A wooden sculpture - fetish - Ewe - Togo (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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An original Ewe wooden fetish sculpture titled “A wooden sculpture”, from Aklakou, Togo, with cowrie shells, textile wrappings and blue pigments, standing 62 cm high and weighing 5.3 kg.
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Description from the seller
Ewe Fetish Sculpture with Cowrie Shells, Textile Wrapping, and Blue Pigments - Aklakou, Togo
Culture: Ewe
Origin: Aklakou, Southeast Togo
Materials: Carved wood, textile wrappings, cords, cowrie shells, blue and whitish-gray pigments, organic and mineral coatings, incl stand.
Object Type: Anthropomorphic fetish or power figure, presumably with a protective and ritual function
Cultural Context: Traditional religious practices of the Ewe people in southeastern Togo, particularly concepts of Vodun, spiritual efficacy, and the material activation of sacred objects
Description
This exceptionally rich fetish sculpture from the village of Aklakou in southeastern Togo embodies a striking combination of anthropomorphic wooden sculpture, textile elements, and ritually effective surface coatings. The upright figure has a comparatively large, rounded head that stands out clearly from the completely veiled, column-like body. The face exhibits pronounced sculptural modeling with a broad forehead, strong nose, prominent cheeks, and full lips. The eyes are partially obscured by irregular surface coverings, giving the expression a peculiar, inward-directed intensity. Particularly striking are the numerous cowrie shells, attached at varying intervals to the skull's surface. Their light, slightly glossy surfaces create a striking contrast to the dark head, which is covered in blue and gray pigments. Further smaller appliqués are located at the temples and on the sides of the face. The neck is encircled by several overlapping textile and cord-like elements, forming a kind of sculpted, dense collar. The body itself almost completely disappears beneath a dense covering of long, narrow strips of fabric, fibrous bands, and irregularly hanging textile fragments. These are partially knotted, intertwined, or secured with additional cords. The varying lengths and thicknesses of the wood create a dynamic, almost organically grown surface, whose three-dimensional effect extends far beyond the original form of the wood. Particularly noteworthy is the intense blue pigmentation, which is distributed irregularly across the head, face, shoulders, and textile covering. Alongside luminous cobalt blue sections, darker, almost black zones appear, as well as whitish-gray, crusty deposits. This multi-layered surface lends the figure a pronounced material density. The lower part of the body rests on a cylindrical wooden platform, also covered with pigments and layers. The modern black display base is not part of the original design.
Art Historical Considerations
The Ewe people are among the most important ethnic groups in southeastern Ghana, southern Togo, and adjacent areas of Benin. Their religious and artistic traditions are characterized by a remarkable diversity of local expressions, in which anthropomorphic sculptures, altars, ritual vessels, and materially complex power objects can play a significant role. The village of Aklakou lies in southeastern Togo, a region whose cultural history is characterized by close ties between Ewe, Adja, and related communities. In this geographical area, diverse traditions developed for the production and ritual use of figurative objects, whose meaning derives not only from their carved basic form but also, and perhaps more importantly, from the added materials and their ritual treatment. Due to its anthropomorphic design, dense textile covering, and striking pigment applications, the present sculpture can be placed within the broader context of West African power figures. In contrast to purely sculptural ancestral figures, the human body here largely serves as a vehicle for a complex array of material attributes. The original wooden sculpture forms, in a sense, the inner core of an object whose visible form has been significantly altered by additional materials. This additive design principle is characteristic of numerous ritual art forms in southern Togo and Benin. The artistic effect arises from the interplay of different materials: carved wood, textile fibers, hard cowrie shells, pigments, and irregular layers form a multifaceted unity. The figure thus stands in a tradition where the boundaries between sculpture, ritual object, and material embodiment of spiritual forces remain deliberately permeable. However, a precise attribution to a specific local cult community or a named Vodun is not possible based on the photograph.
Symbolism and Material Significance
The cowrie shells attached to the head deserve special attention. Cowries have a long history in numerous West African societies as a means of payment, ornamentation, status symbol, and component of religious practices. In various ritual contexts, they can be associated with prosperity, fertility, protection, and a connection to spiritual powers. Their placement on the skull of this figure could therefore symbolically enhance the head or point to a particular spiritual function. However, a definitive interpretation of the individual cowries is not possible without local tradition. Equally noteworthy is the intense blue pigmentation. Blue dyes can have different meanings in various West African religious traditions, ranging from specific spiritual affiliations to notions of protection and transformation. The specific composition of the pigment used here is unknown. A combination with indigo, synthetic dyes, or other mineral or organic substances would need to be investigated using material analysis. The blue areas, together with the whitish-gray overlays, form a complex color structure, the effect of which is further enhanced by the dark textiles. The numerous strips of fabric and cords could be related to ritual bindings, sacrificial rites, or the gradual embellishment of the object. In various West African cultural traditions, figures are altered, expanded, or their ascribed power is enhanced by the addition of materials. Whether the present sculpture was actually adorned with additional textiles and substances over an extended period, or whether its embellishment was primarily created during a single production process, cannot be determined. However, the material complexity suggests that the figure's external appearance did not serve solely decorative purposes.
Ritual Function
Within the religious worldview of the Ewe people, material objects can serve as reference points for the relationship between humans and spiritual forces. The religious traditions summarized under the overarching term Vodun encompass a multitude of local deities, protective powers, and ritual practices, the specific manifestations of which vary regionally and communally. In such contexts, anthropomorphic power figures can be associated with protection, healing, warding off harmful influences, or coping with individual and communal crises. The present sculpture, due to its striking features and densely encased surface, may have been used in a corresponding ritual context. The dense covering of the body suggests that the carved human figure was not primarily understood as an anatomical representation, but rather as the bearer of a special presence, emphasized by the additional materials. The cowrie shells, pigments, and textile bindings may have served various purposes. However, their specific meaning could only be determined through ethnographic documentation of the original context of use. The question of whether the figure was placed on a household altar, in a dedicated cult room, or within a communal ritual site also remains open. The heavily encrusted surface could indicate repeated material treatments, but the visible traces alone do not allow for a reliable reconstruction of such actions. Distinguishing between original ritual coverings, later alterations, and natural aging processes would only be possible through a careful examination of the object.
Art Historical Assessment
The exceptional artistic quality of this Ewe fetish sculpture lies in the striking combination of a comparatively clearly modeled human physiognomy with an exceptionally complex, almost abstract body design. The large head forms the visual center of the composition and, despite the dense layers of pigment, retains a distinct individual presence. The strong nose, the voluminous lips, and the sculpted cheeks lend the face remarkable expressiveness. In contrast, the body appears as a multi-layered assemblage of textile and fibrous elements, whose irregular contours create a vibrant, almost dynamic silhouette. The luminous blue pigments set intense visual accents within the predominantly dark and earthy tones. The tension between the hard, light-colored cowrie shells and the soft, partially heavily encrusted textiles is particularly striking. The various materials combine to form a sculptural unity, whose effect derives not solely from the original carving but primarily from its material expansion. Within the ritual art of southeastern Togo, the figure documents a mode of expression in which sculptural form, material transformation, and potential spiritual meaning are closely intertwined. Its art-historical significance lies precisely in this combination of anthropomorphic representation and additive material design, resulting in an object of exceptional visual and cultural intensity.
Literature
Blier, Suzanne Preston: African Vodun: Art, Psychology, and Power. Chicago: University of Chicago Press, 1995.
Herskovits, Melville J.: Dahomey: An Ancient West African Kingdom. 2 volumes. New York: J. J. Augustin, 1938.
Rush, Dana: Vodun in Coastal Benin: Unfinished, Open-Ended, Global. Nashville: Vanderbilt University Press, 2013.
The publications mentioned provide fundamental art historical and ethnographic information on Vodun traditions in southern Benin and adjacent regions of West Africa. The studies by Suzanne Preston Blier and Dana Rush are particularly important for understanding material power objects, ritual objects, and religious transformation processes. However, these works do not directly address the present Ewe sculpture from Aklakou. Their inclusion therefore serves for comparative analysis and not to prove a specific cultic function or local attribution.
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. MAZ33959
Informant: Petit Coulibaly
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
Ewe Fetish Sculpture with Cowrie Shells, Textile Wrapping, and Blue Pigments - Aklakou, Togo
Culture: Ewe
Origin: Aklakou, Southeast Togo
Materials: Carved wood, textile wrappings, cords, cowrie shells, blue and whitish-gray pigments, organic and mineral coatings, incl stand.
Object Type: Anthropomorphic fetish or power figure, presumably with a protective and ritual function
Cultural Context: Traditional religious practices of the Ewe people in southeastern Togo, particularly concepts of Vodun, spiritual efficacy, and the material activation of sacred objects
Description
This exceptionally rich fetish sculpture from the village of Aklakou in southeastern Togo embodies a striking combination of anthropomorphic wooden sculpture, textile elements, and ritually effective surface coatings. The upright figure has a comparatively large, rounded head that stands out clearly from the completely veiled, column-like body. The face exhibits pronounced sculptural modeling with a broad forehead, strong nose, prominent cheeks, and full lips. The eyes are partially obscured by irregular surface coverings, giving the expression a peculiar, inward-directed intensity. Particularly striking are the numerous cowrie shells, attached at varying intervals to the skull's surface. Their light, slightly glossy surfaces create a striking contrast to the dark head, which is covered in blue and gray pigments. Further smaller appliqués are located at the temples and on the sides of the face. The neck is encircled by several overlapping textile and cord-like elements, forming a kind of sculpted, dense collar. The body itself almost completely disappears beneath a dense covering of long, narrow strips of fabric, fibrous bands, and irregularly hanging textile fragments. These are partially knotted, intertwined, or secured with additional cords. The varying lengths and thicknesses of the wood create a dynamic, almost organically grown surface, whose three-dimensional effect extends far beyond the original form of the wood. Particularly noteworthy is the intense blue pigmentation, which is distributed irregularly across the head, face, shoulders, and textile covering. Alongside luminous cobalt blue sections, darker, almost black zones appear, as well as whitish-gray, crusty deposits. This multi-layered surface lends the figure a pronounced material density. The lower part of the body rests on a cylindrical wooden platform, also covered with pigments and layers. The modern black display base is not part of the original design.
Art Historical Considerations
The Ewe people are among the most important ethnic groups in southeastern Ghana, southern Togo, and adjacent areas of Benin. Their religious and artistic traditions are characterized by a remarkable diversity of local expressions, in which anthropomorphic sculptures, altars, ritual vessels, and materially complex power objects can play a significant role. The village of Aklakou lies in southeastern Togo, a region whose cultural history is characterized by close ties between Ewe, Adja, and related communities. In this geographical area, diverse traditions developed for the production and ritual use of figurative objects, whose meaning derives not only from their carved basic form but also, and perhaps more importantly, from the added materials and their ritual treatment. Due to its anthropomorphic design, dense textile covering, and striking pigment applications, the present sculpture can be placed within the broader context of West African power figures. In contrast to purely sculptural ancestral figures, the human body here largely serves as a vehicle for a complex array of material attributes. The original wooden sculpture forms, in a sense, the inner core of an object whose visible form has been significantly altered by additional materials. This additive design principle is characteristic of numerous ritual art forms in southern Togo and Benin. The artistic effect arises from the interplay of different materials: carved wood, textile fibers, hard cowrie shells, pigments, and irregular layers form a multifaceted unity. The figure thus stands in a tradition where the boundaries between sculpture, ritual object, and material embodiment of spiritual forces remain deliberately permeable. However, a precise attribution to a specific local cult community or a named Vodun is not possible based on the photograph.
Symbolism and Material Significance
The cowrie shells attached to the head deserve special attention. Cowries have a long history in numerous West African societies as a means of payment, ornamentation, status symbol, and component of religious practices. In various ritual contexts, they can be associated with prosperity, fertility, protection, and a connection to spiritual powers. Their placement on the skull of this figure could therefore symbolically enhance the head or point to a particular spiritual function. However, a definitive interpretation of the individual cowries is not possible without local tradition. Equally noteworthy is the intense blue pigmentation. Blue dyes can have different meanings in various West African religious traditions, ranging from specific spiritual affiliations to notions of protection and transformation. The specific composition of the pigment used here is unknown. A combination with indigo, synthetic dyes, or other mineral or organic substances would need to be investigated using material analysis. The blue areas, together with the whitish-gray overlays, form a complex color structure, the effect of which is further enhanced by the dark textiles. The numerous strips of fabric and cords could be related to ritual bindings, sacrificial rites, or the gradual embellishment of the object. In various West African cultural traditions, figures are altered, expanded, or their ascribed power is enhanced by the addition of materials. Whether the present sculpture was actually adorned with additional textiles and substances over an extended period, or whether its embellishment was primarily created during a single production process, cannot be determined. However, the material complexity suggests that the figure's external appearance did not serve solely decorative purposes.
Ritual Function
Within the religious worldview of the Ewe people, material objects can serve as reference points for the relationship between humans and spiritual forces. The religious traditions summarized under the overarching term Vodun encompass a multitude of local deities, protective powers, and ritual practices, the specific manifestations of which vary regionally and communally. In such contexts, anthropomorphic power figures can be associated with protection, healing, warding off harmful influences, or coping with individual and communal crises. The present sculpture, due to its striking features and densely encased surface, may have been used in a corresponding ritual context. The dense covering of the body suggests that the carved human figure was not primarily understood as an anatomical representation, but rather as the bearer of a special presence, emphasized by the additional materials. The cowrie shells, pigments, and textile bindings may have served various purposes. However, their specific meaning could only be determined through ethnographic documentation of the original context of use. The question of whether the figure was placed on a household altar, in a dedicated cult room, or within a communal ritual site also remains open. The heavily encrusted surface could indicate repeated material treatments, but the visible traces alone do not allow for a reliable reconstruction of such actions. Distinguishing between original ritual coverings, later alterations, and natural aging processes would only be possible through a careful examination of the object.
Art Historical Assessment
The exceptional artistic quality of this Ewe fetish sculpture lies in the striking combination of a comparatively clearly modeled human physiognomy with an exceptionally complex, almost abstract body design. The large head forms the visual center of the composition and, despite the dense layers of pigment, retains a distinct individual presence. The strong nose, the voluminous lips, and the sculpted cheeks lend the face remarkable expressiveness. In contrast, the body appears as a multi-layered assemblage of textile and fibrous elements, whose irregular contours create a vibrant, almost dynamic silhouette. The luminous blue pigments set intense visual accents within the predominantly dark and earthy tones. The tension between the hard, light-colored cowrie shells and the soft, partially heavily encrusted textiles is particularly striking. The various materials combine to form a sculptural unity, whose effect derives not solely from the original carving but primarily from its material expansion. Within the ritual art of southeastern Togo, the figure documents a mode of expression in which sculptural form, material transformation, and potential spiritual meaning are closely intertwined. Its art-historical significance lies precisely in this combination of anthropomorphic representation and additive material design, resulting in an object of exceptional visual and cultural intensity.
Literature
Blier, Suzanne Preston: African Vodun: Art, Psychology, and Power. Chicago: University of Chicago Press, 1995.
Herskovits, Melville J.: Dahomey: An Ancient West African Kingdom. 2 volumes. New York: J. J. Augustin, 1938.
Rush, Dana: Vodun in Coastal Benin: Unfinished, Open-Ended, Global. Nashville: Vanderbilt University Press, 2013.
The publications mentioned provide fundamental art historical and ethnographic information on Vodun traditions in southern Benin and adjacent regions of West Africa. The studies by Suzanne Preston Blier and Dana Rush are particularly important for understanding material power objects, ritual objects, and religious transformation processes. However, these works do not directly address the present Ewe sculpture from Aklakou. Their inclusion therefore serves for comparative analysis and not to prove a specific cultic function or local attribution.
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. MAZ33959
Informant: Petit Coulibaly
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
fetish
Ethnic group/ culture
Ewe
Country of Origin
Togo
Material
Wood
Sold with stand
Yes
Condition
Fair condition
Title of artwork
A wooden sculpture
Height
62 cm
Weight
5.3 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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