quality marble does exhibits weathering consistent with having been exposed to the elements. There are repaired breaks to the fingers on the left figure's right hand and the big tow of his left foot. Two of the right figure's right hands have been repaired and two are now missing. There are some scratches and surface dirt throughout. The right figure's right arm has been reattached. Laocoon's right arm has been reattached as has part of the serpent. A piece of the serpent that extended along the back of the sculpture is now missing. There is a repaired fissure to the left side of the base.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Leandro Biglioschi (variously spelled Biglioski and Baglioski) was one of Canova's three studio assistants mentioned in G. A. Guattani's Memorie Enciclopediche of 1810 and discussed by Hugh Honour in his 1972 publication on Canova's studio practice.  An esteemed sculptor, Biglioschi was made Regent of the Virtuousi al Pantheon (the papal honour society of artists) in Rome in 1821.  Prior to this honour, Canova himself commissioned Biglioschi to model four marble busts for the Pantheon which are now in the Capitoline Museum.
The present marble copy after the antique Laocoön is rendered with great sensitivity.  The ancient marble was discovered in Rome in 1506 and the emotional intensity of the work made a profound impression on artists throughout the proceeding generations.  Biglioschi carved the sculpture ten years after Canova's death, however, his marble maintains the neoclassical idealism of his mentor.

RELATED LITERATURE
G. A. Guattani Memorie Enciclopediche (1810); V. Martinelli and C. Pietrangeli, La Protomoteca Capitolina (Rome, 1955) pp. 60, 67, 71, 76; H. Honour, "Canova's Studio Practice-II: 1792-1822" The Burlington Magazine 114, no. 829 (April 1972) p. 220; F. Haskell and N. Penny, Taste and the Antique (London, 1981) pp. 243-7; A. Panzetta, Nuovo dizionario degli scultori italiani dell'Ottocento e del primo Novecento (Turin, 2003) vol. 1, p. 92