A iron sculpture - Vere - Nigeria (No reserve price)
05
days
02
hours
09
minutes
56
seconds
Current bid
€ 9
No reserve price
Expert
Selected by Dimitri André
Holds a postgraduate degree in African studies and 15 years experience in African art.
Estimate € 210 - € 250
 | €9 | |
|---|---|---|
 | €8 | |
| €5 | |
Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 143856 reviews
Rated Excellent on Trustpilot.
Iron sculpture titled 'A iron sculpture' from Nigeria by the Vere people, provenance Gudusu Village, Jimeta Region, Adamawa State, Northeast Nigeria; height 49 cm, weight 550 g, with stand, authentic original, in fair condition.
AI-assisted summary
Description from the seller
Anthropomorphic iron sculpture of the Vere people – Rod-shaped figure with outstretched arms and a spiral base
Origin: Gudusu Village, Jimeta Region, Adamawa State, Northeast Nigeria
Cultural Attribution: Vere (Verre), attributed
Material: Wrought iron, partially engraved or chased, brown to ochre-colored oxidation patina, incl stand.
Dating: Not certain
Provenance: Gudusu Village, Jimeta Region, Nigeria, according to the original provenance information
Description
This exceptionally slender iron sculpture depicts a strictly frontal, anthropomorphically interpretable figure whose body is developed from a long, almost straight central rod. The composition is characterized by a pronounced vertical orientation, symmetrically outstretched arms, and an artfully crafted lower section. The upper part is formed by a narrow, elongated neck or extension that terminates in a small, leaf- or lanceolate-shaped finial. This figure has a slightly pointed contour and an irregularly textured surface. Below the elongated upper section, two arms extend laterally, curving downwards in an arc. Their ends are flattened and widened, resembling highly stylized hands. The arms form an almost mirror-image arrangement, giving the figure a characteristic, cross-like silhouette. The central shaft is covered for much of its length with a meticulously crafted herringbone or woven pattern. The closely spaced diagonal lines create a rhythmic surface texture that can evoke the impression of a textile wrapping or an ornamentally designed covering. In the lower section, the engraved central area is capped by several ring-shaped thickenings or band-like elements. Below this, the shaft widens into a bundle of several narrow iron rods that radiate outwards, some terminating in tightly coiled spirals. These spiral terminations form a decorative yet structurally effective base. The entire surface possesses a differentiated oxidation patina, ranging in color from dark brown and rust red to light ochre. The object is mounted on a modern black display base.
Art Historical Analysis
The Vere, also known as Verre, are an ethnic group of the eastern Adamawa region, whose historical cultural landscapes extend across parts of northeastern Nigeria and neighboring Cameroon. Their settlements are primarily located in the vicinity of the Atlantika Mountains and the southern Adamawa region. The village of Gudusu is identified as the object's place of origin; however, a more precise attribution to a local workshop or specific craft tradition is not documented. The material culture of the upper Benue and Adamawa regions is characterized by a remarkable diversity of ceramic, wooden, and metal objects. Ironworking, in particular, held significant economic and social importance in numerous societies of this region. The production of forged objects required specialized knowledge of the metal's properties, controlled heating, and plastic shaping through hammering, bending, and joining individual elements. Besides tools and weapons, objects were also created whose design extended beyond immediate practical use. Due to its anthropomorphic basic structure and complex ornamental design, the present sculpture can generally be placed within this broader context. However, its form differs significantly from naturalistically rendered human figures. The body is almost entirely replaced by a narrow central rod, while the arms emerge as independent, laterally extending elements. The lower section, with its spirally curled extensions, forms a strikingly decorative finish. A definitive typological classification within the documented Vere art is not possible based on the photograph. In particular, it remains to be determined whether it is an independent anthropomorphic sculpture, a ceremonial staff object, or a component of an originally larger construction.
Symbolism and Iconography
The object's iconographic effect stems from the combination of a highly abstracted human figure with geometric and spiral ornamentation. The two outstretched arms are the most prominent anthropomorphic feature. Their symmetrical arrangement could represent a gesture of opening, receiving, or invocation. In various African pictorial traditions, raised or outstretched arms can be associated with notions of communication, protection, or ceremonial action. It is possible to interpret the object in question in this way, but such an interpretation cannot be confirmed without specific ethnographic evidence. The narrow upper extension with its leaf-shaped end could be understood as a highly simplified head, a symbolic crowning element, or an independent symbol. The almost complete absence of facial features and anatomical details is noteworthy. The human figure is thus not depicted as an individual person, but rather reduced to an elemental, almost symbolic structure. The herringbone pattern of the central rod deserves particular attention. Its regular repetition is reminiscent of woven materials, textile structures, or other forms of handcrafted ornamentation. Whether this similarity consciously refers to specific articles of clothing, body markings, or symbolic patterns remains unclear. The spiral ends in the lower section could also have a decorative or symbolic meaning. Spirals appear as independent design elements in various African metalworking traditions, but their meanings cannot be standardized across cultures. In this case, they primarily create a striking contrast to the strictly vertical central axis.
These are not the only elements that appear in this object. Ritual Function and Cultural Context
Wrought iron objects could fulfill practical, social, and religious functions within various societies of the Adamawa and Upper Benue regions. Their significance was closely linked to the respective local context, their history of manufacture, and their use. The present sculpture possesses several features that suggest a possible ceremonial or representational purpose. These include the anthropomorphic basic structure, the symmetrically outstretched arms, the elaborate surface ornamentation, and the decoratively designed lower section. Its use as a symbol of special social status, as part of a ritual apparatus, or as a symbolic object within a communal context is conceivable. However, reliable information about the original location and specific function is lacking. The spiral extensions could have formed an independent stand or served to secure the object within a larger ensemble. It also remains unclear whether the sculpture was originally freestanding, carried, or attached to another object. The visible oxidation of the iron surface does not allow for a reliable determination of its age and, in itself, does not constitute evidence of ritual use. The anthropomorphic form alone also does not justify a direct interpretation as an ancestral figure, protective figure, or embodiment of a specific spiritual power. A more precise determination of its function therefore requires ethnographically documented comparative objects from the Vere region and additional information on its provenance.
Art Historical Assessment
The particular aesthetic quality of this iron sculpture lies in the consistent combination of linear reduction, geometric ornamentation, and expansive spatial design. The long central rod forms a clear vertical axis, the strict order of which is rhythmically broken by the laterally curved arms and the spiral elements of the lower section. The figure thus possesses a remarkable tension between static solidity and dynamic movement. The treatment of the surface is particularly impressive. The densely applied herringbone pattern transforms the narrow iron shaft into an ornamentally structured surface, the rhythmic repetition of which further emphasizes the verticality of the composition. The lateral arms form a calm horizontal counterpoint, while the lower spirals create a lively, circular movement. Despite their formal differences, the various design elements appear harmoniously unified. The relationship between material weight and visual lightness is also remarkable. Although iron is a resistant and relatively heavy material, the sculpture appears almost weightless due to its narrow cross-sections and open spaces. The irregular oxidation patina underscores the handcrafted nature of the object and lends it a nuanced material presence. Within the broader art historical context of the metalwork of the Adamawa region, and subject to its cultural attribution, the work can be considered a remarkable example of highly abstracted anthropomorphic iron sculpture. Its particular significance lies in the unique combination of figurative symbolism, ornamental precision, and constructive sophistication. The sculpture impressively demonstrates how a complex sculptural composition can develop from just a few forged elements, its expressiveness arising both from the basic human form and from the rhythmic organization of its lines and ornaments.
Literature
Marla C. Berns, Richard Fardon, and Sidney Littlefield Kasfir (eds.): Central Nigeria Unmasked: Arts of the Benue River Valley. Los Angeles: Fowler Museum at UCLA, 2011.
This publication serves as a general art historical and ethnographic framework for the artistic traditions of the Benue region. For a more precise classification, further research on metalworking and figurative iron art by the Vere people in the Nigerian-Cameroonian border region is needed. Currently, there is no reliable literature reference directly related to this specific type of sculpture.
Marla C. Berns, Richard Fardon, and Sidney Littlefield Kasfir (eds.): Central Nigeria Unmasked: Arts of the Benue River Valley. Los Angeles: Fowler Museum at UCLA, 2011.
This publication provides a general art historical and ethnographic overview of the artistic traditions of the Benue region.
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. MAZ32184
Informant: Amadou Dogo
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
Anthropomorphic iron sculpture of the Vere people – Rod-shaped figure with outstretched arms and a spiral base
Origin: Gudusu Village, Jimeta Region, Adamawa State, Northeast Nigeria
Cultural Attribution: Vere (Verre), attributed
Material: Wrought iron, partially engraved or chased, brown to ochre-colored oxidation patina, incl stand.
Dating: Not certain
Provenance: Gudusu Village, Jimeta Region, Nigeria, according to the original provenance information
Description
This exceptionally slender iron sculpture depicts a strictly frontal, anthropomorphically interpretable figure whose body is developed from a long, almost straight central rod. The composition is characterized by a pronounced vertical orientation, symmetrically outstretched arms, and an artfully crafted lower section. The upper part is formed by a narrow, elongated neck or extension that terminates in a small, leaf- or lanceolate-shaped finial. This figure has a slightly pointed contour and an irregularly textured surface. Below the elongated upper section, two arms extend laterally, curving downwards in an arc. Their ends are flattened and widened, resembling highly stylized hands. The arms form an almost mirror-image arrangement, giving the figure a characteristic, cross-like silhouette. The central shaft is covered for much of its length with a meticulously crafted herringbone or woven pattern. The closely spaced diagonal lines create a rhythmic surface texture that can evoke the impression of a textile wrapping or an ornamentally designed covering. In the lower section, the engraved central area is capped by several ring-shaped thickenings or band-like elements. Below this, the shaft widens into a bundle of several narrow iron rods that radiate outwards, some terminating in tightly coiled spirals. These spiral terminations form a decorative yet structurally effective base. The entire surface possesses a differentiated oxidation patina, ranging in color from dark brown and rust red to light ochre. The object is mounted on a modern black display base.
Art Historical Analysis
The Vere, also known as Verre, are an ethnic group of the eastern Adamawa region, whose historical cultural landscapes extend across parts of northeastern Nigeria and neighboring Cameroon. Their settlements are primarily located in the vicinity of the Atlantika Mountains and the southern Adamawa region. The village of Gudusu is identified as the object's place of origin; however, a more precise attribution to a local workshop or specific craft tradition is not documented. The material culture of the upper Benue and Adamawa regions is characterized by a remarkable diversity of ceramic, wooden, and metal objects. Ironworking, in particular, held significant economic and social importance in numerous societies of this region. The production of forged objects required specialized knowledge of the metal's properties, controlled heating, and plastic shaping through hammering, bending, and joining individual elements. Besides tools and weapons, objects were also created whose design extended beyond immediate practical use. Due to its anthropomorphic basic structure and complex ornamental design, the present sculpture can generally be placed within this broader context. However, its form differs significantly from naturalistically rendered human figures. The body is almost entirely replaced by a narrow central rod, while the arms emerge as independent, laterally extending elements. The lower section, with its spirally curled extensions, forms a strikingly decorative finish. A definitive typological classification within the documented Vere art is not possible based on the photograph. In particular, it remains to be determined whether it is an independent anthropomorphic sculpture, a ceremonial staff object, or a component of an originally larger construction.
Symbolism and Iconography
The object's iconographic effect stems from the combination of a highly abstracted human figure with geometric and spiral ornamentation. The two outstretched arms are the most prominent anthropomorphic feature. Their symmetrical arrangement could represent a gesture of opening, receiving, or invocation. In various African pictorial traditions, raised or outstretched arms can be associated with notions of communication, protection, or ceremonial action. It is possible to interpret the object in question in this way, but such an interpretation cannot be confirmed without specific ethnographic evidence. The narrow upper extension with its leaf-shaped end could be understood as a highly simplified head, a symbolic crowning element, or an independent symbol. The almost complete absence of facial features and anatomical details is noteworthy. The human figure is thus not depicted as an individual person, but rather reduced to an elemental, almost symbolic structure. The herringbone pattern of the central rod deserves particular attention. Its regular repetition is reminiscent of woven materials, textile structures, or other forms of handcrafted ornamentation. Whether this similarity consciously refers to specific articles of clothing, body markings, or symbolic patterns remains unclear. The spiral ends in the lower section could also have a decorative or symbolic meaning. Spirals appear as independent design elements in various African metalworking traditions, but their meanings cannot be standardized across cultures. In this case, they primarily create a striking contrast to the strictly vertical central axis.
These are not the only elements that appear in this object. Ritual Function and Cultural Context
Wrought iron objects could fulfill practical, social, and religious functions within various societies of the Adamawa and Upper Benue regions. Their significance was closely linked to the respective local context, their history of manufacture, and their use. The present sculpture possesses several features that suggest a possible ceremonial or representational purpose. These include the anthropomorphic basic structure, the symmetrically outstretched arms, the elaborate surface ornamentation, and the decoratively designed lower section. Its use as a symbol of special social status, as part of a ritual apparatus, or as a symbolic object within a communal context is conceivable. However, reliable information about the original location and specific function is lacking. The spiral extensions could have formed an independent stand or served to secure the object within a larger ensemble. It also remains unclear whether the sculpture was originally freestanding, carried, or attached to another object. The visible oxidation of the iron surface does not allow for a reliable determination of its age and, in itself, does not constitute evidence of ritual use. The anthropomorphic form alone also does not justify a direct interpretation as an ancestral figure, protective figure, or embodiment of a specific spiritual power. A more precise determination of its function therefore requires ethnographically documented comparative objects from the Vere region and additional information on its provenance.
Art Historical Assessment
The particular aesthetic quality of this iron sculpture lies in the consistent combination of linear reduction, geometric ornamentation, and expansive spatial design. The long central rod forms a clear vertical axis, the strict order of which is rhythmically broken by the laterally curved arms and the spiral elements of the lower section. The figure thus possesses a remarkable tension between static solidity and dynamic movement. The treatment of the surface is particularly impressive. The densely applied herringbone pattern transforms the narrow iron shaft into an ornamentally structured surface, the rhythmic repetition of which further emphasizes the verticality of the composition. The lateral arms form a calm horizontal counterpoint, while the lower spirals create a lively, circular movement. Despite their formal differences, the various design elements appear harmoniously unified. The relationship between material weight and visual lightness is also remarkable. Although iron is a resistant and relatively heavy material, the sculpture appears almost weightless due to its narrow cross-sections and open spaces. The irregular oxidation patina underscores the handcrafted nature of the object and lends it a nuanced material presence. Within the broader art historical context of the metalwork of the Adamawa region, and subject to its cultural attribution, the work can be considered a remarkable example of highly abstracted anthropomorphic iron sculpture. Its particular significance lies in the unique combination of figurative symbolism, ornamental precision, and constructive sophistication. The sculpture impressively demonstrates how a complex sculptural composition can develop from just a few forged elements, its expressiveness arising both from the basic human form and from the rhythmic organization of its lines and ornaments.
Literature
Marla C. Berns, Richard Fardon, and Sidney Littlefield Kasfir (eds.): Central Nigeria Unmasked: Arts of the Benue River Valley. Los Angeles: Fowler Museum at UCLA, 2011.
This publication serves as a general art historical and ethnographic framework for the artistic traditions of the Benue region. For a more precise classification, further research on metalworking and figurative iron art by the Vere people in the Nigerian-Cameroonian border region is needed. Currently, there is no reliable literature reference directly related to this specific type of sculpture.
Marla C. Berns, Richard Fardon, and Sidney Littlefield Kasfir (eds.): Central Nigeria Unmasked: Arts of the Benue River Valley. Los Angeles: Fowler Museum at UCLA, 2011.
This publication provides a general art historical and ethnographic overview of the artistic traditions of the Benue region.
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. MAZ32184
Informant: Amadou Dogo
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
Vere
Country of Origin
Nigeria
Material
Black Iron
Sold with stand
Yes
Condition
Fair condition
Title of artwork
A iron sculpture
Height
49 cm
Weight
550 g
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.
Widerrufsbelehrung
- Frist: 14 Tage sowie gemäß den hier angegebenen Bedingungen
- Rücksendkosten: Käufer trägt die unmittelbaren Kosten der Rücksendung der Ware
- Vollständige Widerrufsbelehrung
