FRÉDERIC TRIGO PIULA | Materna

Brazzaville, Centre Culturel Français, 1984
Libreville, International Centre of Bantu Civilizations, Biennale de l'Art Bantu Contemporain, 1985
New York City, New York, The Center for African Art, Africa Explores: 20th Century African Art, 23 May 1991-2 January 1992, illustrated in colour in the catalogue p. 228; New York City, New York, New Museum of Contemporary Art, 1991; Berkeley, California, University Art Museum, 1992; Dallas, Texas, Dallas Museum of Art, 9 February-5 April, 1992; St Louis, Missouri, St Louis Art Museum, 15 May-5 July 1992; Charlotte, Mint Museum of Art, 8 August-11 October 1992; Pittsburgh, Pennsylvania, Carnegie Museum of Art, 7 November 1992-10 January 1992; Washington D.C., Washington, Corcoran Gallery of Art, 6 February-4 April 1993; Miami, Florida, Center for Fine Arts, 1993; Aachen, Ludwig Forum für internationale Kunst, 1993; Barcelona, Fundació Antoni Tàpies, 17 November 1993-16 January 1994; Liverpool, Tate Liverpool, 1994; Lyon, Espace Lyonnais d'Art Contemporain, 1994
Brussels, Cooperation par l'Education et la Culture, L'EUROPE FANTÔME, 28 May-6 July 2003, illustrated in colour in the catalogue

Art in America, October 1991, illustrated in colour
Barbara Browning, Infectious Rhythm: Metaphors of Contagion and the Spread of African Culture, London, 2013, illustrated p. 62

Please note that this work is stretched and framed and would benefit from a new frame. The work has not been examined outside of its frame. There appears to be craqueleure visible throughout the surface of the work as well as areas of minor loss, particularly within dark background. The most noticeable of these losses can be found to the centre right of the work and is visible in the catalogue illustration. Upon close inspection, there is a minor wear and associated surface loss visible to all four corners of the work. There is an area of residue long the upper right hand framing edge which appears to be contemporary to the creation of the work. There are areas along the left and lower framing edges where the nails which have been used for the frame have punctured the edges of the canvas/work. Inspection under ultraviolet light reveals no signs of restoration or repair.
"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."