A wooden mask - Jukun - Nigeria (No reserve price)
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Selected by Dimitri André
Holds a postgraduate degree in African studies and 15 years experience in African art.
Estimate € 330 - € 400
 | €40 | |
|---|---|---|
 | €37 | |
 | €34 | |
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A wooden Jukun Takum mask from Nigeria, with hanging plant fibres and a stand.
AI-assisted summary
Description from the seller
Jukun Takum Mask - Upper Benue Region, Taraba State, Nigeria
Culture: Jukun, Takum Group
Origin: Takum Region, Taraba State, Upper Benue Valley, Nigeria
Material: wood, carved, dark pigmented and grainy surface, red-brown color, vegetable fibers, incl stand.
Object type: Anthropomorphic or abstract-geometric face mask with a wooden construction on the back and fiber hangings
Cultural context: Mask traditions of the Jukun and neighboring communities in the upper Benue region
Description
The extraordinary wooden mask from the cultural environment of the Jukun of Takum in southern Taraba State is characterized by a strictly geometric design language, an unusual surface treatment and the combination of carved wooden elements with an extensive hanging made of vegetable fibers. The front mask surface has an elongated oval basic shape that is rounded downwards, which merges into a wide, approximately trapezoidal extension in the upper area. This rises significantly above the actual facial zone and gives the mask a pronounced vertical orientation. The entire front is covered with a dark gray to blackish, highly grainy surface layer, whose irregular structure forms a striking contrast to the smooth, reddish-brown wooden surfaces of the rear construction. The facial area is dominated by a centrally arranged group of narrow, vertical openings, which are separated from each other by strong wooden bars. To the side of these openings there are smaller, triangular recesses, the arrangement of which creates an approximately symmetrical structure. Another triangular opening appears in the lower area, which can possibly be interpreted as a stylized mouth area. The upper side recesses could mark eye positions, while the vertical openings have an independent ornamental or functional meaning. However, a clear anatomical assignment of the individual openings is not possible. Behind the front mask surface there is a second, partially visible wooden construction with a wide top and an angular shape that projects forward. Its reddish-brown surface shows dark layers and signs of wear. The exact connection between the two wooden elements cannot be completely reconstructed from the photograph. A dense, irregularly hanging covering of brown plant fibers surrounds the lower and rear area of the mask. The fibers are of different lengths, bundled in places and sometimes strongly curled. They give the object a moving, organic silhouette and form an effective contrast to the strict geometry of the carved wooden shapes. The mask is mounted on a modern black metal stand, which is not part of the original equipment.
Art historical consideration
The Jukun are one of the historically important population groups of the middle and upper Benue region in Nigeria. Their cultural history is closely linked to the Kingdom of Kwararafa, a political and cultural powerhouse whose influence extended across parts of what is now central and northeastern Nigeria. The historical relationships between the various Jukun groups and their neighbors are complex and reflected in different religious, political and artistic traditions. While the Jukun communities in the Wukari area are particularly known for their royal institutions and ceremonial traditions, in the area to the south around Takum a diverse cultural environment with close relationships with neighboring communities developed. The mask art of the upper Benue region is characterized overall by a remarkable stylistic diversity. In addition to naturalistic faces, there are highly abstract mask shapes in which geometric openings, applied elements and different surface treatments determine the artistic effect. The present mask can be classified into this regional context due to its structural design and the reduced facial representation. Their attribution to the Jukun of Takum corresponds to the traditional indication of origin, but should not be understood as a conclusively secured ethnographic determination. Especially in the upper Benue region, there are diverse cultural overlaps that can make it difficult to clearly assign individual mask types. Particularly noteworthy from an art-historical point of view is the combination of a strictly openwork front surface with a second, spatially staggered wooden construction. This creates a complex sculptural architecture that goes beyond the usual idea of a mask shape that follows the human face. Rather, the mask appears as an independent sculptural construction whose effect arises from the interplay of surface, opening, volume, and material.
Symbolism
The striking geometric design of the mask opens up various possibilities for symbolic interpretation. The vertical perforations could be understood as stylized facial features, as ornamental articulation, or as functional openings within the mask's construction. Their regular arrangement creates a rhythmic structure that lends the front surface an almost architectural character. The triangular cutouts form a dynamic contrast and reinforce the impression of a deliberately organized pictorial order. Particularly noteworthy is the broad upper extension, which appears as an abstract crowning element. In various mask traditions of the Benue region, such extensions can refer to special characteristics of the depicted beings, social roles, or spiritual concepts. However, no definitive local interpretation of this form has been handed down for the present object. The heavily textured black surface also deserves special attention. Dark pigments and material coatings can have different meanings in African ritual contexts and may be associated with protection, transformation, or the signification of special powers. The precise composition of the visible grain cannot be determined from the photograph. Whether it is a deliberately applied mixture of pigments, mineral components, and organic substances, or some other surface treatment, would require material analysis. In addition to their visual effect, the plant fibers may possess an important symbolic function. In numerous West and Central African mask traditions, fiber hangings serve to veil the dancer's body and create the appearance of a transpersonal or spiritual being. A similar function seems plausible for this mask as well, but remains hypothetical without a documented performance context.
Ritual Function
Mask performances in the cultural context of the Benue region can be associated with various social and religious functions. These include initiation rites, seasonal ceremonies, burial rituals, communal protective beliefs, and the public display of social or spiritual authority. However, the specific functions differ considerably between individual population groups and local traditions. For the Jukun, religious concepts of ancestors, territorial powers, and the relationship between political order and sacred legitimacy are historically significant. However, the specific function of this mask cannot be directly deduced from this. Its construction, with a perforated front and wooden elements on the back, suggests its use as part of a complete mask costume. The openings could have served both the wearer's vision and ventilation, as well as artistic expression. The extensive fiber hanging suggests that the mask was originally conceived not as an isolated art object, but as part of a dynamic, worn appearance. During a possible performance, the hanging fibers would have reacted to the dancer's movements, adding a dynamic dimension to the static wooden sculpture. Whether the mask was actually worn, how it was attached, and on what occasions it was used cannot be definitively determined without examining its interior and without ethnographic documentation.
Art Historical Assessment
The particular artistic quality of this Jukun Takum mask lies in its consistent departure from a naturalistic depiction of the human face. In place of anatomical details, a geometrically organized composition emerges, its expression arising from the rhythmic repetition of openings, the powerful contour, and the unusual combination of materials. The dark, granular surface lends the front of the mask an almost mineral appearance, while the reddish-brown wooden elements and the dynamic fiber hanging reveal different material layers. Particularly striking is the spatial staggering of the carved components, which gives the object different sculptural appearances from various viewpoints. The mask thus documents an artistic stance in which abstraction is understood not as mere simplification, but as an independent means of visual and potentially spiritual condensation. Within the diverse mask traditions of the upper Benue region, this work possesses a remarkable significance. Its art historical significance lies primarily in the combination of constructive clarity, material expressiveness, and a formal language that mediates between human allusion and geometric autonomy.
Literature
Fardon, Richard: Between God, the Dead and the Wild: Chamba Interpretations of Ritual and Religion. Edinburgh: Edinburgh University Press, 1990.
Rubin, Arnold (ed.): Sculpture of Black Africa: The Paul Tishman Collection. Los Angeles: Los Angeles County Museum of Art, 1976.
Sieber, Roy / Walker, Roslyn Adele: African Art in the Cycle of Life. Washington, D.C.: National Museum of African Art, Smithsonian Institution, 1987.
The publications mentioned above offer comparative art historical and ethnographic foundations for African mask art and religious traditions in the wider Benue region. Fardon's study of the Chamba, in particular, is relevant for understanding related cultural contexts, but it should not be considered direct evidence for the mask traditions of the Jukun of Takum. These references do not provide evidence of a specific publication or a definitive iconographic identification of the object in question.
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 copyright holders are reserved.
Inv. No. MAZ33638
Informant: Mr Congo
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
Jukun Takum Mask - Upper Benue Region, Taraba State, Nigeria
Culture: Jukun, Takum Group
Origin: Takum Region, Taraba State, Upper Benue Valley, Nigeria
Material: wood, carved, dark pigmented and grainy surface, red-brown color, vegetable fibers, incl stand.
Object type: Anthropomorphic or abstract-geometric face mask with a wooden construction on the back and fiber hangings
Cultural context: Mask traditions of the Jukun and neighboring communities in the upper Benue region
Description
The extraordinary wooden mask from the cultural environment of the Jukun of Takum in southern Taraba State is characterized by a strictly geometric design language, an unusual surface treatment and the combination of carved wooden elements with an extensive hanging made of vegetable fibers. The front mask surface has an elongated oval basic shape that is rounded downwards, which merges into a wide, approximately trapezoidal extension in the upper area. This rises significantly above the actual facial zone and gives the mask a pronounced vertical orientation. The entire front is covered with a dark gray to blackish, highly grainy surface layer, whose irregular structure forms a striking contrast to the smooth, reddish-brown wooden surfaces of the rear construction. The facial area is dominated by a centrally arranged group of narrow, vertical openings, which are separated from each other by strong wooden bars. To the side of these openings there are smaller, triangular recesses, the arrangement of which creates an approximately symmetrical structure. Another triangular opening appears in the lower area, which can possibly be interpreted as a stylized mouth area. The upper side recesses could mark eye positions, while the vertical openings have an independent ornamental or functional meaning. However, a clear anatomical assignment of the individual openings is not possible. Behind the front mask surface there is a second, partially visible wooden construction with a wide top and an angular shape that projects forward. Its reddish-brown surface shows dark layers and signs of wear. The exact connection between the two wooden elements cannot be completely reconstructed from the photograph. A dense, irregularly hanging covering of brown plant fibers surrounds the lower and rear area of the mask. The fibers are of different lengths, bundled in places and sometimes strongly curled. They give the object a moving, organic silhouette and form an effective contrast to the strict geometry of the carved wooden shapes. The mask is mounted on a modern black metal stand, which is not part of the original equipment.
Art historical consideration
The Jukun are one of the historically important population groups of the middle and upper Benue region in Nigeria. Their cultural history is closely linked to the Kingdom of Kwararafa, a political and cultural powerhouse whose influence extended across parts of what is now central and northeastern Nigeria. The historical relationships between the various Jukun groups and their neighbors are complex and reflected in different religious, political and artistic traditions. While the Jukun communities in the Wukari area are particularly known for their royal institutions and ceremonial traditions, in the area to the south around Takum a diverse cultural environment with close relationships with neighboring communities developed. The mask art of the upper Benue region is characterized overall by a remarkable stylistic diversity. In addition to naturalistic faces, there are highly abstract mask shapes in which geometric openings, applied elements and different surface treatments determine the artistic effect. The present mask can be classified into this regional context due to its structural design and the reduced facial representation. Their attribution to the Jukun of Takum corresponds to the traditional indication of origin, but should not be understood as a conclusively secured ethnographic determination. Especially in the upper Benue region, there are diverse cultural overlaps that can make it difficult to clearly assign individual mask types. Particularly noteworthy from an art-historical point of view is the combination of a strictly openwork front surface with a second, spatially staggered wooden construction. This creates a complex sculptural architecture that goes beyond the usual idea of a mask shape that follows the human face. Rather, the mask appears as an independent sculptural construction whose effect arises from the interplay of surface, opening, volume, and material.
Symbolism
The striking geometric design of the mask opens up various possibilities for symbolic interpretation. The vertical perforations could be understood as stylized facial features, as ornamental articulation, or as functional openings within the mask's construction. Their regular arrangement creates a rhythmic structure that lends the front surface an almost architectural character. The triangular cutouts form a dynamic contrast and reinforce the impression of a deliberately organized pictorial order. Particularly noteworthy is the broad upper extension, which appears as an abstract crowning element. In various mask traditions of the Benue region, such extensions can refer to special characteristics of the depicted beings, social roles, or spiritual concepts. However, no definitive local interpretation of this form has been handed down for the present object. The heavily textured black surface also deserves special attention. Dark pigments and material coatings can have different meanings in African ritual contexts and may be associated with protection, transformation, or the signification of special powers. The precise composition of the visible grain cannot be determined from the photograph. Whether it is a deliberately applied mixture of pigments, mineral components, and organic substances, or some other surface treatment, would require material analysis. In addition to their visual effect, the plant fibers may possess an important symbolic function. In numerous West and Central African mask traditions, fiber hangings serve to veil the dancer's body and create the appearance of a transpersonal or spiritual being. A similar function seems plausible for this mask as well, but remains hypothetical without a documented performance context.
Ritual Function
Mask performances in the cultural context of the Benue region can be associated with various social and religious functions. These include initiation rites, seasonal ceremonies, burial rituals, communal protective beliefs, and the public display of social or spiritual authority. However, the specific functions differ considerably between individual population groups and local traditions. For the Jukun, religious concepts of ancestors, territorial powers, and the relationship between political order and sacred legitimacy are historically significant. However, the specific function of this mask cannot be directly deduced from this. Its construction, with a perforated front and wooden elements on the back, suggests its use as part of a complete mask costume. The openings could have served both the wearer's vision and ventilation, as well as artistic expression. The extensive fiber hanging suggests that the mask was originally conceived not as an isolated art object, but as part of a dynamic, worn appearance. During a possible performance, the hanging fibers would have reacted to the dancer's movements, adding a dynamic dimension to the static wooden sculpture. Whether the mask was actually worn, how it was attached, and on what occasions it was used cannot be definitively determined without examining its interior and without ethnographic documentation.
Art Historical Assessment
The particular artistic quality of this Jukun Takum mask lies in its consistent departure from a naturalistic depiction of the human face. In place of anatomical details, a geometrically organized composition emerges, its expression arising from the rhythmic repetition of openings, the powerful contour, and the unusual combination of materials. The dark, granular surface lends the front of the mask an almost mineral appearance, while the reddish-brown wooden elements and the dynamic fiber hanging reveal different material layers. Particularly striking is the spatial staggering of the carved components, which gives the object different sculptural appearances from various viewpoints. The mask thus documents an artistic stance in which abstraction is understood not as mere simplification, but as an independent means of visual and potentially spiritual condensation. Within the diverse mask traditions of the upper Benue region, this work possesses a remarkable significance. Its art historical significance lies primarily in the combination of constructive clarity, material expressiveness, and a formal language that mediates between human allusion and geometric autonomy.
Literature
Fardon, Richard: Between God, the Dead and the Wild: Chamba Interpretations of Ritual and Religion. Edinburgh: Edinburgh University Press, 1990.
Rubin, Arnold (ed.): Sculpture of Black Africa: The Paul Tishman Collection. Los Angeles: Los Angeles County Museum of Art, 1976.
Sieber, Roy / Walker, Roslyn Adele: African Art in the Cycle of Life. Washington, D.C.: National Museum of African Art, Smithsonian Institution, 1987.
The publications mentioned above offer comparative art historical and ethnographic foundations for African mask art and religious traditions in the wider Benue region. Fardon's study of the Chamba, in particular, is relevant for understanding related cultural contexts, but it should not be considered direct evidence for the mask traditions of the Jukun of Takum. These references do not provide evidence of a specific publication or a definitive iconographic identification of the object in question.
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 copyright holders are reserved.
Inv. No. MAZ33638
Informant: Mr Congo
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
Jukun
Country of Origin
Nigeria
Material
Wood
Sold with stand
Yes
Condition
Fair condition
Title of artwork
A wooden mask
Height
49 cm
Weight
3.5 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
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