A Laocoön by Filippo Della Valle
List Price:
$33.00
- Availability: Confirm prior to ordering
- Branding: minimum 50 pieces (add’l costs below)
- Check Freight Rates (branded products only)
Branding Options (v), Availability & Lead Times
- 1-Color Imprint: $2.00 ea.
- Promo-Page Insert: $2.50 ea. (full-color printed, single-sided page)
- Belly-Band Wrap: $2.50 ea. (full-color printed)
- Set-Up Charge: $45 per decoration
- Availability: Product availability changes daily, so please confirm your quantity is available prior to placing an order.
- Branded Products: allow 10 business days from proof approval for production. Branding options may be limited or unavailable based on product design or cover artwork.
- Unbranded Products: allow 3-5 business days for shipping. All Unbranded items receive FREE ground shipping in the US. Inquire for international shipping.
- RETURNS/CANCELLATIONS: All orders, branded or unbranded, are NON-CANCELLABLE and NON-RETURNABLE once a purchase order has been received.
Product Details
Author:
Dimitrios Zikos
Format:
Hardcover
Pages:
64
Publisher:
Mandragora (July 29, 2025)
Imprint:
Mandragora
Language:
English
Audience:
General/trade
ISBN-13:
9788874616749
ISBN-10:
8874616740
Weight:
20oz
Dimensions:
9.449" x 9.449" x 0.5"
File:
Eloquence-SimonSchuster_03032026_P9790483_onix30_Complete-20260303.xml
Folder:
Eloquence
List Price:
$33.00
Pub Discount:
65
As low as:
$31.35
Publisher Identifier:
P-SS
Discount Code:
D
Case Pack:
25
Overview
Discusses a bronze Laocoön recently sold at Bonham’s. Della Valle helped interpret correctly the bronze and its attribution in the Doccia models’ inventory.
This publication discusses a bronze Laocoön recently sold at Bonham’s. Its new owners attributed it to Giuseppe Piamontini (1663–1744) ‘because of its manufacture and its extremely close proximity to the Doccia model’, the model employed for a porcelain Laocoön produced in the factory set up by Carlo Ginori (1702–57) in 1737 at Doccia near Florence.
Labelled as French and belatedly returned to Late Baroque Florence (but to the wrong artist), this magnificent group has finally revealed its identity. It is one of the incunabula of an ambitious young sculptor measuring himself with the sculptors of Ancient Greece and their great Renaissance followers of his native Florence. During the day he copied them in the Galleria degli Uffizi and in the streets of the city. At night he gathered together with other pupils of Foggini in the Borgo Pinti studio to study together. The prominent career to which Della Valle obviously aspired prompted his move to Rome. Della Valle helped us interpret the bronze correctly, interpret correctly its attribution in the Doccia models’ inventory and by extension understand better that document itself. But most important, our understanding of Florentine Late Baroque sculpture and of Della Valle’s art has acquired another firm point of reference.
This publication discusses a bronze Laocoön recently sold at Bonham’s. Its new owners attributed it to Giuseppe Piamontini (1663–1744) ‘because of its manufacture and its extremely close proximity to the Doccia model’, the model employed for a porcelain Laocoön produced in the factory set up by Carlo Ginori (1702–57) in 1737 at Doccia near Florence.
Labelled as French and belatedly returned to Late Baroque Florence (but to the wrong artist), this magnificent group has finally revealed its identity. It is one of the incunabula of an ambitious young sculptor measuring himself with the sculptors of Ancient Greece and their great Renaissance followers of his native Florence. During the day he copied them in the Galleria degli Uffizi and in the streets of the city. At night he gathered together with other pupils of Foggini in the Borgo Pinti studio to study together. The prominent career to which Della Valle obviously aspired prompted his move to Rome. Della Valle helped us interpret the bronze correctly, interpret correctly its attribution in the Doccia models’ inventory and by extension understand better that document itself. But most important, our understanding of Florentine Late Baroque sculpture and of Della Valle’s art has acquired another firm point of reference.








