A wooden sculpture - Allo Kafi Gida - Hausa - Nigeria (No reserve price)
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Holds a postgraduate degree in African studies and 15 years experience in African art.
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The Hausa wooden sculpture titled “A wooden sculpture”, known as “Allo Kafi Gida”, is from the Kano Region of Nigeria.
AI-assisted summary
Description from the seller
Hausa Script Tablet “Allo Kafi Gida” - Kano Region, Nigeria
Culture: Hausa
Origin: Kano Region, Northern Nigeria
Material: Wood, engraved and pigmented geometric symbols, red accents, metal fittings, and leather wrapping
Object Type: Decorated wooden tablet, known as “Allo Kafi Gida,” presumably with a protective or apotropaic function
Cultural Context: Islamic-influenced Hausa script, amulet, and protective traditions
Description
This extraordinary wooden tablet from the Kano Region in Northern Nigeria is characterized by its strictly rectangular shape, a complex geometric surface design, and a striking upper crest. The tall rectangular body, crafted from a flat wooden board, has a slightly convex curve at the top, while the lower edge follows a wide, concave line. The two lower corners are pointed, giving the object an unusual, almost shield-like silhouette. The wood surface displays a warm, light brown to grayish-brown hue with distinct signs of wear, fine cracks, and an irregular texture altered by age and abrasion. A short, cylindrical projection rises from the upper center, encased in a dark, apparently leathery wrapping. Resting upon it is a transversely positioned, slightly curved element with tapered ends, its dark, partially worn surface contrasting sharply with the lighter wood. The construction vaguely resembles a stylized handle or a symbolic crowning element. Its original function cannot be definitively determined from the photograph. The front of the panel is covered with a multi-layered composition of incised, drawn, and partially colored symbols. At its center is a large circular motif, its interior subdivided into several geometric fields by intersecting lines. Individual segments are filled with a vibrant red pigment. Below the circle, a sequence of nested rhombuses, triangles, and elongated bundles of lines unfolds, forming a complex vertical structure. To the sides and above this central composition appear further linear symbols, including angular, hook-like, and almost script-like elements. Particularly striking are the repeatedly placed triangular shapes and the deliberately positioned red fields, which create rhythmic accents within the predominantly brown and black drawing. The lines vary in thickness and in places exhibit a slightly irregular, hand-drawn style. The panel is now supported by a modern metal bracket mounted on a rectangular wooden base, which is not part of the original design.
Art Historical Analysis
The Hausa are among the most historically significant ethnic groups in West Africa. Their cultural heartland extends across northern Nigeria and southern Niger. The city of Kano, in particular, developed from the Middle Ages onward into an important center of trans-Saharan trade, Islamic scholarship, and handicraft production. The spread of Islam profoundly influenced the religious, social, and artistic expressions of the Hausa. Alongside architecture, textile art, leatherworking, and metalwork, diverse traditions of writing and the production of objects attributed with protective or benevolent properties developed. Arabic script played a particularly important role, serving not only to convey religious and literary content but also finding application in talismanic and amulet-like contexts. The wooden tablets known as allo are especially well-known from the Islamic educational systems of West Africa. They traditionally served as writing surfaces on which Quranic texts and other religious content could be written in ink and then washed off after study. In addition, decorated tablets and inscribed objects exist throughout the wider West African cultural sphere, which could be used in protective or ritual contexts. The term "Allo Kafi Gida" suggests a connection to the Hausa language and concepts of domestic protection. The Hausa word gida means house or household. However, the precise meaning of the complete object name and its use as a historically established technical term require linguistic and ethnographic verification. The present tablet differs significantly from simple Quran writing tablets due to its geometric design and unusual crowning. It could therefore belong to a specialized tradition of decorated or protective wooden objects. A definitive identification is not possible without documented provenance and comparative examples.
Symbolism and Geometric Imagery
The geometric design of the panel forms the object's true iconographic center. The large circular motif is particularly striking, structured into a complex internal order by several intersecting lines. The circle is one of the fundamental geometric forms in numerous religious and ornamental traditions and can be associated with notions of wholeness, closure, and cosmic order. However, such a symbolic meaning cannot be directly established for this particular panel. The lines arranged within it are reminiscent of geometric diagrams found in various Islamic script and amulet traditions. Below the circle, nested rhombuses and triangles appear, their repeated arrangement forming a striking vertical axis. The red pigment fields reinforce the structure and draw the eye to specific sections of the composition. Whether these color accents have a fixed symbolic meaning or primarily serve visual emphasis remains unclear. The linear symbols distributed along the sides are reminiscent of highly simplified scripts. However, a definitive identification as Arabic letters, Hausa Ajami script, or talismanic symbols is not possible based on the photograph. It is precisely this combination of geometric ornamentation and script-like drawing that makes the tablet interesting from an art historical perspective. In Islamic cultures of West Africa, writing, numbers, geometric figures, and religious formulas could be combined within specific protective practices. The attributed efficacy of such objects was based not only on their outward appearance but also on the knowledge and actions of the people who created or used them.
Possible Ritual and Protective Function
In the cultural context of the Hausa, concepts of protection, blessing, and the warding off of harmful influences have a long history. Islamic scholars and religious specialists could produce texts, prayers, and inscribed objects to which protective powers were attributed within certain local traditions. Such practices are documented in various forms in West African Islam and include, among other things, amulets, written prayer formulas, and special geometric diagrams. The traditional name "Allo Kafi Gida" suggests that the tablet was understood to have served a protective function for a house or household. However, the precise linguistic origin of this name is uncertain. If the tablet did indeed have such a function, its placement or installation within a domestic or communal area would be conceivable. The striking upper finial could have fulfilled both a practical and a symbolic purpose. Its construction suggests that it was deliberately designed as an independent element. Whether it originally served for fastening, carrying, or indicating a specific function remains unclear. The geometric symbols could also have had a protective significance, but without local documentation, it would not be scientifically justified to ascribe a specific magical or religious meaning to them. The visible signs of wear and the partially faded design point to a longer material history, but do not allow for any definitive statement about the object's age or actual use.
Art Historical Appreciation
The exceptional artistic quality of this Hausa tablet lies in the combination of a clear, architectural form with a complex, almost diagrammatic surface design. The tall, rectangular wooden board forms a calm, unified support, its effect effectively enlivened by the unusually curved lower edge and the transversely extending upper crown. The geometric drawing develops an independent rhythmic order, composed of the repetition of circles, rhombuses, triangles, and linear symbols. Particularly noteworthy is the relationship between the central, vertically organized composition and the smaller motifs freely distributed across the surface. This creates a dynamic balance between formal order and the spontaneity of the drawing. The restrained color of the wood is deliberately enlivened by the red pigment accents, while the dark lines generate a graphic structure of remarkable density. The work documents an artistic form of expression in which writing and geometric design are and possibly intertwined with religious concepts of protection. Within the material culture of the Hausa, the tablet therefore holds special significance not only as a handcrafted object, but also as a potential testament to a historically developed connection between Islamic scholarship and local visual traditions.
Literature
Last, Murray: The Sokoto Caliphate. London: Longmans, Green and Co., 1967.
Hunwick, John O.: Arabic Literature of Africa. Volume II: The Writings of Central Sudanic Africa. Leiden: Brill, 1995.
Insoll, Timothy: The Archaeology of Islam in Sub-Saharan Africa. Cambridge: Cambridge University Press, 2003.
Paden, John N.: Religion and Political Culture in Kano. Berkeley: University of California Press, 1973.
The publications mentioned above offer fundamental historical, religious studies, and cultural-historical information on Islam in northern Nigeria, the writing tradition, and the religious culture of the Hausa. The works of Hunwick and Paden, in particular, are important for understanding Islamic scholarship and religious practices in the Kano region. However, they do not provide direct evidence for the specific object designation "Allo Kafi Gida" or the original function of the tablet in question. A definitive determination would require further ethnographic and linguistic research, as well as comparison with documented Hausa tablets and protected objects.
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. MAZ33887
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
Hausa Script Tablet “Allo Kafi Gida” - Kano Region, Nigeria
Culture: Hausa
Origin: Kano Region, Northern Nigeria
Material: Wood, engraved and pigmented geometric symbols, red accents, metal fittings, and leather wrapping
Object Type: Decorated wooden tablet, known as “Allo Kafi Gida,” presumably with a protective or apotropaic function
Cultural Context: Islamic-influenced Hausa script, amulet, and protective traditions
Description
This extraordinary wooden tablet from the Kano Region in Northern Nigeria is characterized by its strictly rectangular shape, a complex geometric surface design, and a striking upper crest. The tall rectangular body, crafted from a flat wooden board, has a slightly convex curve at the top, while the lower edge follows a wide, concave line. The two lower corners are pointed, giving the object an unusual, almost shield-like silhouette. The wood surface displays a warm, light brown to grayish-brown hue with distinct signs of wear, fine cracks, and an irregular texture altered by age and abrasion. A short, cylindrical projection rises from the upper center, encased in a dark, apparently leathery wrapping. Resting upon it is a transversely positioned, slightly curved element with tapered ends, its dark, partially worn surface contrasting sharply with the lighter wood. The construction vaguely resembles a stylized handle or a symbolic crowning element. Its original function cannot be definitively determined from the photograph. The front of the panel is covered with a multi-layered composition of incised, drawn, and partially colored symbols. At its center is a large circular motif, its interior subdivided into several geometric fields by intersecting lines. Individual segments are filled with a vibrant red pigment. Below the circle, a sequence of nested rhombuses, triangles, and elongated bundles of lines unfolds, forming a complex vertical structure. To the sides and above this central composition appear further linear symbols, including angular, hook-like, and almost script-like elements. Particularly striking are the repeatedly placed triangular shapes and the deliberately positioned red fields, which create rhythmic accents within the predominantly brown and black drawing. The lines vary in thickness and in places exhibit a slightly irregular, hand-drawn style. The panel is now supported by a modern metal bracket mounted on a rectangular wooden base, which is not part of the original design.
Art Historical Analysis
The Hausa are among the most historically significant ethnic groups in West Africa. Their cultural heartland extends across northern Nigeria and southern Niger. The city of Kano, in particular, developed from the Middle Ages onward into an important center of trans-Saharan trade, Islamic scholarship, and handicraft production. The spread of Islam profoundly influenced the religious, social, and artistic expressions of the Hausa. Alongside architecture, textile art, leatherworking, and metalwork, diverse traditions of writing and the production of objects attributed with protective or benevolent properties developed. Arabic script played a particularly important role, serving not only to convey religious and literary content but also finding application in talismanic and amulet-like contexts. The wooden tablets known as allo are especially well-known from the Islamic educational systems of West Africa. They traditionally served as writing surfaces on which Quranic texts and other religious content could be written in ink and then washed off after study. In addition, decorated tablets and inscribed objects exist throughout the wider West African cultural sphere, which could be used in protective or ritual contexts. The term "Allo Kafi Gida" suggests a connection to the Hausa language and concepts of domestic protection. The Hausa word gida means house or household. However, the precise meaning of the complete object name and its use as a historically established technical term require linguistic and ethnographic verification. The present tablet differs significantly from simple Quran writing tablets due to its geometric design and unusual crowning. It could therefore belong to a specialized tradition of decorated or protective wooden objects. A definitive identification is not possible without documented provenance and comparative examples.
Symbolism and Geometric Imagery
The geometric design of the panel forms the object's true iconographic center. The large circular motif is particularly striking, structured into a complex internal order by several intersecting lines. The circle is one of the fundamental geometric forms in numerous religious and ornamental traditions and can be associated with notions of wholeness, closure, and cosmic order. However, such a symbolic meaning cannot be directly established for this particular panel. The lines arranged within it are reminiscent of geometric diagrams found in various Islamic script and amulet traditions. Below the circle, nested rhombuses and triangles appear, their repeated arrangement forming a striking vertical axis. The red pigment fields reinforce the structure and draw the eye to specific sections of the composition. Whether these color accents have a fixed symbolic meaning or primarily serve visual emphasis remains unclear. The linear symbols distributed along the sides are reminiscent of highly simplified scripts. However, a definitive identification as Arabic letters, Hausa Ajami script, or talismanic symbols is not possible based on the photograph. It is precisely this combination of geometric ornamentation and script-like drawing that makes the tablet interesting from an art historical perspective. In Islamic cultures of West Africa, writing, numbers, geometric figures, and religious formulas could be combined within specific protective practices. The attributed efficacy of such objects was based not only on their outward appearance but also on the knowledge and actions of the people who created or used them.
Possible Ritual and Protective Function
In the cultural context of the Hausa, concepts of protection, blessing, and the warding off of harmful influences have a long history. Islamic scholars and religious specialists could produce texts, prayers, and inscribed objects to which protective powers were attributed within certain local traditions. Such practices are documented in various forms in West African Islam and include, among other things, amulets, written prayer formulas, and special geometric diagrams. The traditional name "Allo Kafi Gida" suggests that the tablet was understood to have served a protective function for a house or household. However, the precise linguistic origin of this name is uncertain. If the tablet did indeed have such a function, its placement or installation within a domestic or communal area would be conceivable. The striking upper finial could have fulfilled both a practical and a symbolic purpose. Its construction suggests that it was deliberately designed as an independent element. Whether it originally served for fastening, carrying, or indicating a specific function remains unclear. The geometric symbols could also have had a protective significance, but without local documentation, it would not be scientifically justified to ascribe a specific magical or religious meaning to them. The visible signs of wear and the partially faded design point to a longer material history, but do not allow for any definitive statement about the object's age or actual use.
Art Historical Appreciation
The exceptional artistic quality of this Hausa tablet lies in the combination of a clear, architectural form with a complex, almost diagrammatic surface design. The tall, rectangular wooden board forms a calm, unified support, its effect effectively enlivened by the unusually curved lower edge and the transversely extending upper crown. The geometric drawing develops an independent rhythmic order, composed of the repetition of circles, rhombuses, triangles, and linear symbols. Particularly noteworthy is the relationship between the central, vertically organized composition and the smaller motifs freely distributed across the surface. This creates a dynamic balance between formal order and the spontaneity of the drawing. The restrained color of the wood is deliberately enlivened by the red pigment accents, while the dark lines generate a graphic structure of remarkable density. The work documents an artistic form of expression in which writing and geometric design are and possibly intertwined with religious concepts of protection. Within the material culture of the Hausa, the tablet therefore holds special significance not only as a handcrafted object, but also as a potential testament to a historically developed connection between Islamic scholarship and local visual traditions.
Literature
Last, Murray: The Sokoto Caliphate. London: Longmans, Green and Co., 1967.
Hunwick, John O.: Arabic Literature of Africa. Volume II: The Writings of Central Sudanic Africa. Leiden: Brill, 1995.
Insoll, Timothy: The Archaeology of Islam in Sub-Saharan Africa. Cambridge: Cambridge University Press, 2003.
Paden, John N.: Religion and Political Culture in Kano. Berkeley: University of California Press, 1973.
The publications mentioned above offer fundamental historical, religious studies, and cultural-historical information on Islam in northern Nigeria, the writing tradition, and the religious culture of the Hausa. The works of Hunwick and Paden, in particular, are important for understanding Islamic scholarship and religious practices in the Kano region. However, they do not provide direct evidence for the specific object designation "Allo Kafi Gida" or the original function of the tablet in question. A definitive determination would require further ethnographic and linguistic research, as well as comparison with documented Hausa tablets and protected objects.
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. MAZ33887
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
Indigenous object name
Allo Kafi Gida
Ethnic group/ culture
Hausa
Country of Origin
Nigeria
Material
Wood
Sold with stand
No
Condition
Fair condition
Title of artwork
A wooden sculpture
Height
72 cm
Depth
32 cm
Weight
2.2 kg
Authenticity
Original/official
Sold by
GermanyVerified
protop
Rechtliche Informationen des Verkäufers
- Unternehmen:
- Jaenicke Njoya GmbH
- Repräsentant:
- Wolfgang Jaenicke
- Adresse:
- Jaenicke Njoya GmbH
Klausenerplatz 7
14059 Berlin
GERMANY - Telefonnummer:
- +493033951033
- Email:
- w.jaenicke@jaenicke-njoya.com
- USt-IdNr.:
- DE241193499
AGB
AGB des Verkäufers. Mit einem Gebot auf dieses Los akzeptieren Sie ebenfalls die AGB des Verkäufers.
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