A terracotta sculpture - Bankoni - Bamana - Mali (No reserve price)
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Terracotta sculpture titled “A terracotta sculpture” from Mali, Bamana Bankoni, depicting an upright female figure, 28 cm high and weighing 1.1 kg, in fair condition and authenticity listed as a reproduction.
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Description from the seller
Bamana, Bankoni Terracotta Sculpture – “Elegant Woman”
Terracotta sculpture of a distinguished woman
Origin: Ségou Region, Mali
Cultural affiliation: Bamana, Bankoni tradition, attributed
Material: Fired clay, modeled, with an ochre to reddish-brown, partially eroded surface
Dating: Not certain; its connection to the historical Bankoni terracotta tradition requires further investigation
Description
This terracotta sculpture from the Ségou region of Mali depicts an upright, female figure of unusual sculptural complexity. Its appearance is defined by a soaring, richly articulated head, a slender torso, and two strong, column-like legs. The figure is conceived in a largely frontal pose, but the irregular modeling of its body parts and the laterally projecting sculptural elements give it a lively, almost dynamic silhouette. The elaborate design of the head is particularly striking. Above a partially discernible facial area rises a complex, tower-like structure of rounded and projecting forms, which could be interpreted as an elaborate hairstyle, headdress, or a combination of both. Voluminous, almost spherical forms protrude from the sides, while smaller, knot-like projections continue the vertical articulation. In the central area, several horizontally stacked, bulbous elements are visible, possibly representing jewelry, an elaborate hairstyle, or other body-related attributes. The heavily eroded surface makes it difficult to clearly distinguish between the face, hairstyle, and ornamental elements. The narrow torso transitions into a slightly widened hip area, from which two sturdy legs develop. The feet are only suggested in a simplified manner and form broad bases. The entire sculpture has a granular, irregular surface with numerous small depressions, chips, and areas of material loss. Ochre, sandy brown, and reddish clay areas alternate. Darker discolorations are visible in the lower section. This pronounced surface alteration gives the object a distinct material presence, but does not allow for any reliable conclusions about its actual age or original storage conditions.
Cultural and Archaeological Context
The name Bankoni refers to an archaeological complex in the area of present-day Mali, which is particularly known for its anthropomorphic and zoomorphic terracotta figurines. The corresponding archaeological landscapes are related to the historical cultures of the middle Niger region, whose settlement history was shaped by complex social, economic, and artistic developments. The Ségou region lies northeast of Bamako and is part of an area where diverse cultural traditions overlapped over centuries. The modern ethnic designation Bamana or Bambara is important for describing the regional cultural history, but should not be applied to all archaeological terracotta figurines without further consideration. Especially with objects whose production may date back several centuries, a distinction must be made between modern ethnic classification and historically verifiable cultural identity. Bankoni terracotta sculptures are often characterized by highly stylized human figures, unusual body proportions, complex head shapes, and sculpturally emphasized decorative elements. Within this range of forms, both standing and seated figures, as well as depictions with pronounced ornamental structures, are found. However, the precise chronology and cultural classification of individual pieces remain dependent on their archaeological context. For the present sculpture, neither documented excavation details nor scientific analyses have survived. Its attribution to the Bankoni tradition is therefore initially based on its stated provenance and on formal comparisons.
Iconography and Symbolism
The designation "Femme élégante" emphasizes the impression of a female figure whose appearance is defined by a strikingly elaborate head decoration. This interpretation is understandable given the sculptural form, although the severe erosion makes a clear identification of individual anatomical and ornamental features difficult. In various West African societies, hairstyles, headdresses, and body decorations hold particular social significance. They can refer to beauty, maturity, social rank, affiliation, or ceremonial functions. Within historical terracotta traditions of the Niger region, complex hairstyles are Ornamental forms and decorative elements are repeatedly observed as important iconographic elements. The towering head structure of the present figure could therefore express a particularly emphasized social or symbolic identity. The lateral rounded forms and the superimposed projections can possibly be interpreted as abstracted hair braids, decorative elements, or components of a special headdress. However, a precise identification would be speculative without better-preserved comparative pieces. The unusual verticality of the figure could also possess symbolic meaning beyond its purely formal effect. The combination of the human body and the tower-like head structure creates an appearance that seems less focused on individual portrait likeness than on highlighting certain characteristics. Whether it was intended to depict a socially prominent woman, an ancestral figure, or another personality remains open to interpretation.
Possible Ritual Function
The original use of Bankoni terracotta figures is not entirely clear in many cases. Anthropomorphic figures could have existed in various social, religious, or ceremonial contexts. For some West African terracotta traditions, connections to ancestral beliefs, protective rituals, healing practices, or special social events are discussed. However, such interpretations cannot be applied to the present figure without concrete archaeological or ethnographic evidence. The strong emphasis on the head could indicate a person of particular social importance. Likewise, its use as a symbolic representation of female beauty, social standing, or an idealized personality is conceivable. The term "Femme élégante" should therefore be understood as a descriptive, art-historical designation and not as a traditional indigenous object title. The sculpture's original function remains unknown.
Art Historical Analysis
From an art historical perspective, the figure is characterized by a remarkable combination of vertical monumentality and sculptural density. The human body forms a comparatively simple, columnar basic structure, while the head area is expanded into a complex, multi-articulated composition. This deliberate imbalance of body proportions lends the sculpture an extraordinary expressiveness. Particularly characteristic is the relationship between the solid volumes of the lower body and the numerous projections in the upper region. This creates a distinct rhythm between calm surfaces and dynamically sculpted zones. Its impact arises less from anatomical accuracy than from the concentrated rendering of a human figure, whose identity is emphasized by carefully chosen features. A closer comparison with terracotta sculptures from the central Niger region reveals parallels to a style that characterizes human figures through complex hairstyles, ornamentation, and deliberately exaggerated body proportions. At the same time, the present sculpture differs from many other known terracotta representations due to its pronounced verticality and the highly condensed structure of the head. The irregular surface and significant material loss complicate the reconstruction of the original modeling. Nevertheless, the fundamental sculptural concept remains clearly recognizable. Particularly impressive is the ability to create a multifaceted, dynamic overall form by combining a few large volumes with numerous smaller sculptural elements.
Art Historical Assessment
The terracotta sculpture known as "Femme élégante" possesses a compelling artistic presence, stemming primarily from its unusual silhouette and the complex design of its head. The combination of a slender, almost architecturally structured body with a richly differentiated upper section creates a captivating balance between simplicity and ornamental richness. The heavily weathered surface lends the object an additional material depth, though this cannot be considered proof of a specific age. Within the broader spectrum of West African terracotta sculptures, the figure illustrates the artistic possibilities of a visual language that intertwines human appearance, social representation, and formal abstraction. Attribution to the Bankoni tradition offers a possible art historical framework, but requires careful evaluation given the lack of archaeological documentation. A definitive dating would only be possible through further investigations, possibly including a professionally conducted thermoluminescence analysis would allow for a more precise determination of the figurine's origin. However, even such an investigation could not definitively clarify its cultural attribution and original function.
Literature
Bernard de Grunne: Terres cuites anciennes de l'Ouest africain. Louvain-la-Neuve, 1980.
Susan Keech McIntosh (ed.): Excavations at Jenné-jeno, Hambarketolo, and Kaniana (Inland Niger Delta, Mali), the 1981 Season. University of California Press, Berkeley, 1995.
The publications mentioned above serve to classify West African terracotta traditions from an archaeological and art historical perspective. They do not, however, establish a direct publication of the figurine in question or a confirmed connection to a documented Bankoni find context.
References Copyright and Scientific Documentation
Some of the information and photographs have been generated with the assistance of artificial intelligence and are based on published sources in ethnography, archaeology, and art history. Original texts and photographs may be protected by copyright. All rights held by the respective rights holders are reserved.
Inv. No. MAZ31159
Sold without TL test.
Catawiki's experts perform a virtual review based on the information, photographs, provenance and supporting documentation provided during the submission process. Acceptance of a traditional or ancient African art object for auction does not constitute independent authentication or certification by Catawiki, nor does it mean that Catawiki's expert has physically or scientifically authenticated, patina-analyzed, or dated the object. Under our Terms and Traditional African Art Submission Guidelines, the seller remains responsible for the accuracy, legality, provenance and authenticity of the object and the information provided.
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
Bamana, Bankoni Terracotta Sculpture – “Elegant Woman”
Terracotta sculpture of a distinguished woman
Origin: Ségou Region, Mali
Cultural affiliation: Bamana, Bankoni tradition, attributed
Material: Fired clay, modeled, with an ochre to reddish-brown, partially eroded surface
Dating: Not certain; its connection to the historical Bankoni terracotta tradition requires further investigation
Description
This terracotta sculpture from the Ségou region of Mali depicts an upright, female figure of unusual sculptural complexity. Its appearance is defined by a soaring, richly articulated head, a slender torso, and two strong, column-like legs. The figure is conceived in a largely frontal pose, but the irregular modeling of its body parts and the laterally projecting sculptural elements give it a lively, almost dynamic silhouette. The elaborate design of the head is particularly striking. Above a partially discernible facial area rises a complex, tower-like structure of rounded and projecting forms, which could be interpreted as an elaborate hairstyle, headdress, or a combination of both. Voluminous, almost spherical forms protrude from the sides, while smaller, knot-like projections continue the vertical articulation. In the central area, several horizontally stacked, bulbous elements are visible, possibly representing jewelry, an elaborate hairstyle, or other body-related attributes. The heavily eroded surface makes it difficult to clearly distinguish between the face, hairstyle, and ornamental elements. The narrow torso transitions into a slightly widened hip area, from which two sturdy legs develop. The feet are only suggested in a simplified manner and form broad bases. The entire sculpture has a granular, irregular surface with numerous small depressions, chips, and areas of material loss. Ochre, sandy brown, and reddish clay areas alternate. Darker discolorations are visible in the lower section. This pronounced surface alteration gives the object a distinct material presence, but does not allow for any reliable conclusions about its actual age or original storage conditions.
Cultural and Archaeological Context
The name Bankoni refers to an archaeological complex in the area of present-day Mali, which is particularly known for its anthropomorphic and zoomorphic terracotta figurines. The corresponding archaeological landscapes are related to the historical cultures of the middle Niger region, whose settlement history was shaped by complex social, economic, and artistic developments. The Ségou region lies northeast of Bamako and is part of an area where diverse cultural traditions overlapped over centuries. The modern ethnic designation Bamana or Bambara is important for describing the regional cultural history, but should not be applied to all archaeological terracotta figurines without further consideration. Especially with objects whose production may date back several centuries, a distinction must be made between modern ethnic classification and historically verifiable cultural identity. Bankoni terracotta sculptures are often characterized by highly stylized human figures, unusual body proportions, complex head shapes, and sculpturally emphasized decorative elements. Within this range of forms, both standing and seated figures, as well as depictions with pronounced ornamental structures, are found. However, the precise chronology and cultural classification of individual pieces remain dependent on their archaeological context. For the present sculpture, neither documented excavation details nor scientific analyses have survived. Its attribution to the Bankoni tradition is therefore initially based on its stated provenance and on formal comparisons.
Iconography and Symbolism
The designation "Femme élégante" emphasizes the impression of a female figure whose appearance is defined by a strikingly elaborate head decoration. This interpretation is understandable given the sculptural form, although the severe erosion makes a clear identification of individual anatomical and ornamental features difficult. In various West African societies, hairstyles, headdresses, and body decorations hold particular social significance. They can refer to beauty, maturity, social rank, affiliation, or ceremonial functions. Within historical terracotta traditions of the Niger region, complex hairstyles are Ornamental forms and decorative elements are repeatedly observed as important iconographic elements. The towering head structure of the present figure could therefore express a particularly emphasized social or symbolic identity. The lateral rounded forms and the superimposed projections can possibly be interpreted as abstracted hair braids, decorative elements, or components of a special headdress. However, a precise identification would be speculative without better-preserved comparative pieces. The unusual verticality of the figure could also possess symbolic meaning beyond its purely formal effect. The combination of the human body and the tower-like head structure creates an appearance that seems less focused on individual portrait likeness than on highlighting certain characteristics. Whether it was intended to depict a socially prominent woman, an ancestral figure, or another personality remains open to interpretation.
Possible Ritual Function
The original use of Bankoni terracotta figures is not entirely clear in many cases. Anthropomorphic figures could have existed in various social, religious, or ceremonial contexts. For some West African terracotta traditions, connections to ancestral beliefs, protective rituals, healing practices, or special social events are discussed. However, such interpretations cannot be applied to the present figure without concrete archaeological or ethnographic evidence. The strong emphasis on the head could indicate a person of particular social importance. Likewise, its use as a symbolic representation of female beauty, social standing, or an idealized personality is conceivable. The term "Femme élégante" should therefore be understood as a descriptive, art-historical designation and not as a traditional indigenous object title. The sculpture's original function remains unknown.
Art Historical Analysis
From an art historical perspective, the figure is characterized by a remarkable combination of vertical monumentality and sculptural density. The human body forms a comparatively simple, columnar basic structure, while the head area is expanded into a complex, multi-articulated composition. This deliberate imbalance of body proportions lends the sculpture an extraordinary expressiveness. Particularly characteristic is the relationship between the solid volumes of the lower body and the numerous projections in the upper region. This creates a distinct rhythm between calm surfaces and dynamically sculpted zones. Its impact arises less from anatomical accuracy than from the concentrated rendering of a human figure, whose identity is emphasized by carefully chosen features. A closer comparison with terracotta sculptures from the central Niger region reveals parallels to a style that characterizes human figures through complex hairstyles, ornamentation, and deliberately exaggerated body proportions. At the same time, the present sculpture differs from many other known terracotta representations due to its pronounced verticality and the highly condensed structure of the head. The irregular surface and significant material loss complicate the reconstruction of the original modeling. Nevertheless, the fundamental sculptural concept remains clearly recognizable. Particularly impressive is the ability to create a multifaceted, dynamic overall form by combining a few large volumes with numerous smaller sculptural elements.
Art Historical Assessment
The terracotta sculpture known as "Femme élégante" possesses a compelling artistic presence, stemming primarily from its unusual silhouette and the complex design of its head. The combination of a slender, almost architecturally structured body with a richly differentiated upper section creates a captivating balance between simplicity and ornamental richness. The heavily weathered surface lends the object an additional material depth, though this cannot be considered proof of a specific age. Within the broader spectrum of West African terracotta sculptures, the figure illustrates the artistic possibilities of a visual language that intertwines human appearance, social representation, and formal abstraction. Attribution to the Bankoni tradition offers a possible art historical framework, but requires careful evaluation given the lack of archaeological documentation. A definitive dating would only be possible through further investigations, possibly including a professionally conducted thermoluminescence analysis would allow for a more precise determination of the figurine's origin. However, even such an investigation could not definitively clarify its cultural attribution and original function.
Literature
Bernard de Grunne: Terres cuites anciennes de l'Ouest africain. Louvain-la-Neuve, 1980.
Susan Keech McIntosh (ed.): Excavations at Jenné-jeno, Hambarketolo, and Kaniana (Inland Niger Delta, Mali), the 1981 Season. University of California Press, Berkeley, 1995.
The publications mentioned above serve to classify West African terracotta traditions from an archaeological and art historical perspective. They do not, however, establish a direct publication of the figurine in question or a confirmed connection to a documented Bankoni find context.
References Copyright and Scientific Documentation
Some of the information and photographs have been generated with the assistance of artificial intelligence and are based on published sources in ethnography, archaeology, and art history. Original texts and photographs may be protected by copyright. All rights held by the respective rights holders are reserved.
Inv. No. MAZ31159
Sold without TL test.
Catawiki's experts perform a virtual review based on the information, photographs, provenance and supporting documentation provided during the submission process. Acceptance of a traditional or ancient African art object for auction does not constitute independent authentication or certification by Catawiki, nor does it mean that Catawiki's expert has physically or scientifically authenticated, patina-analyzed, or dated the object. Under our Terms and Traditional African Art Submission Guidelines, the seller remains responsible for the accuracy, legality, provenance and authenticity of the object and the information provided.
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
Indigenous object name
Bankoni
Ethnic group/ culture
Bamana
Country of Origin
Mali
Material
Terracotta
Sold with stand
No
Condition
Fair condition
Title of artwork
A terracotta sculpture
Height
28 cm
Weight
1.1 kg
Authenticity
Reproduction/replica
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
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