Piero Dorazio

DORAZIO Piero Roma 1927 Todi 2005 Ovale 1980 acquarello su carta watercolour on paper cm. 45 x 58 Firma, data 'Dorazio, 1980' (in basso a destra) Etichetta e timbro Andre Emmerich Gallery inc, New York; etichetta Jerry Solomon Enterprises, Los Angeles; etichetta Galerie Valentien, Stuttgart Signed, dated 'Dorazio, 1980' (lower right); Label and stamp of Andre Emmerich Gallery inc, New York; label of Jerry Solomon Enterprises, Los Angeles; label of Galerie Valentien, Stuttgart Collezione Giovanna Frea

DescEN Dorazio, Piero Composition with stripes. Gouache on laid paper. Signed and dated (19)89 lower right. Passepartout. Provenance: collection South Switzerland. 1927 Rom - 2005 Perugia. Streifenkomposition. Gouache/Bütten. Arrangement aus verschiedenfarbigen Streifenbündeln in Braun, Grün, Rot, Orange sowie Weiß auf blauem Fond. U.r. sign und (19)89 dat. H. 33,8, B. 27 cm (Blattgröße). Passepartout. Provenienz: Sammlung Südschweiz. Für dieses Objekt wird zusätzlich die gesetzliche Einfuhr-Umsatzsteuer von 7 % auf den Nettopreis (Zuschlagspreis + Aufgeld) hinzugerechnet. Wird das Objekt nach dem Zuschlag wieder in die Schweiz gebracht, entfällt die Einfuhr-Umsatzsteuer. This auction item is subject to 7 % statutory import duties added to the net price (hammer price + premium). These import duties do not apply if the auction item is returned to Switzerland following the auction's closing .

DORAZIO, PIERO (Rome 1927 - 2005 Perugia) Swells. 1965. Oil on canvas. Verso signed, dated and entitled: PIERO DORAZIO, 1965, SWELLS. 93 x 72.5 cm. Provenance: - Marlborough Galleria d'Arte, Rome. - Marlborough Fine Art Ltd., London. - Galerie "Im Erker", St. Gallen. - Acquired at the above gallery in 1966 by the current owner. Exhibited: 1966 St. Gallen: "Piero Dorazio", Galerie "Im Erker", 28. May- 16. July 1966, Cat.No. 33. Literature: Volpi Orlandini, M.; Lassaigne, J.; Crisafi, G. (pub.). Dorazio. Alfieri Edizioni d'Arte, Venezia 1977, Cat.No. 831 (with ill.). CHF 20 000.- / 30 000.- € 16 670.- / 25 000.- DORAZIO, PIERO (Rom 1927 - 2005 Perugia) Swells. 1965. Öl auf Leinwand. Verso signiert, datiert und betitelt: PIERO DORAZIO, 1965, SWELLS. 93 x 72,5 cm. Provenienz: - Marlborough Galleria d'Arte, Roma. - Marlborough Fine Art Ltd., London. - Galerie "Im Erker", St. Gallen. - Bei obiger Galerie 1966 von den heutigen Besitzern erworben. Ausstellung: 1966 St. Gallen: "Piero Dorazio", Galerie "Im Erker", 28. Mai - 16. Juli 1966, Kat.Nr. 33. Literatur: Volpi Orlandini, M.; Lassaigne, J.; Crisafi, G. (Hrsg.). Dorazio. Alfieri Edizioni d'Arte, Venezia 1977, Kat.Nr. 831 (mit Abb.). CHF 20 000.- / 30 000.- € 16 670.- / 25 000.-

Piero Dorazio Rome 1927 – 2005 Perugia „COSE ALLEGRE“ Circa 1987. Oil on canvas. 70,5 x 60,5 cm (27 ¾ x 23 ⅞ in.) Signed and titled in red brush on the reverse: PIERO DORAZIO ”COSE ALLEGRE” I. On the stretcher the round stamp PIERO DORAZIO with the no. 2887. Not in the catalogue raisonné by Crisafi. -

Piero Dorazio * (Rome 1927–2005 Todi) “Tante diversità tante passioni” (love calls for colour), signed, dated Dorazio ‘56, on the reverse titled, signed, dated Piero Dorazio 1956, oil on canvas, 81 x 100 cm, framed, (PP) Photo certificate: Archivio Opera Piero Dorazio, Todi, no. 56 1005 2117 1414 002 The work has been registered by the Archivio Opera di Piero Dorazio, Todi under the archive no. 56 1005 2117 1414 002 . Provenance: Kaplan Collection, Philadelphia; Malborough Galleria d’’ ’’Arte, Rome (label on the reverse); Anfiteatro Arte, Padua (label on the reverse); Private Collection, Italy (purchased there) Exhibitions: Galleria La Tartaruga, Rome, 1957; Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 18 October - 26 November 1961, exhibition catalogue no. 28, no ill. (here titled: Amore chiama colore) Literature: G. Ungaretti, Piero Dorazio, San Gallo 1976, no. 9, page 39 with ill.; M. Volpi Orlandi, Dorazio, Venice 1977, no. 199 (here titled: Amore chiama colore I) “In the Amore chiama Colore series of 1956, the fluidified forms seek to achieve maximum chromatic vividness and brightness without the “pleasing element” (typical of all Dorazio’’’’s painting, even his later work) lapsing into the purely decorative. Energy and density are concentrated in the central part of the painting, but, for once, the artist seems to allow the painting to have a will of its own. This strange (and apparent) identification of forms and brush strokes, creating a magmatic and wispy mass, makes up (...) an emotional, almost “informal” phase of his painting”. (Marisa Volpi Orlandini, Dorazio, Venice, 1977)