A bronze sculpture - Tada - Nigeria
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Selected by Dimitri André
Holds a postgraduate degree in African studies and 15 years experience in African art.
Estimate € 4,000 - € 4,400
 | €650 | |
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 | €500 | |
| €250 |
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A bronze sculpture from Nigeria in the Tada style, with provenance Aboulaye Ousmane of Lomé, Togo; height 60 cm, weight 14.4 kg, in fair condition, authentic original.
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Description from the seller
A fragmentary Bronze sculpture in the style of Tada with an extremly smoozh patina. The related famous exemplare was obviously deliberately destroyed, which is probably due to the influence of militant Islamism, which has now found its continuation in the reign of terror of Boko Haram and dominates this region. However, this reign of terror has now stopped destroying high-quality works of art and instead sold them to the art trade because they can fetch a considerable amount of money. Even though this sculpture was in a well-known collection in Togo for many years, it is likely that it is closely linked to the decline of animism and the aggressive advance of an intolerant Islamism. The condition of the surface suggests that it was in the ritual use - like mentioned above - for many years., provenance Aboulaye Ousmane, called Abdou Barré, Lomé Togo, it was since a long time in his collection.
Another fragmentary Tsoede broze, we collected a couple of years ago.
Tom Phillips wrote in his book "Africa, the Art of a Continent" page 407, about the wellknown version of this famous sculpture, which is obviously Ife related.
"This is without doubt the suprem masterpiece of the Ife smiths´art. Its proportions are naturalistic, whereas normally the head quarter or more of the height of the figure. The limbs and usualyly the torso are generally no more than cylinders, but here legs and remaining parts of the arms are very Ifelike. The figure wears a wrapper that is overlain with a net of beads. On the left hip a shash is tied round a folded cloth, perhaps thw concerns of the wrappers. (There is a similar hip ornament in terracotta form a life size figure from the Iwinrin Grove). Originally the right foot may have projected below the level of the base, ehich promted Willim Fagg to suggest that it might have been unrended to sit on a round stone throne (as cat. 5.66)...
Until recently this pice was kept in a shrine in the Nupe village of Tada on the river Niger 192 km north of Ife, where the villagers took it downto the riverevery Friday and scrubbed it with river gravel to ebsure the fertility of their wives and of the fish on which they live.. This accounts for its smoothed appearance , Bernard Faggpersuaded the villagers thar they were destroying the sculpture and with it the fertiliy they were trying to promote...
It is not clear why this piece and several others were found so far north. it may well be that its location indicetes the ancient northern frontier of the kingdom of Ife. FW, Bibliography: Willet, 1967, pl 8
s. Tom Phillips, Africa Art, the Art of a Continent, page 407
Youtube video clip: Ife Tada Benin Djenne Adamaua Terracotta and Bronzes Wolfgang Jaenicke Gallery Berlin.
A group of nine bronze sculptures had for a long time been known to exist in two villages on the River Niger, at Tada and on Jebba Island. The bronzes are referred to as the Tsoede bronzes because oral tradition says that the founder of the Nupe Kingdom, King Tsoede, who escaped from Idah in a bronze canoe, distributed these bronzes on his way to founding the present Nupe Kingdom which is believed to date from the sixteenth century.
The bronzes are divided into four groups. The first consists of the so-called Gara figures, two on Jebba Island, a male and a female, and one in Tada.
The second group consists of only the seated figure shown here, perhaps the most important naturalistic sculpture in Black Africa. Two other more recent-looking figures make up the third group, while the figures of two ostriches and an elephant form the fourth group. The male Jebba Gara figure better known as the Jebba Bowman and the Tada Gara male figure are believed to bear resemblance to Benin works because of the diadems on their foreheads which depict faces with snakes issuing from their nostrils, a common feature in Benin works. The Tada seated figure seems, in its naturalism and rigidity, to belong to the Ife school. The two more recent looking figures from Tada have a combination of Yoruba and Benin traits while the ostriches and the elephant belong to a yet unidentified school. So, here we find at least four traditions of sculpture in bronze and their coming together suggests that they were accidentally assembled.
All the figures were still being used in rituals, in secondary contexts, in the places where they were located until they were temporarily taken into safety in the National Museum in Lagos.
Source: Nigerianhouse
We know only two exemplares, one in an American private collection and one in Europe, which don´t have signs of violance like the well known, in many books published fragmentary exemplare.
If the National Commission of Museums and Monuments in Abuja, Nigeria, is interested in this rare exemplare, we can speak about donation.
It is important that such high-value works of art are protected from further destruction and not left at the mercy of Islamist terrorists. Such objects do not belong on the black market, but this dilemma should be discussed openly with all those who are committed to protecting cultural heritage. This object was not stolen and is coming from athe old private collection of the Heritage of El Hadji Ibrahim Abdoulaye, Cotonou, Benin, who passed away in 2022.
The Tsoede (also called Tada-bronzes) are linked to the Benin Kingdom, one of the great African kingdoms, known for its advanced urban planning, political structure, and art. The bronzes were likely produced by the skilled metalworkers who inhabited the area and are now considered a key part of the rich artistic heritage of the Benin Empire. The works also hold substantial historical value, as they often served ceremonial and symbolic purposes.
Characteristics.
The bronzes are renowned for their high level of craftsmanship and intricate detail. They are typically made using the lost-wax casting technique, which was a sophisticated method in which a wax model of the object is covered in clay and then heated to allow the wax to melt and drain, leaving a hollow mold for molten bronze to be poured into. This technique allowed for the creation of highly detailed and intricate sculptures.
Many of the Tsoede bronzes depict human figures, animal motifs, or abstract symbols, and they were often used in royal or religious contexts, either as offerings or as part of the royal regalia. Some of the common themes include:
1. Portraits of Royalty – These bronzes often feature depictions of kings or nobles, sometimes in elaborate attire or with symbolic regalia.
2. Animal Motifs – Animals, especially elephants and leopards, were common subjects, reflecting their importance in the kingdom's symbolism and governance.
3. Symbolism – The bronzes also depict symbolic elements tied to the spiritual and political life of the kingdom.
Significance
The Tsoede bronzes are considered one of the earliest examples of advanced metalwork in West Africa, and they stand as a testament to the region's long history of metallurgy, craftsmanship, and artistic expression. They are also part of the Benin Bronzes, a collection of plaques and sculptures that are historically important, though the term "Benin Bronzes" is often used more broadly to refer to the numerous works produced in Benin during the 13th to 19th centuries.
These bronzes are not only valuable for their artistic merit but also for what they tell us about the social and political organization of the Benin Kingdom, its religious practices, and its interactions with other cultures.
A few years ago we collected probably a recent figurine with an artificial patina in the same sitting position, which to this day has attracted a great deal of attention on the internet. One foot touched the ground and the other was parallel to it. In this case arms abd legs were intact and the figure held a snake in its hands.
Is it conceivable that the damage to the figure right presented here was intentional? The deformations of the arm swamps show more than mere erosion. They show - at least on the arms - clear signs of violence. Snakes have been a symbol of power and domination for centuries, especially in traditional Africa. If a character is deprived of this symbol, it loses its magic power. Couldn't the missing left foot be interpreted in a similar way, in that the figure has lost its contact with the earth by breaking off the foot? This could perhaps be interpreted as another sign of de-ritualization.
This well known Tada scupture was described:
"The style and the extraordinarily thin casting of this naturalistic figure point to its likely creation at Ife...(last photo sequence).
Inv No. XBD179657
Legal Framework
Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor.
All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery
Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.
Seller's Story
Wolfgang Jaenicke’s engagement with African art did not begin in the field or the marketplace but in a quieter, more inward space—among papers, books, and objects that belonged to his father. The archive on Germany’s former colonies was not arranged to tell a single story; it suggested many. It invited scrutiny rather than reverence, and it taught Jaenicke early on that objects are never mute. They carry time inside them—fracture and continuity held in the same form—and they ask to be read as carefully as texts.
For more than a quarter century, Jaenicke has worked as a collector, dealer, and intermediary, though none of these terms quite captures the shape of his practice. What used to be grouped, too casually, under the heading of “Tribal Art” has never appeared to him as a sealed or historical category. It is, instead, a set of living traditions, constantly negotiating the present. His academic training—in ethnology, art history, and comparative law—provided a grammar. The language itself he learned elsewhere. In Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Togo, and Ghana, knowledge emerged slowly, through repeated encounters that hardened into relationships, and through trust built not all at once but over years.
Mali became the gravitational center of this experience. Between 2002 and 2012, Jaenicke lived and worked in Bamako and Ségou, where he ran Tribalartforum, a gallery overlooking the Niger River. The space resisted easy chronology. Sculptures and ceramics shared the room with photography, and works by Malick Sidibé—images of Malian youth in the 1970s, self-assured and exuberant—hung alongside older ritual forms. The effect was not nostalgic but clarifying: past and present did not cancel each other out; they sharpened one another.
The war of 2012 ended this chapter abruptly, as wars tend to do. But it did not dissolve the work. Together with Aguibou Kamaté, Jaenicke regrouped in Lomé, closer to the places where many of the objects originated and to the routes they continue to travel. Since 2018, Berlin has become another point on this map. Galerie Wolfgang Jaenicke now operates opposite Charlottenburg Palace, supported by a small team of specialists. Its focus rests, in particular, on West African bronzes and terracottas—materials shaped by earth and fire, and by forms of memory that resist easy translation.
What distinguishes Jaenicke’s practice is not only its geographical range but its internal tension. Fieldwork is paired with provenance research; commerce is treated as inseparable from responsibility. In collaboration with museums and scholarly initiatives, circulation is framed not as extraction but as an ethical process that remains unfinished. The aim is not to remove objects from the world and seal them off, but to keep them readable within it—to allow them to continue speaking, even as the conditions of their speech change.
------------
Galerie Wolfgang Jaenicke is a Berlin-based gallery specializing in West African sculpture, bronzes, terracottas, masks, and contemporary African art. It is directed by Wolfgang Jaenicke, whose work combines collecting, dealing, provenance research, fieldwork, and archival documentation.
According to the gallery’s own account, Jaenicke studied ethnology, art history, and comparative law and has worked in the field of African art for more than twenty-five years. His activities developed through long-term engagement in countries including Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Ghana, and Togo. Rather than presenting African art as a closed historical category, he describes it as a continuing cultural tradition shaped by living communities and changing historical contexts.
A particularly important phase of his career was in Mali, where he lived and worked between roughly 2002 and 2012 in Bamako and Ségou. There he operated Tribalartforum, a gallery that combined historical African sculpture with contemporary African photography, including works by Malick Sidibé. The political and military crisis in Mali in 2012 led to the closure of this phase of activity.
Later, together with Aguibou Kamaté, Jaenicke continued working from Lomé, Togo, before establishing a gallery presence in Berlin near Charlottenburg Palace. The gallery places particular emphasis on West African bronzes, terracottas, Benin and Ife-related works, Nok sculpture, Dogon art, Baule sculpture, Senufo objects, and Yoruba material.
One distinctive aspect of Jaenicke’s public position is his repeated emphasis on provenance transparency and restitution debates. On several published object records, the gallery explicitly discusses issues surrounding export documentation, UNESCO conventions, ownership histories, and communication with scholars and restitution researchers. These statements reflect broader contemporary debates about the circulation of African cultural heritage, legality, collecting history, and museum acquisition practices.
The gallery maintains extensive online archives and catalogues documenting hundreds of African objects, including Benin and Ife bronzes, Nok terracottas, Dogon sculptures, Baule figures, Fon objects, Moba figures, and other West African material.
For researchers interested in the history of the African art trade, Jaenicke represents a later generation of dealers compared with figures such as John J. Klejman. Whereas Klejman belonged to the postwar New York market of the 1950s–1970s, Jaenicke’s work has been shaped by contemporary concerns with field documentation, provenance research, restitution discussions, digital archives, and direct engagement with West African networks and artists.
This text is based on AI Information
A fragmentary Bronze sculpture in the style of Tada with an extremly smoozh patina. The related famous exemplare was obviously deliberately destroyed, which is probably due to the influence of militant Islamism, which has now found its continuation in the reign of terror of Boko Haram and dominates this region. However, this reign of terror has now stopped destroying high-quality works of art and instead sold them to the art trade because they can fetch a considerable amount of money. Even though this sculpture was in a well-known collection in Togo for many years, it is likely that it is closely linked to the decline of animism and the aggressive advance of an intolerant Islamism. The condition of the surface suggests that it was in the ritual use - like mentioned above - for many years., provenance Aboulaye Ousmane, called Abdou Barré, Lomé Togo, it was since a long time in his collection.
Another fragmentary Tsoede broze, we collected a couple of years ago.
Tom Phillips wrote in his book "Africa, the Art of a Continent" page 407, about the wellknown version of this famous sculpture, which is obviously Ife related.
"This is without doubt the suprem masterpiece of the Ife smiths´art. Its proportions are naturalistic, whereas normally the head quarter or more of the height of the figure. The limbs and usualyly the torso are generally no more than cylinders, but here legs and remaining parts of the arms are very Ifelike. The figure wears a wrapper that is overlain with a net of beads. On the left hip a shash is tied round a folded cloth, perhaps thw concerns of the wrappers. (There is a similar hip ornament in terracotta form a life size figure from the Iwinrin Grove). Originally the right foot may have projected below the level of the base, ehich promted Willim Fagg to suggest that it might have been unrended to sit on a round stone throne (as cat. 5.66)...
Until recently this pice was kept in a shrine in the Nupe village of Tada on the river Niger 192 km north of Ife, where the villagers took it downto the riverevery Friday and scrubbed it with river gravel to ebsure the fertility of their wives and of the fish on which they live.. This accounts for its smoothed appearance , Bernard Faggpersuaded the villagers thar they were destroying the sculpture and with it the fertiliy they were trying to promote...
It is not clear why this piece and several others were found so far north. it may well be that its location indicetes the ancient northern frontier of the kingdom of Ife. FW, Bibliography: Willet, 1967, pl 8
s. Tom Phillips, Africa Art, the Art of a Continent, page 407
Youtube video clip: Ife Tada Benin Djenne Adamaua Terracotta and Bronzes Wolfgang Jaenicke Gallery Berlin.
A group of nine bronze sculptures had for a long time been known to exist in two villages on the River Niger, at Tada and on Jebba Island. The bronzes are referred to as the Tsoede bronzes because oral tradition says that the founder of the Nupe Kingdom, King Tsoede, who escaped from Idah in a bronze canoe, distributed these bronzes on his way to founding the present Nupe Kingdom which is believed to date from the sixteenth century.
The bronzes are divided into four groups. The first consists of the so-called Gara figures, two on Jebba Island, a male and a female, and one in Tada.
The second group consists of only the seated figure shown here, perhaps the most important naturalistic sculpture in Black Africa. Two other more recent-looking figures make up the third group, while the figures of two ostriches and an elephant form the fourth group. The male Jebba Gara figure better known as the Jebba Bowman and the Tada Gara male figure are believed to bear resemblance to Benin works because of the diadems on their foreheads which depict faces with snakes issuing from their nostrils, a common feature in Benin works. The Tada seated figure seems, in its naturalism and rigidity, to belong to the Ife school. The two more recent looking figures from Tada have a combination of Yoruba and Benin traits while the ostriches and the elephant belong to a yet unidentified school. So, here we find at least four traditions of sculpture in bronze and their coming together suggests that they were accidentally assembled.
All the figures were still being used in rituals, in secondary contexts, in the places where they were located until they were temporarily taken into safety in the National Museum in Lagos.
Source: Nigerianhouse
We know only two exemplares, one in an American private collection and one in Europe, which don´t have signs of violance like the well known, in many books published fragmentary exemplare.
If the National Commission of Museums and Monuments in Abuja, Nigeria, is interested in this rare exemplare, we can speak about donation.
It is important that such high-value works of art are protected from further destruction and not left at the mercy of Islamist terrorists. Such objects do not belong on the black market, but this dilemma should be discussed openly with all those who are committed to protecting cultural heritage. This object was not stolen and is coming from athe old private collection of the Heritage of El Hadji Ibrahim Abdoulaye, Cotonou, Benin, who passed away in 2022.
The Tsoede (also called Tada-bronzes) are linked to the Benin Kingdom, one of the great African kingdoms, known for its advanced urban planning, political structure, and art. The bronzes were likely produced by the skilled metalworkers who inhabited the area and are now considered a key part of the rich artistic heritage of the Benin Empire. The works also hold substantial historical value, as they often served ceremonial and symbolic purposes.
Characteristics.
The bronzes are renowned for their high level of craftsmanship and intricate detail. They are typically made using the lost-wax casting technique, which was a sophisticated method in which a wax model of the object is covered in clay and then heated to allow the wax to melt and drain, leaving a hollow mold for molten bronze to be poured into. This technique allowed for the creation of highly detailed and intricate sculptures.
Many of the Tsoede bronzes depict human figures, animal motifs, or abstract symbols, and they were often used in royal or religious contexts, either as offerings or as part of the royal regalia. Some of the common themes include:
1. Portraits of Royalty – These bronzes often feature depictions of kings or nobles, sometimes in elaborate attire or with symbolic regalia.
2. Animal Motifs – Animals, especially elephants and leopards, were common subjects, reflecting their importance in the kingdom's symbolism and governance.
3. Symbolism – The bronzes also depict symbolic elements tied to the spiritual and political life of the kingdom.
Significance
The Tsoede bronzes are considered one of the earliest examples of advanced metalwork in West Africa, and they stand as a testament to the region's long history of metallurgy, craftsmanship, and artistic expression. They are also part of the Benin Bronzes, a collection of plaques and sculptures that are historically important, though the term "Benin Bronzes" is often used more broadly to refer to the numerous works produced in Benin during the 13th to 19th centuries.
These bronzes are not only valuable for their artistic merit but also for what they tell us about the social and political organization of the Benin Kingdom, its religious practices, and its interactions with other cultures.
A few years ago we collected probably a recent figurine with an artificial patina in the same sitting position, which to this day has attracted a great deal of attention on the internet. One foot touched the ground and the other was parallel to it. In this case arms abd legs were intact and the figure held a snake in its hands.
Is it conceivable that the damage to the figure right presented here was intentional? The deformations of the arm swamps show more than mere erosion. They show - at least on the arms - clear signs of violence. Snakes have been a symbol of power and domination for centuries, especially in traditional Africa. If a character is deprived of this symbol, it loses its magic power. Couldn't the missing left foot be interpreted in a similar way, in that the figure has lost its contact with the earth by breaking off the foot? This could perhaps be interpreted as another sign of de-ritualization.
This well known Tada scupture was described:
"The style and the extraordinarily thin casting of this naturalistic figure point to its likely creation at Ife...(last photo sequence).
Inv No. XBD179657
Legal Framework
Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor.
All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery
Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.
Seller's Story
Wolfgang Jaenicke’s engagement with African art did not begin in the field or the marketplace but in a quieter, more inward space—among papers, books, and objects that belonged to his father. The archive on Germany’s former colonies was not arranged to tell a single story; it suggested many. It invited scrutiny rather than reverence, and it taught Jaenicke early on that objects are never mute. They carry time inside them—fracture and continuity held in the same form—and they ask to be read as carefully as texts.
For more than a quarter century, Jaenicke has worked as a collector, dealer, and intermediary, though none of these terms quite captures the shape of his practice. What used to be grouped, too casually, under the heading of “Tribal Art” has never appeared to him as a sealed or historical category. It is, instead, a set of living traditions, constantly negotiating the present. His academic training—in ethnology, art history, and comparative law—provided a grammar. The language itself he learned elsewhere. In Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Togo, and Ghana, knowledge emerged slowly, through repeated encounters that hardened into relationships, and through trust built not all at once but over years.
Mali became the gravitational center of this experience. Between 2002 and 2012, Jaenicke lived and worked in Bamako and Ségou, where he ran Tribalartforum, a gallery overlooking the Niger River. The space resisted easy chronology. Sculptures and ceramics shared the room with photography, and works by Malick Sidibé—images of Malian youth in the 1970s, self-assured and exuberant—hung alongside older ritual forms. The effect was not nostalgic but clarifying: past and present did not cancel each other out; they sharpened one another.
The war of 2012 ended this chapter abruptly, as wars tend to do. But it did not dissolve the work. Together with Aguibou Kamaté, Jaenicke regrouped in Lomé, closer to the places where many of the objects originated and to the routes they continue to travel. Since 2018, Berlin has become another point on this map. Galerie Wolfgang Jaenicke now operates opposite Charlottenburg Palace, supported by a small team of specialists. Its focus rests, in particular, on West African bronzes and terracottas—materials shaped by earth and fire, and by forms of memory that resist easy translation.
What distinguishes Jaenicke’s practice is not only its geographical range but its internal tension. Fieldwork is paired with provenance research; commerce is treated as inseparable from responsibility. In collaboration with museums and scholarly initiatives, circulation is framed not as extraction but as an ethical process that remains unfinished. The aim is not to remove objects from the world and seal them off, but to keep them readable within it—to allow them to continue speaking, even as the conditions of their speech change.
------------
Galerie Wolfgang Jaenicke is a Berlin-based gallery specializing in West African sculpture, bronzes, terracottas, masks, and contemporary African art. It is directed by Wolfgang Jaenicke, whose work combines collecting, dealing, provenance research, fieldwork, and archival documentation.
According to the gallery’s own account, Jaenicke studied ethnology, art history, and comparative law and has worked in the field of African art for more than twenty-five years. His activities developed through long-term engagement in countries including Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Ghana, and Togo. Rather than presenting African art as a closed historical category, he describes it as a continuing cultural tradition shaped by living communities and changing historical contexts.
A particularly important phase of his career was in Mali, where he lived and worked between roughly 2002 and 2012 in Bamako and Ségou. There he operated Tribalartforum, a gallery that combined historical African sculpture with contemporary African photography, including works by Malick Sidibé. The political and military crisis in Mali in 2012 led to the closure of this phase of activity.
Later, together with Aguibou Kamaté, Jaenicke continued working from Lomé, Togo, before establishing a gallery presence in Berlin near Charlottenburg Palace. The gallery places particular emphasis on West African bronzes, terracottas, Benin and Ife-related works, Nok sculpture, Dogon art, Baule sculpture, Senufo objects, and Yoruba material.
One distinctive aspect of Jaenicke’s public position is his repeated emphasis on provenance transparency and restitution debates. On several published object records, the gallery explicitly discusses issues surrounding export documentation, UNESCO conventions, ownership histories, and communication with scholars and restitution researchers. These statements reflect broader contemporary debates about the circulation of African cultural heritage, legality, collecting history, and museum acquisition practices.
The gallery maintains extensive online archives and catalogues documenting hundreds of African objects, including Benin and Ife bronzes, Nok terracottas, Dogon sculptures, Baule figures, Fon objects, Moba figures, and other West African material.
For researchers interested in the history of the African art trade, Jaenicke represents a later generation of dealers compared with figures such as John J. Klejman. Whereas Klejman belonged to the postwar New York market of the 1950s–1970s, Jaenicke’s work has been shaped by contemporary concerns with field documentation, provenance research, restitution discussions, digital archives, and direct engagement with West African networks and artists.
This text is based on AI Information
Details
Ethnic group/ culture
Tada
Country of Origin
Nigeria
Material
Bronze
Sold with stand
No
Condition
Fair condition
Title of artwork
A bronze sculpture
Height
60 cm
Weight
14.4 kg
Authenticity
Original/official
Sold by
GermanyVerified
protop
Rechtliche Informationen des Verkäufers
- Unternehmen:
- Jaenicke Njoya GmbH
- Repräsentant:
- Wolfgang Jaenicke
- Adresse:
- Jaenicke Njoya GmbH
Klausenerplatz 7
14059 Berlin
GERMANY - Telefonnummer:
- +493033951033
- Email:
- w.jaenicke@jaenicke-njoya.com
- USt-IdNr.:
- DE241193499
AGB
AGB des Verkäufers. Mit einem Gebot auf dieses Los akzeptieren Sie ebenfalls die AGB des Verkäufers.
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