Piero Dorazio

Galleria Galerie Im Erker, San Gallo
Galleria Martano, Torino
Galleria Marlborough, Roma

Colonia, Galerie Springer, Kunstmarkt, 1968
Lugano, Galleria Boni-Schubert, 1969
San Gallo, Galerie Im Erker, 1970
Torino, Galleria Martano 2, 1970
Brescia, Galleria La Nuova Città, 1972

Benini, Le mostre nella Svizzera tedesca, in “Le Arti”, Milano, dicembre 1970, p. 42
Nello Ponente, Bonjour monsieur Dorazio, in “Panorama delle Arti”, Roma, luglio 1971, p. 9, illustrato
Luisa Volpi Orlandini, Dorazio, Venezia 1977, n. 1016, illustrato

A professional condition report is available under request to the department.
"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."

"Le sue tessiture [...] sono a un tempo ricettacoli spaziali e radar luminosi e riescono, nella loro continuità tissurale, a proporre il senso dell'infinito e quello del conchiuso: l'infinito di una trama che si ripete eguale a se stessa (ma che pur talvolta presenta una lieve imperfezione, un'improvvisa cesura, come il filo sbagliato che i grandi tessitori degli antichi tappeti persiani inserivano a bella posta nei loro capolavori a renderli più preziosi) e il concluso d'un margine netto che isola la superficie dipinta e la rende fine a se stessa. Sono, dunque, opere di autentica pittura, dove la pulizia dell'esecuzione non pregiudica mai l'unicità della resa; dove la irreperibilità dell'elemento poetico si sposa con il rigore del raggiunto risultato pittorico."

"His textures [...] are at the same time spatial receptacles and luminous radars, and succeed, in their textural continuity, in proposing a sense of the infinite and the finite: the infinite of a pattern repeated in the same form (but sometimes with some slight flaw or sudden break, like the wrong thread that the great weavers of ancient Persian carpets deliberately included in their masterpieces so as to make them more precious) and the finite of a clear border that isolates the painted surface and makes it an end in itself. They are therefore works of authentic painting where the polish of the execution never impairs the uniqueness of the rendering. where the elusiveness of the poetic element is combined with the precision of the pictorial result obtained."

Gillo Dorfles